The Rectangular Console Table keeps nothing hidden. The form is three surfaces: a flat top and two vertical sides that reach the floor. The Medium Hammered Copper metal cladding covers all three without interruption, the hammered texture running across the full width of each surface. Through the centre, a smooth polished strip runs from one end of the top to the other and continues down both sides, a deliberate contrast in texture that is part of the original design.
The wooden structure is built before pattern-makers cut the Medium Hammered Copper metal sheets to fit each surface. The craftsmen work two distinct textures into the metal: the Medium Hammered Copper hammering across the outer surfaces, and the smooth centre band, which is polished by hand to a different surface quality. Flush-set nails at the corners mark where panels meet. The table is 72 inches wide, 16 deep, 30 tall, with no legs and no applied ornament beyond the metal surface itself.
Measures 72 by 16 by 30 inches. Functions as a console table, entry table, hall table, or sofa table. The parsons-style form with no legs suits placement in corridors, entry halls, and behind sofas where a minimal profile is needed. Available in medium and fine hammered finishes across all four metals. Custom sizing available. Made entirely to order.
Designed by Alison Spear for Stephanie Odegard Collection. Alison Spear is an AIA award-winning architect and interior designer with offices in New York, whose residential and commercial work has been published in the New York Times, House & Garden, and Vogue. She created this table during a trip to Rajasthan with Stephanie Odegard, working directly with the craftsmen on the two-texture hammering technique. Produced in Udaipur.
Made to order, each piece may show slight variations that are a natural result of handmade metal-clad production. The Medium Hammered Copper surface will gradually mellow in tone over time, which is part of the material's natural character.
The images shown in this listing may be photographed in different lighting conditions or may include 3D illustrations created to represent the available finishes. We warmly encourage customers to request an individual sample or a complete sample set of all twelve finishes to experience the surface, tone, and character firsthand.
Please note that moisture in the air, seasonal climate shifts, and the natural movement of wood over time may cause the metal surface to develop slight wrinkles or occasional bubbling. We use well-seasoned reclaimed teak and high-quality marine-grade MDF wherever technically possible to minimise these natural effects, but complete stability of metal cannot be guaranteed.
None of our metal-clad pieces are sealed with a permanent protective coating. This allows the metal to age naturally and beautifully over time. We polish every piece carefully before packing. A clear PU coat can be applied on request.
The antiqued white bronze finish will react with natural elements the fastest in the beginning, but it too will stop reacting and settle into a stable state like copper after 6-12 months. Since it is already antiqued and looks intentionally tarnished, this early reaction does not change the overall appearance. In that way, this surface is the most forgiving.
The antiqued white bronze finish is done by applying an acidic chemical over the white bronze to recreate a natural patination. Like the aging of silver, copper, or brass, the final result and colour uniformity cannot be guaranteed. The goal of this finish is to achieve rainbow-like tones with dull, shiny, cloudy, and lightly streaked patches to give an illusion of antiquing.
As a default practice, we offer a protective wipe-on PU coat only on this finish. If a designer prefers the natural, uncoated aging, we can leave it untreated just like the other finishes. A PU coat helps keep the surface looking the same as when shipped, but it does not create a fully uniform patina; natural variation will always remain part of this finish.