Meet the Maker: Daan Simons

‘I am a woodworker with a passion for wood joinery. I draw inspiration from (Japanese) ancient wood joinery techniques that require no glue or screws. I craft tables, pedestals, and other pieces from solid sustainably sourced wood such as Elm, Oak, Ash, Pear, or Cherry, among others. I do not work with wood that comes from distant places, so no tropical wood. Ideally, I prefer using wood whose history I am familiar with, either personally or through the client. Before I started working with wood, I was involved in theater. I pursued Mime training at the theater school – not to be confused with pantomime – and was a member of the theater collective Schwalbe for over 10 years. In 2009, I enrolled in the Wood and Furniture College. Currently, I mainly focus on woodworking in the exquisite Joinery workshop located at Plantage Doklaan in Amsterdam.’

What are you currently working on?

‘Recently, I delivered a table measuring 2.30 by 1.00 to a client’s home. It is the seventh Tsugi table. It is made from a truly beautiful batch of American cherry wood. Currently, I am working on the eighth one, a smaller table made from European walnut, and next week I will begin the ninth.

I have been working on a new project for a while now: Totem. Totem is a collaborative project with illustrator Noa Zuidervaart, funded by the Building Talent program of the Stimuleringsfonds. With this project, we hope to find an answer to the question: How can the ancient tradition of creating totems help us make the value of nature tangible in this modern age? Totem explores a contemporary use of the totem: an object that can help us establish a relationship with our environment or revitalize it; a spiritual wooden artifact. In addition to being a means of connection, the totems also take the form of a connection themselves, more specifically, a wood joinery. The sculptures we are working on together with Noa explore the power of lightning, a human/air connection, and the energy of the turtle.’

What is your passion?

‘Working with my hands brings me so much satisfaction. You get to witness something beautiful emerging right before your eyes, taking shape in a form that didn’t exist before. Wood is a natural material. I see working with wood as a way to connect with the earth, where the roots of the tree once stood firmly. Wood is hygroscopic: it reacts to the moisture content of its surroundings. It expands with moisture and contracts with dryness. It is an inherently organic and flexible material. This characteristic makes working with wood positively challenging. I also find it incredibly beautiful that a tactile and hard material like wood can feel so silky smooth when touched with your hand. I exclusively work with wood joinery without glue or screws, inspired by the way ancient Shinto temples were constructed. I see such joinery as a metaphor for the ideal relationship: self-supporting, mutually supporting, and connected to the whole in freedom.’

Where do you draw inspiration from?

”I enjoy exploring the ultimate bible of wood joinery: ‘The Art of Japanese Joinery’ by Kiyosi Seike. It’s truly a magnificent book featuring black and white photographs of various traditional Japanese wood joints. The book provides insightful descriptions, delving into the unique history and development of Japanese carpentry. This book instantly captivated me and became the starting point for working in this manner.

I greatly admire the late architect/woodworker George Nakashima, a Japanese American who incorporated Japanese and European woodworking techniques in solid wood. He, too, authored an impressive book: ‘The Soul of a Tree.’ The description of this book encapsulates it perfectly:

‘The author’s quest for the meaning of life took him as a young man to Paris, Tokyo, and Pondicherry in India. In India, he found the inner peace he sought and began exploring ways to work with wood. He writes poignantly about the magnificence of ancient trees and beautifully figured wood species, explaining how he selects and crafts his materials. Above all, he impresses us with his dedication to discovering the inherent beauty of wood, giving noble trees a second life as furniture. ‘The Soul of a Tree’ looks at the world through the eyes of an artist and invokes the joy of living in harmony with nature.”

What are the challenges in your work?

‘The challenge for me is not to fall into competition with industrialized furniture producers. The work of a woodworker/craftsperson is done with love, attention, and time – a lot of time. To make a living, such a piece of furniture needs to have a significant cost, which may not be accessible to everyone. Sometimes, this doesn’t align with a sense of fairness: I believe that everyone, regardless of income, deserves to have a handmade table to eat, chat, and read at. It brings so much value! Life is busy, both offline and online. It can be challenging to juggle roles as a designer, maker, salesperson, and PR representative. While I do collaborate with colleagues, the ultimate responsibility lies with me. Perhaps there will come a time when the business grows, and sales and PR are handled by another ‘department.’ However, it would have to be done the way I want it because I am stubborn.’

What is your future dream?

‘George Nakashima built a woodworking studio from the ground up. There, he created all his furniture with a large team of craftsmen. That’s how I would like it too. I envision my company growing to a point where there is room for a team. Coming together every day to work on something beautiful and pass on knowledge in a pleasant atmosphere. From seasoned veterans to apprentices, everyone finds their place. There is also space for individuals with disabilities or disadvantages in the job market. Multiple models of the Tsugi table have been developed: oval, round, low coffee table, and side table, all made without glue or screws. Totems are created daily, there is a shop connected to the workshop, and the work is available for purchase in various beautiful furniture and design stores in and outside the Netherlands.’

What can Crafts Council Nederland do for you?

‘Crafts Council Nederland is an exceptional organization – I see you as a kind of mycelium of the crafts/design sector. You are the network that connects all the threads of craftsmanship. Crafts Council brings together the right parties and individuals. You help us move forward. The network of Crafts Council consists of people with a passion for craftsmanship. It’s pleasant and helpful that you bring us to the attention of potential buyers. We need them to continue developing our work.’

Want to see more of Daan? Visit his website and Instagram.

Photo 1, 3, 5, and 6 by Noa Zuidervaart | Photo 2 by Cyriel Jacobs and White Mirror Photography | Photo 4 by Arno Bosma.