Hancock Shaker Village Daybed
Recreated from a photograph and measurements, this design feels both modern and timeless.
Recreated from a photograph and measurements, this design feels both modern and timeless.
One of the things I have come to admire as a furniture designer-maker is the timelessness of works created long before us. I am continually impressed by the works’ latent ability to establish a perpetual necessity within the lives its users. It’s this impression that suggests that the evolution of furniture, undoubtedly, parallels the human experience and exists as a direct reflection of one’s own way of living.
This sentiment is no truer now than it was with the Shakers; a communal Protestant sect which emigrated from England in the latter part of the 18th century to start a new life in America. Known for their austere and virtuous lifestyle, Shakers’ guided principles led to a display of perfection that was unrivaled for the period, and more than visible in the various crafts they created.
A model example of this unstinting quality can be seen in an extremely rare form of Shaker furniture once found in the Hancock
Shaker Village, located in Pittsfield, Massachusetts. What’s commonly known today as either a settee or daybed, this piece demonstrates an early example of upcycling.
What fascinates me about this piece, outside of its peculiarity, is how it seems to perfectly embody the adaptive living orthodoxy of the Shakers. The bedstead, which was no longer in use, was then ingeniously transformed into a new utilitarian design.
Aside from its relative scarcity, another point of interest in recreating the daybed developed from the fact that the Shakers seemed to have lacked devotion in the refinement of this form. This absence of development only further expressed their “modesty of purpose” while simultaneously rousing my spirit of inquiry.
It’s worth noting that (based off my research) the example built for this article is merely a translation based off of one of the only photographs documenting this unusual creation, which was found in The Shaker Legacy by Christian
Becksvoort (Taunton Press, 1998). Thus, what initially started off as my investigation into rebuilding a historic piece quickly evolved into constructing a modern “working” piece of furniture with historical roots.
Turning
Most of the components of the daybed will require gluing up 8/4 hard maple stock, apart from some 5/4 cherry used for the spindles and back slats.
Start by marking the layout lines on the legs. It’s okay to leave the tapered spindle as well as the tenon a little long, as these can be trimmed over at the table saw once completed to ensure a consistent length on all four legs.
Before proceeding to turn, it’s important to understand that variable speeds correspond with the size as well as soundness of the stock used. Turning at too low of an RPM can make work tedious, while too high can yield potentially dangerous results. The formula for calculating safe minimum/maximum speed is the diameter of the piece multiplied by RPM equals 6,000 to 9,000. Since all the pieces are 2 1/4" or smaller, a higher RPM (3,500-8,000) is required to effectively remove material. If high speed is outside of one’s comfort zone, turning at a lower RPM is adequate, however, may take longer to reach the desired diameter/shape.
Using a parting tool, calipers, and the reference/layout lines, start removing material with the parting tool at the layout points. Check often with calipers to ensure accuracy of the diameter. These initial incisions will create reference points in which to work between. The order in this case is somewhat arbitrary, however, working from the taper up to the shoulder, and then onto the tenon works well in terms of continuity (however the same could be argued from the opposite direction).
Once you work your way down to the two reference points, utilize a 3/4" -1 " skew chisel to clean up any unwanted undulations or valleys left from the roughing gouge.
The profile of the ogee is done by using a 1/4" - 3/8" roughing gouge. Start from the bottom of the top block and transition into the shoulder where the taper meets the bottom of ogee profile. Gingerly apply pressure to avoid chip-out on the top block/post. Once the initial shape is created, go back through with a round nose scraper to clean up any chatter. Then, using the smaller 1/4"- 3/8" roughing gouge,
remove the excess material between your two reference points to create the 11/2" tenon. Once again, cleanup any chatter using a scraper or skew chisel.
The same process is done for all four cylindrical spindles as well as the two tapered spindles. Remember, it’s better to leave the tenons slightly proud of the desired diameter. The tenons can be manipulated to more accurately accommodate the mortise by slightly compressing the ends with a set of Channelocks or pliers. This not only establishes a firm fit, but also creates a fluting texture around the circumference of the tenon. This fluting allows for glue to run the length of the tenon and ultimately strengthens the joint.
Creating the Base
Rip and crosscut both rails as well as both stiles to final lengths over at the table saw. If you do not have access to a sled large enough to effectively accommodate the two stiles, use a miter saw to cut the lengths.
While still at the table saw, set up a stop block and cut the 3/8" shoulders of the pins. Once this is complete, the pins, (in conjunction with a 7° plywood jig), can be cut over at the bandsaw.
In order to provide a snug fit, transfer the profile of the tails from the stiles onto the rails using a marking knife. If these are a difficult read, go back over the lines with a sharp pencil. Once this is complete, transfer the profile lines onto both faces of the rail to use as a reference over at the bandsaw. Using a separate jig (specifically for the pins), run the template in tandem with the rail back to the 2 1/4" reference depth. Flip the rail on end 180° and make the same stop cut. Due to the fact the bandsaw table only tilts clockwise, ditch the jig and set the table angle to 7° to cut the other reference line. Rotate the rail 180° side-to-side and make another stop-cut. Flip the rail on end and make the same cut.
Once the outside pin cuts have been made, continue to make a series of stop-cuts between the two
tail profile lines to remove the remainder of the waste. Now that this is complete, it’s time to move over to the bench. Referencing the layout line for the depth of cut made over at the bandsaw, use a bench chisel to clear out the remaining waste. Since this is thicker stock, work down to about half the thickness of the material, flip the work piece, and repeat the former step. This strategy keeps the chisel from under-cutting the bottom of the pin and provides a flush connection once the joint is applied.
Dowels for Mortising
With the exception of the back slats, all the mortising for this project is accomplished using either a drill press, or a ‘dowel-it’ jig. This streamlined method makes for quick accurate joinery. Setup a stop-block in conjunction with a fence and drill out the 11/4" mortises for the four legs. Since all of the mortises are centered on the rails, there is no need to re-setup the fence, just adjust the stop-block as needed. Swap out the 1 1/4" Forstner bit for a 1/2" , and drill out the mortises for all six spindles, as well as the two back rails.
Assembly in Sections
Since this piece (when glued up) has a larger footprint, attaching the legs to the rails makes this process more accessible from a construction standpoint. Gluing the legs on first allowed the piece to be clamped down to a flat work