Free-form, rainbow-colored upholstered blobs sit across a live-edge top like moss on river stones, or islands in a wood stream — a metaphor Andrew borrows loosely from the "waterfall edge," the classic joint where a slab's grain is mitered to keep running, uninterrupted, from tabletop down into a leg, so the grain reads like water pouring over an edge. It's not a perfect metaphor, and the Rainbow Hassock doesn't actually use that joint. But if a table's grain can be read as flowing water, then the wood surface itself becomes a kind of stream, and the little upholstered blobs scattered across it are the islands sitting in it. Andrew's own line, reused across several pieces from this period: "my upholstered dots look like islands in a wood stream." A poem from the thesis book pairs with it, based on a real moment with his niece: "It was my niece's idea / To drill the holes in the table / and plant the lucky charms cereal / I knew they weren't seeds / Oats, corn syrup, food dye, preservatives / I didn't have the words to explain / She watered with milk / Like mushrooms sprouting up after a spring rain / The rainbow cushions grew in a day."
The top itself is urban-salvaged, insect-holed white birch from Bunker Hill Road in Canton, Connecticut, set on a canted base built entirely out of half-lap joints. It isn't fixed rigid to the base — it's bolted on from underneath through slotted holes, built so it can still expand and contract with the seasons without splitting. The base's canted legs and stretcher are reclaimed Southern Yellow Pine from a beam pulled out of the original Nabisco factory building in New York during its renovation into Chelsea Market — the same beam lineage behind the Space Café Tables and the Noodle Chair.
Purchased by architect Diego Cano-Lasso, who met Andrew years earlier at SCI-Arc. It now lives in Cano-Lasso's Mount Washington house, featured in Wallpaper*'s "Sheer Genius."