Structurally, the new treehouse I’ve been commissioned to design will be a radical departure from the various tree-sited structures I’ve made over the years, but the spirit of arboreal living will remain in tact. Sited at the edge of a dense, second growth redwood grove, this treehouse will be more like a watch tower, aloft in the trees without making direct connection to any tree. Consisting of a rustic cabin perched atop a winding stair tower, the new treehouse will have more in common with regionally familiar water towers and silos, for which the foundational connection to the ground is most critical. After laying out the structure’s footprint in a clearing between clusters of coast redwood, our first step has been to take soil samples, which will be analyzed by a soils engineer to specify the appropriate footings for minimal impact to the root system.

carefully digging soil samples in the redwood grove

We dug about thirty inches deep and confirmed the soil to be Wilson Grove Formation, consisting of late Pliocene/late Miocene marine deposits, common to our neck of the woods. The structure will be supported by a perimeter of cast concrete, deeply secured to the ground with helical anchors screws

Tagged: deep craft, green design, scott Constable, sonoma coast, treehouse, vernacular architecture, wilson grove formation, woodworking

I’ve always liked to use chalk when roughing things out on wood. Lately I’ve taken to scouring the beaches during negative low tides in search of seashells for making my marks. The Pacific Razor Clam is ideal, softer than the East Coast equivalent, but hard enough to make a clean scratch, and loaded with calcium carbonate to leave a crisp white line.

Tagged: aesthetics, california coast, deep craft, green design, scott Constable, sonoma coast, sustainability, traditional craft, woodworking

After over a year of design development with the architect and client, selecting logs of deodar cedar and having them custom milled and cured to outfit the interior of a new guest house down the coast, I’m regaining perspective on my original thinking behind how I approached the project: Shuffling the Tree.

As my cabinets, doors and built-in furnishings take shape, each part of the tree finds its corresponding use in built form, the planks having been painstakingly graded for grain character, color and structural integrity. The process of hand sorting thousands of board feet of air-dried, rough sawn lumber has been slower than I had anticipated, but well worth the effort, and I’m feeling less overwhelmed as I convert my neatly stickered piles into glowing wooden furnishings. I’m taking extra pains not to use any laminated sheet materials, constructing all casework in solid stock.

I’ve found that designing and building this way automatically bestows a building with a feeling of belonging-ness, as though the house stands in honor of the tree it displaced. When the material is locally sourced from the waste stream, diverted from horticultural salvage that might otherwise be burned as firewood, the building’s interior has the added benefit of reducing carbon emissions to the atmosphere. I call my approach ‘bioregional vernacular’, and I’m glad for the opportunity to test its scalability.

cabinets of deodar cedar w/face frames, stacked up while I prepare doors and drawers

To follow my progress on designing and building the guest house interior, please click here and scroll down.

Tagged: craft philosophy, deep craft, furniture design, scott Constable, slow design, sustainability, traditional craft, vernacular architecture, woodworking

Greenwood: Selective Harvesting Preserves Forests

Though I’ve built just one boat to date, I’ve been an avid reader of WoodenBoat magazine for over 25 years. The publication is a major torch-bearer for the practice of traditional boat-building, and a treasure trove of primary source knowledge for all things wood. My favorite feature is invariably the Wood Technology column by Richard Jagels, forest biologist and professor at University of Maine. The persistence of woodcraft requires constant adaptation to changing conditions, and Richard’s column always provides valuable, in-depth perspective on forest ecology as it relates to sourcing and processing wood products.

I was thrilled to learn that Jagels has taken his work out of the halls of academia as a founding director of Greenwood Global, a non-profit dedicated to protecting both forests and traditional artisanry internationally.

Tagged: appropriate technology, craft, deep craft, furniture design, green design, green woodworking, innovation, richard jagels, slow design, sustainability, traditional craft, vernacular, wooden boat, woodworking

I’ve body-surfed all my life and have a natural feel for wave mechanics, but I’m finally getting ready to learn to surf on a board. Being a ‘wood guy’ with access to local mills and several decent breaks within a few miles, my first step will be to shape my own board. Luckily, my first surfboard will double as an integral part of our NOMO (non-motorized transportation) exhibition we’re developing as artists in residence at Kohler Arts over the summer.

Believe it or not, Sheboygan, Wisconsin has one of the best fresh water breaks in the world. So I’ve conceived of my surfboard as a freshwater longboard indigenous to the shores of Lake Michigan, modeled on the early surfboards native to Hawaii, which were shaped of local Koa and Balsa. Because freshwater is less buoyant than saltwater, I’ve been researching the specific gravity of Lake Region woods, looking for large trees with straight, clear grain and low specific gravity for maximal flotation and easy carving. I’ve discovered that American Cottonwood (Populus freemontii) still grows prolifically in the lowlands of Wisconsin, and with a specific gravity of around 0.31, is ideal for shaping a surfboard. The tree grows equally well along the Pacific Coast of Northern California, so I’ll make a prototype and test it locally.

