text: Located on the Rive Gauche, Apostrophe Hôtel is proud to be the first Poem Hotel of the French capital. This design Paris hotel was born from the combined dream and inspiration of the owners, on one hand, and three famous French artists on the other; namely designer-photographer Sandrine Alouf, architect Vincent Bastie and painter Catherine Feff. Nestled in a beautiful historic Parisian building, boasting the trompe-l'oeil style painting of imaginary tree branches shades, Apostrophe Hôtel is not the usual luxury art hotel providing rather minimalist room to rest into after roaming the city. Here all 16 guest rooms feature their own personal design, inspired by the imprint left by man through the centuries whether paintings, graffiti, stencils, typographic signs, or musical notes... Much more than a boutique hotel of stunning comfort, Apostrophe Hôtel provides a unique travelling experience, intellectual but also deeply emotional. Such an innovative concept could not have found a better place to express itself than the arty Montparnasse district, home in its golden age to painters Picasso, Dali, Modigliani and Chagall, but also poets like Breton and Apollinaire, writers Ezra Pound and Jean Cocteau, or photographer Man Ray, to name but a few. The ideal situation of the Apostrophe Hôtel in the very heart of Paris will grant you easy access to all main monuments and sights of the French capital. Montparnasse itself is an animated night district, bustling with gourmet restaurants, lively bars, and trendy bookshops. That is, if you ever want to come out of your wonderful room!
  That clears some things up for me. My design in my head was very much like yours but some little differences can make a big difference.
  Dik as always thanks for your input your design. I too have something in mind similar to yours. I currently built a 2550 and find little small for my needs. I like to extend it with an additional table and maybe some additions like burt added.
  I may have had another light bulb come on in my head but it is kind of dim right now. Is your cut line intended to be between the fence and the guide rail or on the "outside" of the guide rail? It appears to be the latter. Is there a reason for this? If on the outside, it would seem that either a left bladed saw or a "backwards" cut with a left handed/right blade saw would be used.
  I cut on the side opposite the fence. I always want the keeper under the fence. I am comfortable using either hand when I cut, but I usually have my left hand on the saw, the right lifts the blade guard to get started and holds the cutoff when it overhangs the bench even if it rests on a support.
  Your posts are fantastic! I couldn't quite figure out why the fence within the table would be worth the trouble, but I started to see the logic after thinking about it for a while. Has there ever been one of those "Eureka!" moments where you were really glad you made it with the fence the way you did? Or, are you wondering if it was worth it?
  I spent a lot of time planning this PBB, and definitely would not have gone to the trouble to make it that way if I wasn't sure it would be worth it. I got the idea from Burt's EZ-Uni. It does several things;
  (1) it extends the effective length of the fence by moving it toward the middle of the rail, (2) it moves the fence away from the SME that is used for squaring so that I don't have to move or remove squaring stops to slide the fence back and forth, (3) it allows me to have SMEs along the full length of the side for mounting the bridge and jigs if necessary, and (4) it gives me a convenient out of the way place to keep things like the hex key, the triangle I use for checking the squareness of things, the straight edge I use for checking the alignment of the rails, etc., notes and drawings I'm working from, and the brush I use to clear duse from the bench top.