The body reads as one volume worked in a single move, as if turned from a solid block: it begins wide beneath the top, draws in at the waist with a gentle S-curve, then flares open into a broad skirt that meets the floor around its whole circumference. That turn is easiest to follow near the base, where stacked solid walnut layers read as rings of lighter and darker grain. The teardrop top is kept thin, with a soft chamfer around its edge and the grain running along the long axis. Setting it to one side of the column is practical as much as compositional: the top reaches out to a seated guest while the base stays clear of feet and chair legs. The wide skirt sits flush on the floor and holds the table steady even when nudged from the edge. No screws or metal fittings interrupt the surfaces; the only lines you see are the wood's own layered seams. The polish spreads light softly, and the silhouette shifts with your angle: a narrow goblet from one side, a wave mid-turn from another.