Inspired By: Plethora Magazine

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We wanted to highlight the natural beauty and tactility of print by using a format that allowed the craftsmanship to shine trough on an excessive level. Ultimately, we created this kind of otherworldly giant…an object that no one would know exactly what to do with.
'Anima Mundi:' the latest issues of large format (70cm by 50cm), bi-annual Plethora Magazine, created and published by  Peter Steffensen and Benjamin Wernery.

'Anima Mundi:' the latest issues of large format (70cm by 50cm), bi-annual Plethora Magazine, created and published by  Peter Steffensen and Benjamin Wernery.

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An otherworldly Giant

Plethora Magazine is an independent, biannual publication founded in Copenhagen which challenges the bounds of the conventional magazine format — conceptually as well as physically (each page has poster dimensions, 50cm x 70cm). 

Skillfully printed by the monks of a Hindu temple, Plethora Magazine is unlike any other magazine on the planet: no noise, no ads and no logos, just 52 pages of poster-size visual indulgence and tales from the life less ordinary, presented in a careful blend of quirky archive material, wondrous art prints and contemporary artist features.

What inspires us most about Plethora, is how editor Peter Steffensen and art director Benjamin Wernery are curating such a fascinating variety of content - much of it reclaimed from historical ideas, technology, and imagery - to make something entirely new. 

Here are the highlights from our conversation with Peter Steffensen.

First off, tell us about the creative / professional journey that led you to Plethora?

I come from a background in philosophy and so, in  many ways, Plethora is a natural bridge for me between the academic world and the art scene. With Plethora, we are trying to shift the boundaries between the two fields and create a new context for both, essentially blurring the lines between fiction, myth, and science - which I think is an essential aspect of art. 

Was there one main idea that led to creating an oversized magazine now, in the digital age?

Yes, in fact. As you probably know, not that long ago, most magazines published a digital version to supplement their print publication. But now, that relationship has been been inverted. So, the aim for us was to turn all the inherent and presumed 'flaws of print' upside down and then amplify and refine them to a degree were they became attributes, specifically those qualities that are impossible to digitize.

Basically, we wanted to highlight the natural beauty and tactility of print by using a format that allowed the craftsmanship to shine trough on an excessive level. Ultimately, we created this kind of otherworldly giant…an object that no one would know exactly what to do with.

Why did you believe that bigger was better?

Well, we wanted to craft a very particular reading experience. The magazine's size naturally slows down the consumption of content.  Plethora Magazine is designed to actively involve the body so as to change the way we experience the content and then, hopefully, open up a space for reflection.

What we've observed is that the magazine's size does, in fact,  help people to both slow down and become quieter as they flip through and examine the pages - which is one of the hardest things for any of us to achieve these days.

Without giving away any trade secrets, what can you tell us about the printing process?

We are fortunate to work with very skillful printers here in Denmark called Narayana Ashrama Press, which is both a Hindu temple and a high end off-set printers. It’s truly a wonderful place and so, when we print, we actually move in and stay at their guest house during the whole process. This lends a much needed air on calm to an otherwise decision-intensive and hectic process. Don’t think we could make Plethora anywhere else.

what would you say is the 'red thread' that connects the themes of all six issues of Plethora to date? 

We work from a vast and ever-evolving archive of images and subject matter that we have compiled over the years (the crossroads between art and science is definitely a preferred territory for us). And these items make up the reservoir from which we can shape and slowly built a theme for each issue. Honestly,  the themes for some  editions can be years in the making. 

Ultimately, the trick is to create subtle intersections between a variety of narratives in order to bring about the element of wonder, which is essential to Plethora.  We want to create a experience where layers of meaning are endlessly unfolding, so there are new connections being made each time you open an issue. 

What's been the biggest challenge in bringing Plethora out into the world?

Almost from day one we’ve had to carve out our own niche within the world of magazine distribution. Also because it’s such a hybrid between a curated print collection, an object d’art, and a conventional magazine. So seeking out the appropriate platforms and outlets for the magazine has probably been the biggest challenge.

Do you have a favorite feature from the first six issue of Plethora?

Once in a while we manage to stumble on a real gem. And if I was to pick one out of the lot, it would probably have to be the feature on the Selknam tribe of Terra del Fuego (also called the Hain people), from our first issue (see below).

During the long preparation for issue one, we ran across these amazing black and white images of a now extinct tribal culture. They were all wearing these strange tribal masks and their bodies were totally painted and they were standing out in the snow. The whole scene was like something out of a strange and grotesque avant-garde theater productions. 

