In a compelling showcase at 3 Days of Design in Copenhagen, three designers—Andu Masebo, Daniel Schofield, and Anna Maria Øfstedal Eng—joined forces with the American Hardwood Export Council to challenge conventional perceptions of beauty in furniture design. Their mission: to reveal the untapped potential of “Number 1 Common” timber, a grade of hardwood often dismissed due to its natural imperfections, by crafting functional, poetic pieces that reflect sustainability and craftsmanship.
Reimagining flaws as features
The No. 1 Common project began with a challenge that turned the norms of premium furniture production on their head. Instead of the uniform, blemish-free hardwoods typically prized in European markets, the American Hardwood Export Council (AHEC) encouraged the use of “Number 1 Common” grade timber—a material known for its knots, grain variation, and occasional discoloration.
While this grade still contains substantial “clear wood,” it is frequently overlooked by furniture makers seeking consistency and visual purity. The project aimed to reverse that mindset by showcasing the expressive potential of these so-called imperfections, while also promoting a sustainable, whole-tree approach to timber sourcing. As part of the process, Benchmark, a UK-based furniture company, conducted an in-depth analysis of the timber’s properties to inform and inspire the participating designers.
At its core, the initiative offers a provocative question: What if the flaws we’ve been taught to avoid are, in fact, the most interesting parts of the story?
Andu Masebo: Modular systems in red oak and brown maple
London-based designer Andu Masebo approached the project with an architect’s eye for structure and modularity. His response was a collection of eight interlocking tables crafted from red oak, each with soft curves and a design language that invites configuration and play. The tables were paired with stackable stools in brown maple, completing a system that is both sculptural and practical.
During the 3 Days of Design exhibition, Masebo’s furniture was rearranged on the fly to host talks and a hands-on workshop, where visitors created lighting pieces from timber offcuts—further reinforcing the message of minimal waste and material appreciation.
Masebo’s design not only embraced the natural irregularities of the timber but made them central to its identity. His use of flowing lines and intentional gaps allows the furniture to breathe, forming a space that evolves with its use. In his hands, red oak is not just a medium—it becomes a participant in the design process.
Daniel Schofield: Adaptive design for modern workspaces
Copenhagen-based British designer Daniel Schofield turned his focus to flexibility and utility, crafting a collection called Common Room from cherry wood. With a table, bench, stools, and privacy screens, his pieces form the building blocks of a modern workspace—one that’s casual, reconfigurable, and emotionally warm.
Schofield deliberately showcased the flaws in the No. 1 Common timber, joining cracked areas and patching knots using time-honored joinery techniques. The result is furniture that proudly wears its history, allowing every scar and mark to enhance its individuality.
The defining motif of the collection—rounded triangular joints—recurs throughout, giving the designs a visual and tactile signature. By leaning into the unique grain patterns and inconsistencies of cherry wood, Schofield’s work encourages a more honest relationship between people and materials. His designs invite us to appreciate the narrative of wood as a living, evolving substance.
Anna Maria Øfstedal Eng: Organic sculpture in yellow birch
Taking inspiration from nature’s asymmetry, Norwegian designer Anna Maria Øfstedal Eng sculpted a cabinet and wall mirror that evoke the gnarled shapes of roots and twisted branches. Using yellow birch—a species known for its diverse coloration—she laminated planks to expose a range of tones and grains, creating a visual tapestry of the wood’s natural complexity.
Her carved forms follow the grain with a fluid rhythm, resulting in surfaces that shimmer subtly with pattern and depth. By juxtaposing these sculptural contours against simple, flat panels, Eng masterfully highlights the dual nature of No. 1 Common timber: wild yet composed, irregular yet refined.
The pieces feel almost geological in their formation, as if shaped by years of growth and erosion. In doing so, Eng blurs the boundary between functional object and art, revealing how imperfection can serve as a portal to deeper meaning.
A material-forward installation with sustainability at its core
The exhibition, held within the Material Matters program at 3 Days of Design, went beyond showcasing finished pieces. Danish designer Kia Utzon-Frank contributed a site-specific installation made from scrap wood generated during the production of the furniture. These offcuts were bound together using reversible techniques, allowing them to be disassembled and reused after the show.
Throughout the space, visual cues referenced timber yards, forests, and woodworking shops. Central shelving units, strapped like stacked lumber, paid homage to the raw materials themselves, reinforcing the message that beauty exists at every stage of a material’s life.
By connecting designers, producers, and audiences in a shared dialogue around sustainability, the No. 1 Common project served as a reminder that responsible design begins not just with ideas—but with respect for the resources we often take for granted.
Redefining value in the age of waste
As climate challenges and overconsumption continue to plague the design industry, projects like No. 1 Common point the way forward. By embracing variability and working within natural constraints, these designers demonstrated that sustainability need not mean sacrifice. On the contrary, limitations can breed ingenuity—and imperfections can lead to deeper, more authentic beauty.
For AHEC, whose mission includes raising awareness about the environmental and creative potential of American hardwoods, this exhibition is part of a broader campaign. From Ghanaian-inspired communal tables to student explorations in “slow furniture,” the council continues to champion a more thoughtful, full-circle approach to making.
In the hands of Masebo, Schofield, and Øfstedal Eng, No. 1 Common timber became far more than a material. It became a statement: that every knot has character, every grain has a story, and every offcut has a future.
