Custom Adirondak sofa case study

Communication, problem solving and experience help upholsterer create unique custom sofa for an Adirondack ranch

Upholstery Journal | October 2008

story and photos by Mark Weller, Sterling Upholstery

My shop, Sterling Upholstery in Moscow, Pa., received this unique project because of recommendations from our satisfied clients.

We don’t advertise much; we obtain most of our business through word-of-mouth. And it seems we always get better qualified customers that way.

This particular customer was looking for a sofa to fit a specific area in front of a large stone fireplace in his ranch house. The customer wanted the piece to be a dividing line along a walkway leading to a home theater area, so we designed it with visual interest on all sides. That aspect was a creative hurdle, which came together after we got started.

We had several problems to solve from the start. The clients wanted the piece to have as much seating as possible and include attached table surfaces, but they didn’t want the piece to overpower the area and they had to be able to see over it. I explained to them that they would have to compromise in some areas. The clients’ on-site craftsmen had made cardboard sofa prototypes in an attempt to find a solution, but the models would only seat four with a 15-inch depth on the seat and 12-inch height on the backs. The clients didn’t understand proper lumbars and arches for backs, and minimums of 18-inch depths on the seats—dimensions necessary to allow for proper foam densities, heights of table areas and, most importantly, comfort.

As we discussed these aspects, the shape and sizes of the cardboard prototypes changed drastically. The clients were confused, but I explained all the changes I suggested and that they should allow me to go home, create some sketches, do some figuring and get back to them. They were relieved—but I left more confused than they were.

I’m not good at proposals, so I knew I would have to get some type of creative license from the client and that I would need to convince them to trust me. At our second meeting, I had some sketches that I didn’t like and measurements I wasn’t happy with. I couldn’t solve any of the original issues. It just wasn’t working. I brought large rolls of paper to lay out pattern ideas, and I told the clients that I could meet all their needs if I could make one large sectional instead of two sofas. They never considered that option, but I knew they were open to new information and I wasn’t disputing any of their original ideas. That’s also when their craftsmen left.

Now I could get the depths I wanted, increase the seating capacity to seven or eight and include 12-inch by 28-inch attached curly maple table tops. Most importantly, I was in charge now and I could sense the clients’ excitement as they began to see the project unfold.

I started laying down paper and making measurements. I placed long pieces in all the available space, then I began to get the clients’ input on walk-around areas, close-to-the-wall areas, and depths and lengths. I filled as much space as I could with allowances to adjust. I got final approval from them on sight, said thank you and went back to my shop.

Now I had to figure materials and cost—the part I dislike the most. Cost can deter creativity. I can see a project in my head, but as I move forward something else—usually something better—appears. I’m not patient enough to figure to the last screw, so I add a creative charge of unexpected costs, and then I get started.

My experience has taught me that I never charge enough. My price on this piece was lower than it should have been. I needed more plywood and more leather due to changes I made to enhance the overall shape and final aesthetics of the piece.

I laid out the pattern on my shop floor (photo 1) and showed my crew. They gave me that familiar “you’ve lost your mind” look.

The first task was to determine the size. We have to be able to carry it and it must fit through doorways. We decided to break it into three pieces: a main center piece and two removable, bolt-on arm pieces (2, 3). The entire piece needed to be supported effectively throughout and be level when assembled.

The unorthodox shape creates a 90-degree angle at the outside arms, and the inside seating angles presented lots of problems. The side seating is 1½-inches deeper than the center area (4). I had no idea why, so I just adjusted as I went. I didn’t like the outback being so straight, so I rounded it (5). I can envision shapes and angles I want, but then I have to fit them into construction—and that’s where the difficulty lies.

The fabric applications must flow into the designs. I find ®-inch and 5/8-inch plywood works best for construction. It’s easy to cut shapes and angles, and it’s easy to add support to or change a measurement.

I usually shape angles by eye, then make a jig for duplicating the angle on the overall design. This piece had the same shape from the center left to right. I was able to cut double shapes, then reverse them from left to right, which saved time.

To figure final measurements for height and depth, lumbars and the angle of the back, you must know the fillings you are using. Densities are important too. Leather is stiff, so we used softer foam in the seats and backs. A lot of my construction information comes from general practical knowledge and years of experience with furniture. Different manufacturers, styles and shapes seem to repeat over time.

I wanted a hidden floating base. I used 3/4-inch flat discs painted black so as not to be noticed under the piece. I made a recessed kick-plate base between the arms. Under the main seating area I angled the back about 2 inches and made separate seat units that sit on top. This made for easy installation and upholstery. I always break down my pieces into as many parts as I can, then install each part to build the piece.

I had to make sure that the plate, the front deck and the front bands were in proportion. The deck front should be bigger than the cushion front band, and the bottom kick plate should be the smallest. The measurement must add up to standard height for the cushion surface, with allowance for depression in the seats when sat upon. That’s where all my general knowledge of furniture comes in, just from upholstering thousands of pieces.

Another detail is the height of the sofa’s arms, so a person’s arms rest comfortably. The arms on this piece are larger than normal, so I had to make sure of their proportion (6). The tops ended up being a 12-inch by 32-inch flat surface.

I had some really groovy 1¼-inch, highly-figured curly maple planks. I wanted them that large to show off the natural dark veins and figures. The table tops lift off and expose large storage compartments, which are two-toned upholstered and matched inside (7). This is one of the variables I didn’t figure into the proposal, but it presented itself and I just had to do it.

Three-quarter-inch plywood is easy to shape and cut into cool designs. It makes glue joints well and usually needs no clamping.

I used drive screws. I have three guns and buckets of different screws—always square-head for torque.

The leather design and application was the biggest challenge. I stared at the frame for a week; I had no idea where to start. I knew I wanted an Adirondack-lodge look mixed with American Indian elements. I’ve always appreciated American Indian quilts and rugs. The designs are geometric, but flow nicely.

We took some measurements and got started laying out strips of leather, switching colors and moving pieces (8, 9, 10). That lasted another week. Judy Shaffer, our expert sewer and pattern maker, was always next to me to make sure what I wanted could be done. When something couldn’t be done one way, we made another way work.

I love the look of top stitching, and it never looks better than when it’s done on leather. We made designs with top stitching by crossing it certain ways (11, 12). We thought we made a mistake in the flow of the stitching by not reversing it in the center book matching of the feather design, but it created a groovier look. We carried it out over the entire piece, which needed centered designs on 12 panels. I was able to cut that by centering two large designs, one on the inback and one on the outback. I matched the two side seating areas on the inback and outback. Then I matched the arms all around (13).

Once I saw the inback, I had to design something cool and large on the seat surface (14). Then I had to design something on the side seats to complement their inbacks. I used twice as much time in design and preparation, which was necessary to achieve the ultimate look of the art.

The last hurdle was delivery and acceptance. I drove an hour and a half to the clients’ home, thinking about this huge project that I loved and wanted to keep for myself. Well, they freaked out; they just loved it. It looked like the house was built for this incredible sofa. The piece was surrounded by all sorts of similar designs in furniture, wall hangings and wonderful art and accessories.

On the way home I looked at my wife and said, “What’s next?”

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