When we researched the Hain we discovered an incredible and elaborate mythology behind the initiation ritual - more complex than any greek tragedy. 

As it turned out the image we found were taken by a German priest and anthropologist who visited Patagonia in 1923 and who happened to witness and document,  the last ever initiation rite of the Selknam tribe. The entire tribe were murdered by settlers not long after the priest's visit.

So this story just had it all - fierce drama, mystery, forgotten meaning, archetypical signs and symbols - an ancient, universal narrative somehow. Working with this story really helped set the tone and standard for how we choose our features ever since.

What can you tell us about the impact Plethora is having around the world?

Only when an issue of Plethora is exhibited and unfolded in three dimensional space, can the potential of the magazine truly comes across, and the quality of the print can be best appreciated. 

So, from the very beginning we have prioritized traveling exhibitions abroad to show the diversity of our editions and to create experiences for a foreign audience that would have a real impact. And it gives us the opportunity to meet with our collectors in person, which I think is very important for our kind of product.

How would you say that ideas and artifacts, of the past inspire you to create and innovate?

I really appreciate the different traditional crafts that we encounter on our journeys. Especially in Asia, where the artisans have a very different approach to time and craft than we have here in Scandinavia. All in all, I like most esoteric things drenched in mystery and symbols. And much of the work we do on Plethora Magazine is actually one long semiotic journey to extract the meaning behind these.

So, for now, I definitely feel that I'm in the right line of work.

Learn more and shop at www.plethoramag.com

The Selknam tribe of Terra del Fuego from the first issue of Plethora Magazine.

The Selknam tribe of Terra del Fuego from the first issue of Plethora Magazine.

Peter Steffensen, Editor In Chief (pictured at right) and Art Director  Benjamin Wernery of Plethora Magazine.

Peter Steffensen, Editor In Chief (pictured at right) and Art Director  Benjamin Wernery of Plethora Magazine.

The aim for us was to turn all the inherent and presumed ‘flaws of print’ upside down and then amplify and refine them to a degree were they became attributes, specifically those qualities that are impossible to digitize.
— Editor-In-Chief, Peter Steffensen
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Sneak Peek: Our Stage for Field + Supply 2017

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Sneak Peek at Our Reclaimed Mushroom Wood, Event Stage for Field + Supply 2017

We are just a couple of days away from the kickoff of Fields + Supply 2017 at The Hutton Brickyards in Kingston, New York. Like last year, The Hudson Company is proud to, once again, collaborate with designer Brad Ford on the Field + Supply event stage.

This year's stage is being built with Reclaimed Mushroom Wood paneling. Our Reclaimed Mushroom Wood paneling is sourced from the bedding bins of mushroom growing facilities in the mid-Atlantic. The material offers a caramel patina and a combination of smooth and radial kerfed faces.

Stay tuned to The Hudson Company Instagram for the reveal of this year's event stage this Friday, October 6th, on the opening day Field + Supply 2017.

Special thanks to Cabinets by Stanley and designer Brad Ford.

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Join us for Field + Supply 2017 At The Hutton Brickyards in Kingston, NY

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Field + Supply, October 6-8, 2017

We are now less than a week away from one of our favorite annual design events: Field + Supply Modern Makers Fair founded by designer Brad Ford.

Join us this weekend Oct 6-8, at The Hutton Brickyards for a one-of-a-kind gathering of artists, makers, designers, and craft food exhibitors. Exhibitors for at this year's F+S include: Dzierlenga FurnitureJ.M. Szymanski Interiors, Michele Quan, Jim Zivic, Borough Furnace, Made By Hand-Jon Giswold, Fayce Textiles, Adler & Co., and many many others.

Learn more about Field + Supply and book your tickets here.


From The Archives: The Hudson Company Stage for Field + Supply 2016

While we wait to reveal this year's The Hudson Company + Field + Supply 2017 events stage design, we invite you to dive into the archives to see our how last year's stage collaboration with designer Brad Ford came to life. 

Stay tuned to this blog and to our Instagram Feed for the reveal of this year's Field + Supply stage...

Inspired By: Selina van der Geest of NL-GB

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The Reclaimed Brown Board Paneling we used on the outside of our house immediately adds a sense of history and character.
— Selina van der Geest
Selina van der Geest of NL-GB, photo by Venetia Dearden

Selina van der Geest of NL-GB, photo by Venetia Dearden

Introducing Selina van der Geest

Interior designer Selina van der Geest moved to New York from London in 2000. Since coming to America, Selina has worked in the art and decorating business and has now opened her own eclectic showroom near Millbrook, NY, 90 miles north of New York City.

