After winning the title of ‘The Object 2025’ in this year’s INDE. awards, the American Hardwood Export Council (AHEC) sat down with Melbourne-based furniture maker and designer Simeon Dux to learn more about his process, design philosophy, and what it takes to make an “heirloom quality” piece of furniture.
Simeon’s career reflects a progression through every stage of the craft process, grounding his work as a designer in years of hands-on making. He began working as a carpenter for a decade, inspiring his love of timber and its physical possibilities, leading him to re-study at the Melbourne Guild of Fine Woodworking to learn furniture making under Alastair Boell.
Crediting his time as a carpenter, Simeon explains that it taught him to “work fast” while still keeping his pieces “refined and delicate.” However, the transition from furniture maker to designer-maker was slightly slower. Like many great creatives, he learnt to design by osmosis, surrounding himself with beautifully rendered pieces by great craftspeople at the Guild.
“I was continually exposed to exceptional quality design, and over time, it seeped in. I learnt what small details really make a piece stand out versus what characterises a poor imitation.”
After winning the title of ‘The Object 2025’ in this year’s INDE. awards, AHEC sat down with Melbourne-based furniture maker and designer Simeon Dux to learn more about his process, design philosophy, and what it takes to make an “heirloom quality” piece of furniture.
Now Simeon runs his own workshop in Melbourne, crafting and designing his own timber pieces inspired by historical furniture heavyweights Niels Vodder and Émile-Jacques Ruhlmann, as well as producing stunning commissions for Australia’s top architects. Look no further than long-time collaborator Adam Markowitz to see the pair’s ability to fuse ingenious design, carefully considered finishes, and sustainable hardwoods—the formula of furniture crafted to last generations.
This is Simeon’s design philosophy, where all aspects of process converge on the concept of longevity. In material selection, he ensures the timber is the absolute right fit for the piece, examining its “species-based subtleties and nuances,” taking into account its grain structure, density, and whether it is close or open-pored. This is then enhanced by a design ethos of creating something that has visual appeal across decades, choosing one to two fine focal points to shine through, evident in pieces like his expansive ‘Art Deco Wall Unit’ in American white oak and walnut featuring tambour doors with parquetry inlay and hand-shaped waterfall curves.
“It doesn’t matter if the design’s really good if it’s going to fall apart in five years,” Simon explains. He tries to achieve as much refinement as possible in his hand-drawn sketches before he starts breaking down timber components, ensuring his pieces are solid from conception. Unlike carpentry, elements can’t be added along the way. The result: “a piece of furniture that can last as long as it takes for another tree to grow, where I know I’ve done the timber justice.”
Simeon’s synthesis of longevity and quality is something that brings him back to working with American hardwoods again and again. He favours American walnut, partly owing to its nostalgic appeal—being one of the first timbers he ever worked with—and for its beautiful colour and natural chatoyance. These features are abundant in his stunningly crafted matching walnut ‘Sham Bedsides’ with double bridle leg joinery, hand-carved cove profiles with dovetailed piston fit drawers, and ship-lap back panels. Alongside walnut, he is drawn to American maple and cherry, given their fine quality, ease of availability, and his valuing of sustainable material choices across his work.
Looking to the future, Simeon’s ambitions are a reflection of what’s brought him success so far—he is looking to continue creatively advancing his designs and keep working alongside skilful craftspeople in his six-person workshop. Perhaps even a solo exhibition for his pieces, where excellent timber has been done justice. In the meantime, he is teaming up yet again with Adam Markowitz for an exciting project for a tourist centre on the infamous Great Ocean Road.
Simeon is crafting “four curved sculpted benches” which will act as the centre’s focal point. He admits it’s going to be a physically demanding job, accounting for the pieces’ weight and complexity, but he has no doubt the result will be something remarkable. This project will be one to look forward to as another iteration of Simeon’s ability to blend aesthetics with durability, showing what is possible with quality timber.
