We tested my Greens Chair at Greens Restaurant over a four course dinner

On the eve of our first full week home after six weeks of travel, Ene, Aili and I celebrated with a prix fixe, four course dinner at Greens Restaurant in San Francisco. Mike Hale, Greens’ manager, generously comped the meal as a gesture of thanks for the chairs I recently designed that now populate the restaurant’s expansive interior.

My lovely ladies enjoying a delicious dinner, as the sun set over the Golden Gate

By all accounts, the chairs are a tremendous success, adding a touch of structure and formality to the dining experience without detracting from its casual simplicity or bohemian legacy. More importantly, we got to test the chairs over an elegant, beautifully prepared and presented vegetarian feast, and they proved to be perfectly comfortable all the way through coffee and dessert. The Greens Chair is the first furniture commission at this scale where I have not actually made the furnishings myself, hadn’t touched and shaped each piece of wood with my own hands, yet I was pleased to feel the same pride of authorship as if I had.

Most of the Greens Chairs are made of maple, with just 16 in walnut

As we crossed the Golden Gate Bridge on our way back up the coast in the lingering twilight, while Ene snoozed and Aili surfed her iPod, I began to reflect upon the relationship between craft and design, content with the fruits of my labor. I’m called more and more frequently to shift roles between maker and designer, and I find it helps to make a smooth transition by keeping a foot in either world.

the view from our table at Greens, looking West towards the Golden Gate

‘Craft’ is too broad a term for consensus on its meaning, which can range from implying a level of skill in handiwork, to standing in for pre-industrial technologies, to being a kind of hobby or therapy. For the sake of clarity, I think of ‘craft’ more as an artisanal production model, connoting things made using local resources- material, knowledge, and energy. In such a craft-based production model, ‘design’ is often an afterthought. The final thing more or less emerges from the constraints of tradition and the limitations of resources. Most products of this system live in the past- the Windsor Chair, basket-making, vernacular architecture in general- but they still influence the visual culture of design. From this perspective, ‘craft’ and ‘design’ are mutually exclusive.

While craft is a bottom-up strategy, design is a top-down one. Design most often begins with a visual representation of a thing to be made, but exactly how it is made is incidental to its final manifestation. When called to design something made at an industrial scale, I begin the process by thinking as a traditional artisan might, given the resources of labor and technology in today’s world. I don’t have any preconception of how anything will look, but trust in an ethos of Exuberant Frugality. I try to optimize material and structure, nest functions and eliminate waste, knowing that this will make room for quality to emerge at all stages of a design’s development, and that the ethos will resonate with anyone who works with their hands.

Tagged: aesthetics, chair design, craft philosophy, deep craft, furniture design, greens restaurant, innovation, scott Constable, slow food, traditional craft, vernacular architecture, windsor chair, woodworking

sketch of my original concept for a stair tower within a mock, old growth redwood trunk

I still think of the new cabin I’m designing as a treehouse, even though it will be more of a house on stilts nestled in a fairly dense, second growth redwood grove, making no attachment to any tree. My original idea was to camouflage the structure by making the stair tower resemble an old growth trunk, consisting of coopered redwood timbers housing a spiral stair (see above drawing). For practical and economic reasons, we’ve opted instead for an open, timber framed stair tower, more like a fire watch, with more emphasis on the the interior experience of the perched cabin itself.

I’ve enjoyed researching watch towers and houses on stilts, and appreciate my client’s focus and resolve to keep the program as simple as possible. It’s been a wonderful collaboration and we’re close to having a design ready to permit and build. I’m especially thankful to be working with Scott Hunter, Ph. D. P.E., whose design recommendations have added to the minimalist/maximalist ethos of the project. Continue Reading »

Tagged: california coast, deep craft, heidegger, hut, scott Constable, treehouse, vernacular architecture, watch tower

the Greens management team loved my prototype Greens Chair

Like the Golden Gate Bridge that looms across the Bay from San Francisco’s historic Fort Mason Center, Greens Restaurant is a Bay Area icon. With close ties to the San Francisco Zen Center, the restaurant has embodied an ethos of attentive living and eating for over thirty years, heralding a new age of vegetarian cuisine. I recently presented my prototype Greens Chair, which I was commissioned to design by the restaurant’s management team, and was truly honored to have it pass their rigorous requirements of functionality and aesthetics. The Greens management team includes acclaimed chef Annie Somerville and at least one ordained zen Buddhist priest, and everyone took turns testing the chair with earnest focus. The team agreed that the chair encourages mindfulness for both diners and staff, which is the highest compliment to me.

Tagged: aesthetics, chair design, deep craft, furniture design, green design, greens restaurant, scott Constable, slow design, windsor chair, woodworking, zen center

Translated from the Latin, Labor Me Vocat is roughly, ‘duty calls’, an apt motto describing my current state of affairs. As is occasionally inevitable in a life of craftwork, my head and hands are now fully focused on realizing a string of challenging projects, and my posts on this site will be less frequent.