After building her own house in Milan, New York, Selina was inundated with requests to add her unique style and organizational skills to projects for private clients. It has been a natural progression to continue the decorating business she started back in England, bringing a relaxed European feeling to her clients’ houses. She believes in working organically, reflecting in her designs and colors, the natural surroundings of the property she is transforming.

Earlier this year, we sat down with Selina to discuss her work.

Tell us a bit about how your time training in Europe prepared you for the work you do today?

Well, I studied history and art history which gave me a great background for my work in interior design.  I was lucky to combine both fields working for Colnaghi, the old master art gallery in London, designing stands and galleries as well as working with important art works. It was there that I learned woodworking and curtain making, thus giving me a very hands on approach to my work. The European aesthetic is different and has certainly continues to influence my work here in the States.

How did you choose Upstate, New York as the base for your home and business?  

My husband, who is Dutch, bought a house Upstate in 1983, when he first came to America.  I moved to New York from London in 2000 and since I share his love for the area, we purchased land in 2002 and decided to build a house. As soon as we finished the house, I was asked to help with other projects and so my work Upstate evolved.

what is the red thread that connects all of your design interests?

I am very inspired by nature and the environment around me, whether Upstate or on my travels. I often  incorporate natural elements into my designs.  Bottom line, I strive to create original homes and furniture for my clients and that's what drives me creatively.

What can you tell us about the design process for your own home in Milan, NY?

Before even buying the land, we bought an early 17th Century Louis XIII mantle in Bordeaux, France when we were there for a wedding.  Then, we designed the house around this and a pair of antique Chinese doors.  Coming from homes built of stone in England, I wanted to achieve the same sense of history and character in our new home Milan.

The Reclaimed Brown Board Paneling we used on the outside of our house, immediately adds a sense of history and character.  I stained the cut edge of all the batons, so we didn’t have fresh cuts showing.  It also has the advantage of requiring less maintenance.

Inside we have a large open room featuring Reclaimed Hudson Company Beams, which, along with the Bordeaux mantlepiece, give a very European character to the house.  On the floors we used wide white oak boards, which we left untreated so they could develop a patina over time.  The result is a home which feels very settled, relaxed and natural.

What were some of the key design goals for your new home?

We love cooking so wanted to have a big open space that would allow us to cook while also enjoying the fire and the living area.  You enter through a mudroom with the large Chinese doors creating a welcoming opening into the great room and a view through the French doors to the pool beyond. We often have our family and guests staying and having separate bedroom wings and a guest apartment help to give us all space, but a wonderful place to congregate.

We built the house in seven months and it was certainly an advantage to be on site daily. I spent many days shoveling snow or helping the framer when someone didn’t show up and nothing was delayed waiting for decisions.  I also insist on a clean and tidy job site, believing that a messy environment encourages sloppy work.

What's next for Selina van der Geest?

I am working on a new house being built in Sharon, CT for a client whose apartment I designed in the city. We’re combining a traditional stone farmhouse with painted barn buildings, a stone potting shed and an English green house. The goal is for the house to feel as if it’s been there for hundreds of years and has evolved over time.  Likewise, my goal is for the interior is to feel as if it’s been collected over the years, with interesting accents, textures and natural colors.

Lastly, how would you describe your experience working with The Hudson Company?

The Hudson Company have a wonderful selection of materials and a great aesthetic. From the sampling process to selection, they have listened and understood what we are after. Whether its a small order of individual planks and beams or a bigger order of  pre-finished wood floors, The Hudson Company has  always provided us with quality, professional services.

Visit NLGB.com to learn more about Selina's work.

Learn more about Reclaimed Hand Hewn Beams here and Reclaimed Brown Board Paneling here.

Below is a sampling of more interiors by Selina, with photos by Jane Beiles for The New York Times.

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The Hudson Company have a wonderful selection of materials and a great aesthetic. From the sampling process to selection, they have listened and understood what we are after.
— selina van der geest
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The Hudson Company + Camp Wandawega Sneak Peak

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Reclaimed Softwood Threshing Floors at Camp Wandawega, Wisconsin

Camp Wandawega, located near Elkhorn, Wisconsin and established in 1925, is a place quiet unlike any other in America: an historic landmark, a vintage summer camp, and (among other things) a former brothel and speakeasy! Today Camp Wandawega has been lovingly preserved by its owners / innkeepers David and Tereasa, who have reinvented Camp Wandawega while simultaneously preserving it's fascinating legacy and beloved character.

