A peninsular bench extension

BY THEO MARKS

Luthier based in Weesp, the Netherlands

An absolutely immobile working surface has always been a priority of mine; it can bother me to distraction to feel my physical (and mental) e orts corrupted into moving the bench itself. For this reason, my workbenches have always been positioned along the periphery of workshops – braced against the walls, andfioften even directly anchored to them. Browsing through ‘My Space’ articles infiThe Strad shows me that most luthiers have adopted a similar strategy. Recently though, I’ve experimented with my workshop layout by adding a long, narrow table (140cm x 40cm) that extends out into the workshop from one of the wall benches. The primary advantage of this ‘peninsula’ is that itfigives me the ability tofiapproach clamped work from allfithree freefisides of the table. It has proven so convenient and versatile that I have practically relocatedfimy entire process to it; wall benches are nowfirelegated to oThering up their surface area for thosefitools and woods that I’ll be needing, allowing mefito keep the bench extension free of everything otherfithan the work immediately at hand.

1 The ‘landlocked’ end of the peninsula is firmly screwed on to the wall bench; the free end is supported by a single post. Sett‘ng this support post 15cm in from the floating end of the peninsula increases clamping options and facilitates 180-degree access. The post is attached to the table from above with a large, sunk screw and braced to a leg of the wall bench with a simple cross-beam. I’ve placed an 8mm layer of cork under the post to ensure it fits to the workshop floor, and to dampen any tendency to vibrate (for example when using a jigsaw).

2 Completely stabilising such a relatively long and narrow appendage can be achieved by building a short (45cm) wall panel directly behind it, at the end attached to the wall bench. This panel has also proven useful for incorporating shelving along the workshop walls. Even though it supports only about a third of the peninsula’s length, this partial backing offers plenty of stability; I can lean into gouging out a cello back without any unwanted bench movement.

3 The unusually narrow (40cm) width of the peninsula enables violin and viola plates to be conveniently clamped simultaneously from opposing sides, positioned either horizontally, vertically or at an angle. Excluding the 45cm of wall backing leaves 95cm of table length accessible from both sides: plenty of room for cello plates.

4 Clamping plates that partially overhang the table’s edges can also be useful, especially when scribing purfling and finalising outlines. I use a selection of low-profile wide-mouthed bar clamps, wooden cam clamps, holdfasts, or even just simple hand clamps.

Joining on the peninsula

5 There are no built-in bench vices on the peninsula, as these would restrict the complete accessibility to all three sides. Consequently I’ve found alternate clamping methods for those steps that require unobstructed planing. Two long bar clamps can be used to clamp planks to the side of the peninsula for planing joining surfaces.

A joined plate screwed on the clamping base

6 To flatten the undersides of plates I simply screw them, undersides up, on to a piece of scrapboard of substantial thickness. Drilling and sinking screws into the extreme top and bottom of a plate (in areas outside the outline!), deep into the scrap base, creates a completely mobile, easily clamped unit ready to be planed in any direction. I support the wings with wedges.

7 I have a strong preference for working primarily in natural light, supplemented by bench lamps. Wall-based benches are most likely either directly facing or perpendicular to a natural light source. I’ve noticed that working too close to a window has a tendency to overexpose primarily in natural light, supplemented by bench lamps. Wall-based benches are most likely either directly facing or perpendicular to a natural light source. I’ve noticed that working too close to a window has a tendency to overexpose www.thestrad.com the working surface, removing useful shadows and distracting with splashes of direct sunlight. Working perpendicular to a primary natural light source, or facing away from it, can cause the problem of working in your own shadow. By situating the work peninsula parallel to, but two metres distant from, a wall of south-facing windows, I receive a consistent amount of unobstructed, indirect sunlight.

Every workshop will require a unique lighting and layout solution, based on its own potential and the preferences of the luthier. I’ve found that the well-considered placement of a workshop peninsula can offer an exceptional range of possibilities.