I began this experimental weblog two years ago as a way to organize my thinking about craft during the course of daily life and work, as a contemporary take on the ‘jointer’s journals’ of 18th century carpenters. To that end, I’ve come full circle, and am confident the site now functions pretty well as an elaborate articulation of my philosophy of craft, hopefully useful as an idiosyncratic ‘pattern book’ of an approach to sustainable design applicable across disciplines and diverse media. I’ve tried to consistently distill my thoughts in an ongoing manifesto, which codifies an ethos of making and invites elaboration by others.

In closing out this phase of Deep Craft, and in preparing to lay the groundwork for a new body of work informed by my research, I hope to draw some conclusions. I’ve learned to see craft as a bridge between art and design, a way of making aesthetic inquiry empirical. Ultimately, the practice of craft is a strategy or method for matching one’s inner state to outside conditions, which to me defines an ideal state of comfort.

I thank all of my devoted readers across the globe for their support, and hope to hear from folks about their favorite posts as I consider developing Deep Craft as a book proposal. In the interim, please feel free to ‘friend’ me on Facebook. – Sincerely, Scott Constable

Tagged: aesthetics, contemporary art, craft philosophy, deep craft, green design, scott Constable, sustainability

1/4 scale model of my new dining chair concept for Greens Restaurant

I generally try to avoid working under pressure, but find I often do my best work with my back up against the wall. When our Wowhaus Interview was published in San Francisco magazine last month, I was just beginning to clear the decks and shift my focus to a demanding interior design project. To my surprise and delight, the article inspired a bevy of inquiries about my furniture design, leading to several new commissions, including a new dining chair for the famous Greens Restaurant in San Francisco.

Over the holidays, I’ve designed a simplified, affordable adaptation of my Elder Chair, located a manufacturer and built a 1/4 scale model (pictured above), which I will present to the Greens management team later this week. The new chair combines the open-quadrant-backrest styling of my Elder Chair, which I originally developed for Alice Waters’ Edible Schoolyard Dining Commons, with the structural program of the Pilot Chair I recently designed and made for Becoming Independent. To mimic the wall of rectangular window panes looking towards the Golden Gate from inside of Greens, I elongated the open quadrants and narrowed the backrest, emphasizing the chair’s verticality. I also added an upholstered seat as a concession to comfort, considering the typically fit, lean patron of Greens.

Tagged: deep craft, edible schoolyard, furniture design, green design, greens restaurant, innovation, scott Constable, slow design, woodworking

Most people know Ene, my wife and wowhaus partner, as one of the sunniest people they’ve met, and rightfully so. Our wowhaus compound has been blessed by her love of planting, harvesting and saving seeds, as she eagerly scouts out patches of sun throughout the year, populating them with seasonal flowers and vegetable gardens, battling hungry deer and gopher with joyous aplumb.

With the soil softened and moist from early rains and short days, Ene is truly in her element as she purposefully marches about the property, picking the last of the apples, dragging hoses and planting fruit trees, mulched with woodshop shavings. Her winter garden is predictably unruly, its inner logic a kind of living, visual manifestation of Ene’s happy hands and exuberant spirit. We eat well from Ene’s Winter Garden, where collard greens, dyno kale and lettuces thrive, and I love nothing more than to discover what’s ready to cook, driven by hunger to forage at dusk for the family dinner.

Ene’s Autumn Greens

Saute bacon in a cast iron skillet. Remove bacon to drain on a cloth or paper towel. Drain the bacon fat from the pan, leaving some. Add olive oil and saute sliced onions until slightly softened. Add chopped kale, collards or other green, tossing with the onions over medium high heat. When the greens are tender, de-glaze the pan with apple cider vinegar and toss in chopped apples and the bacon, crumbled into pieces. Reduce heat and allow to simmer until flavors blend, adding water if the mixture is dry. Season with salt and pepper and serve over pasta or as a side dish with roasted chicken or fish.

Tagged: aesthetics, california flora, deep craft, gardening, slow food, sonoma coast, wowhaus

three of eight Space Chairs for Becoming Independent, ready for finishing

I’ve really enjoyed collaborating with artists with developmental disabilities in the design of my Space Chairs for the new playroom at Becoming Independent (BI) in Santa Rosa. The eight chairs are made from locally-milled Monterey Cypress, and their backs frame panels lovingly painted by eight individual artists who regularly participate in BI’s innovative Artworks Program. The chairs, half of which have arms, will be used daily by children of all ages who have varying degrees of developmental disabilities. I’m very pleased with the outcome, whose design program has been a challenge, requiring safety, durability, low cost and ease of configuration. I’m confident the project will prove to be a successful prototype for continued collaboration, and I look forward to exploring the potential for more expressive forms featuring panels painted by the Artists of Becoming Independent.

To follow the thread on my collaboration with Becoming Independent, please click here.

Tagged: appropriate technology, becoming independent, chair design, contemporary art, deep craft, furniture design, innovation, scott Constable, slow design, woodworking