The newest project at Camp Wandawega is the restoration of the property's 'Social House' which will feature Hudson Company Reclaimed Softwood Threshing Floor

A bit about Reclaimed Softwood Threshing Floors: Threshing is the agrarian process in which wheat is separated from chafe. Traditionally, farmers have used oxen and cattle to tread repeatedly over the crop to accelerate the separation. The result of this aggressive agricultural process is, that the wide mixed, softwood floor boards of the threshing room floor develop a distinct, rugged character and well-worn patina.

Below is a sneak peak of the Reclaimed Threshing Floors being installed in Camp Wandawega's Social House. More on this project to come in the near future!

More about Camp Wandawega here.

More about Reclaimed Softwood Threshing Floors here.

See our 'Designer Square Series' interview and collaboration with Camp Wandawega innkeeper and stylist extraordinaire Tereasa Surratt here

The Camp Wandawega Social House nearing completion, summer 2017.

The Camp Wandawega Social House nearing completion, summer 2017.

Reclaimed Softwood Threshing floors just after being installed at Camp Wandawega.

Reclaimed Softwood Threshing floors just after being installed at Camp Wandawega.

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Installation photos courtesy of Camp Wandawega.

Installation photos courtesy of Camp Wandawega.

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Reclaiming An icon: Brooklyn's Domino Sugar Refinery

Domino Sugar Refinery Photos by Paul Raphaelson.

Domino Sugar Refinery Photos by Paul Raphaelson.

Domino Sugar Refinery Photos by Paul Raphaelson.

Domino Sugar Refinery Photos by Paul Raphaelson.

Domino Sugar Refinery Photos by Paul Raphaelson.

Domino Sugar Refinery Photos by Paul Raphaelson.

Reclaiming An Icon

Recently, The Hudson Company was honored to be selected to custom mill 45,000 board feet of Reclaimed Heart Pine Beams and Mixed Softwood Decking salvaged from Williamsburg's historic Domino Sugar Refinery. Rich in over a century of colorful history (the factory complex was built in the 1880s and was once the largest of its kind in the world), the riverfront Domino facility was an icon of the Williamsburg skyline for more than a century. And although the refinery is now gone, much of the grand old icon of New York's industrial past is being preserved in an innovative and sustainably-minded way.

After being salvaged by Brooklyn-based developers Two Trees, the reclaimed wood from the Domino facility was transported to our Pine Plains, NY mill to be de-nailed, graded, planed, and profiled for use as park benches, furniture, and other on site décor for the buildings and park structures that will replace the old factory (exciting details and timelines for the Domino Redevelopment Project can be found here). 

Now that much of the original manufacturing facility is gone, Two Trees, along with SHoP Architects and James Corner Field Operations, have developed a vision for the future that preserves a number of relics from the historic Domino complex: including two 80-foot tall historic cranes, large cylindrical syrup cranes, and more than twenty stone columns from facility's warehouse. Along with the new luxury and affordable housing units being built on the site of the old Domino complex, the developers are executing a master plan that includes community-focused gardens, public parks, playgrounds and sports fields.

Stay tuned to www.thehudsonco.com in the coming months, where we will be sharing more about our involvement in this exciting development, including imagery and details on how the reclaimed wood from inside the Domino factory is put to use in the Domino Redevelopment Project.

In the meantime, you can learn more about Two Trees here, more about SHoP Architects here, more about James Corner Field Operations here, and see more of Paul Raphaelson's pre-demolition Domino Sugar Refinery photos here.

Domino Redevelopment renderings by Two Trees Management.

Domino Redevelopment renderings by Two Trees Management.

Domino Redevelopment renderings by Two Trees Management.

Domino Redevelopment renderings by Two Trees Management.

Domino Redevelopment renderings by Two Trees Management.

Domino Redevelopment renderings by Two Trees Management.

The Hudson Co. Featured on Architizer.com

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The Hudson Company on Architizer.com

Thanks to Sydney Franklin and the entire team at Architizer.com for featuring us on their site this month. Their profile of The Hudson Company - Good Wood: The Epic Journey of Reclaimed Timber Flooring is a fantastic overview of the people, products, and process that make The Hudson Company who we are.

Here's an excerpt:

"With a few exceptions, no single architectural project is entirely made of building-products sourced from the same place. It takes a village of manufacturers — all working in conjunction with architects, engineers and contractors — to compose a proper shelter for us to inhabit. Everything from the exterior cladding and the roof to the window hinges and the kitchen countertops are hand-selected from around the world and chosen for their performance and aesthetic quality. The same goes for something as seemingly simple as flooring: As an interior structural element that heavily contributes to the experiential qualities of a space, it’s imperative that architects choose the most appropriate material to go beneath our feet.

This is where wood comes in. We all know what bad wood flooring looks like, but truly great wood flooring is an instant turn-on. It’s sexy. It’s clean. It has a level of depth and texture that fake wood flooring, ceramic tiles and even concrete can’t inherently produce. It’s all-natural and cuts to our core. Each individual plank features a distinct pattern and porosity that can’t be precisely reproduced in the plank next to it."

Read the full story here. 

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Join Us In Pine Plains, Aug 16-19

 
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FEATURED Clearance Inventory

Click to see the detailed list of all clearance inventory product specs. - including cut, milling details, grade,  dimensions, lengths, and prices. This master inventory  list and all specs will be updated daily throughout the clearance sales event.


I. RECLAIMED BEAMS & JOISTS

Reclaimed Decking @ $ 1.00
Reclaimed Mixed Hardwoods @ $ 2.50
Reclaimed Mixed Softwoods @ $ 2.50
Reclaimed Mixed Hardwoods @ $ 4.00
Reclaimed Oak, Original Face @ $ 4.00
Reclaimed Softwood Threshing @ $ 4.00
Reclaimed Tropical Hardwoods Wood @ $ 1.00
Reclaimed Teak @ $ 12.00

*Click to see the detailed list of beam & joist specs. - including cut, milling details, grade,  dimensions, lengths, and prices.

II. NON RECLAIMED FLOORING

Cherry @ $ 2.50
Easter White Pine @ $ 5.00
Walnut, Rough Sawn @ $ 5.00
Walnut, New Face @ $ 7.50
White Oak, Quarter Sawn 2" @ $ 5.00
White Oak, Quarter Sawn 2.25" @ $ 5.00
White Oak, Quarter Sawn 2 7/8" @ $ 5.00
White Oak, Quarter Sawn 5" @ $ 7.50
White Oak, Quarter Sawn 5" (Character Grade) @ $ 7.50
White Oak, Quarter Sawn, Fumed  6" @ $ 7.50
White Oak, Flat Sawn 3" @ $ 5.00
White Oak, Flat Sawn 4" @ $ 5.00
White Oak, Flat Sawn 7" @ $ 5.00
White Oak, Flat Sawn 8" @ $ 7.50
White Oak, Band  Sawn 3" @ $ 5.00

*Click to see the detailed list of non reclaimed flooring specs. - including cut, milling details, grade,  dimensions, lengths, and prices.

III. PRE FINISHED FLOORING

Barley (White Oak, Quarter Sawn) @ $ 7.00
Capella (White Oak, Quarter Sawn) @ $ 7.50
Princeton (Red Oak, Thermally Modified) @ $ 10.00
Reclaimed Mixed Oak, Tung Oil @ $ 7.50
Stout (Red Oak, Thermally Modified) @ $ 5.00
Tivoli @ $ 12.50
Travaux, Factory Maple @ $ 5.00
Willow @ $ 9.00

*Click to see the detailed list of pre finished flooring specs. - including cut, milling details, grade,  dimensions, lengths, and prices.

IV. RECLAIMED ENGINEERED FLOORING

Reclaimed Heart Pine 5" @ $ 7.50
Reclaimed Heart Pine 11" @ $ 7.50
Reclaimed White  Oak 3.5" (T&G) @ $ 5.00
Reclaimed White Oak 4" (T&G) @ $ 7.50
Reclaimed White Oak 4" (T&G, Micro Beveled) @ $ 7.50
Reclaimed White Oak 5/8" x 4" (T&G, Micro Beveled) @ $ 7.50
Reclaimed White Oak (T&G) 8" @ $ 5.00

*Click to see the detailed list of reclaimed engineered flooring specs. - including cut, milling details, grade,  dimensions, lengths, and prices.

V. RECLAIMED FLOORING

Reclaimed Heart Pine 3" @ $ 5.00
Reclaimed Heart Pine 3" (Heavy Character) @ $ 5.00
Reclaimed Heart Pine 4" @ $ 5.00
Reclaimed Heart Pine 5" @ $ 5.00
Reclaimed Heart Pine 5" (Heavy Character) @ $ 5.00
Reclaimed Heart Pine 5" (Vertical Grain) @ $ 7.50
Reclaimed Heart Pine 6" @ $ 7.50
Reclaimed Heart Pine 6" (Original Face) @ $ 10.00
Reclaimed Heart Pine 7" @ $ 7.50
Reclaimed Heart Pine 7/8" x 8.5" @ $ 10.00
Reclaimed Heart Pine 10" @ $ 10.00
Reclaimed Heart Pine 10" (Skip Planed) @ $ 7.50
Reclaimed Heart Pine (1" x 2.5" Decking) @ $ 2.50
Reclaimed Heart Pine (1" x 3" Decking) @ $ 2.50
Reclaimed Maple, Original Face @ $ 2.00
Reclaimed Maple, Planned @ $ 2.00
Reclaimed Mixed Oak (3.5") @ $ 5.00
Reclaimed Mixed Oak (4") @ $ 5.00
Reclaimed Mixed Oak (4.5") @ $ 5.00
Reclaimed Mixed Oak (5") @ $ 5.00
Reclaimed Mixed Oak (7/8" x 3") @ $ 10.00
Reclaimed Mixed Oak (7/8" x 4") @ $ 10.00
Reclaimed  Red Oak (4") @ $ 5.00
Reclaimed White Oak (3.5") @ $ 5.00
Reclaimed White Oak (4.5") @ $ 7.50
Reclaimed White Oak (6") @ $ 5.00
Reclaimed White Oak (5/8" x 4") @ $ 2.50

*Click to see the detailed list of reclaimed solid flooring specs. - including cut, milling details, grade,  dimensions, lengths, and prices.

VI. RECLAIMED PANELING

Brown Board @ $ 7.50
Reclaimed Grey Barn Siding @ $ 8.00
Reclaimed Mushroom Wood, Sculpted 6" (T&G) @ $ 7.50
Reclaimed Mushroom Wood, Sculpted 6" (SLR) @ $ 7.50
Reclaimed NYC Water Tank Cedar, Outside Face @ $ 2.50
Reclaimed NYC Water Tank Cedar, Inside Face @ $ 2.50
Reclaimed NYC Water Tank Redwood @ $ 5.00
Silver Pines 4" @ $ 10.00
Silver Pines 8" @ $ 10.00
Silver Pines 11" @ $ 10.00
Softwood Joists @ $ 7.50
Softwood Medley 5" @ $ 5.00
Softwood Medley 8" @ $ 5.00

*Click to see the detailed list of reclaimed paneling specs. - including cut, milling details, grade,  dimensions, lengths, and prices.

 

The Hudson Company + FAIR for Collective Design 2017

For the 2017 Collective Design Fair, The Hudson Company was proud to collaborate with designer Brad Ford and FAIR.

For FAIR's Collective Design installation, we provided a custom milled floor made from unfinished 2 5/8" Reclaimed Oak, New Face. The flooring material was reclaimed by The Hudson Company from a Pennsylvania dairy barn and re-milled at our Pine Plains, NY mill.

About FAIR: In October 2014, Interior Designer Brad Ford organized a modern makers craft fair in upstate New York called Field + Supply. The focus was on modern, elevated craftsmanship showcasing artisans from the Hudson Valley area as well as makers who work in New York City and Brooklyn. FAIR is an extension of that concept and is now a permanent showroom at the New York Design Center.

About Collective Design: Collective Design brings together creative voices from around the world in a lively, essential discourse on modern and contemporary design and art. Based in New York City and active in the arts community throughout the year, Collective Design presents engaging conversations and educational programs to foster dialogue, encourage the exchange of ideas, and build a growing audience for collectible design and art. 

Learn more about Hudson Company Reclaimed Oak, New Face flooring.

The Hudson Company + Brad Ford & FAIR for DIFFA

This month, The Hudson Company was proud to support the  20th annual  DIFFA Dining by Design event, which, 'raises awareness and grants funds to organizations that provide treatment, direct care services, preventive education programs and advocacy for individuals impacted by HIV/AIDS.'

For designer Brad Ford's Dining by Design installation, The Hudson Company's Reclaimed Oak, Original Face was used to create a warm, natural and minimalist space.

All photos by Michael Paniccia, courtesy of DIFFA.

To learn more about DIFFA, visit their website www.diffa.org.