To follow the development of our wowhaus artist-in-residence project at the JM Kohler Arts Center, please click here and scroll down.

Tagged: california coast, california flora, deep craft, innovation, kohler arts, longboard, scott Constable, specific gravity, surfing, woodworking

I can’t think of a better way to recalibrate after an intense week of studio woodworking than a morning of beachcombing after a string of storms. I appreciate more and more living and working so close to the shore, and find daily release and inspiration being able to take a walk, a run, or an occasional dip in the surf when the waves are rideable. I always return to the studio refreshed, having put things in perspective simply by tuning in to the flotsam of the day.

beach erosion has uncovered an old engine block

I found a great piece of wood for my first driftwood skate deck

Tagged: beachcombing, california coast, deep craft, longboard, scott Constable, skateboard, sonoma coast, woodworking

My favorite chair, by far, is an ocean kayak. To unwind after an intense week of new projects, I spent a quiet afternoon idly paddling down Estero Americano, my favorite local slough, now flooded to the coast. The marshy, seasonally tidal estuary is like a living almanac of coastal California birds, evidenced by my encounters with numerous cormorant, dowitcher, egret, snipe, willet, loon, night heron, bufflehead, black skimmer and, closer to the beach, a flock of white pelican.

It’s coming up on two years since I created this site, whose first post was inspired by a paddle down the same stream. This time around, my voyage taught me less about the material provenance of my chair design, and more about the simple pleasures of sitting with nature.

The white pelican takes flight over Estero Americano

Tagged: aesthetics, birding, california coast, craft philosophy, deep craft, furniture design, phenology, scott Constable, sonoma coast

a bounty of foraged hedgehog, pig’s ear, white prince* and cauliflower mushrooms

Earlier this week, my friend Josef Szuecs invited me to join him on a late season mushroom foraging expedition. Joe has been writing a seasonal Mushroom Report for DeepCraft, and is deeply steeped in mushroom culture, having collected, cooked and eaten wild mushrooms since he was a boy. Over the years, I have occasionally hunted mushrooms with friends who like to cook with foraged goods, but remain a novice in the field of mycology, and will be forever respectful of the risks inherent in eating wild fungi. I’m grateful for Joe’s expertise in the field, and have been carefully preparing my harvest, eating the hedgehogs straight up, drying the black chanterelles by the fire, and frying the rest for freezing.

*Note: The edibility of the White Prince is disputed, and Joe advises against eating it.

black chanterelles, laid up in pans for air-drying by the fire

black chanterelles thrive under tan oak (photo: Josef Szuecs)

yours truly, learning the ropes in the woods (photo: Josef Szuecs)

Please follow my thread of seasonal cycles by clicking here and scrolling down.

Tagged: california coast, california flora, deep craft, mushrooms, mycology, phenology, sonoma coast

The raccoons have commenced their furtive nighttime raids on the persimmon tree, whose fruits are prematurely ripe by a few weeks. We’re still trying to figure out how best to use the hundreds of Hachiya persimmon produced by our single tree each winter, and have been picking and ripening the fruit before the raccoons strip the tree bare. The past few years we waited until the persimmon were dropping, soft and syrupy on the branches, and we’d slice them in half, freeze the halves and serve them as a deliciously slushy dessert with fresh lime between Christmas and the New Year. Still, we ate only a small percentage of the fruit, the rest fattened the raccoons, grosbeak and orioles. This year I plan to experiment with boiling down the ripened persimmon to make a sweet, colorful syrup, but remain open to any other suggestions.

making wreaths

Ene and Aili have been making wreaths this year with friends from our various holly trees, whose berries have also ripened early. It’s wonderful to see such value added to our annual prunings; the trees benefit while Ene sends beautiful homemade wreaths as gifts to family for Christmas. Making wreaths is a great model for the kind of nonchalant agriculture we seem well suited to practice, and we hope to continually develop the property by encouraging beneficial loops and a gift economy.

Ene’s Mexican marigold (Tagetes lucida) brighten up chilly gray mornings

The foreboding, coastal fog has returned after an exquisitely crisp spell

To follow the thread as I track seasonal cycles please click here and scroll down.

Tagged: aesthetics, california coast, california flora, craft philosophy, deep craft, DIY, gift economy, Hachiya persimmon, phenology, slow food, sustainability

I’m already fielding inquiries for dining tables after the publication of an interview with Ene and me in the December issue of San Francisco Magazine, written by Joanne Furio. The interview is called ‘We Gather Together’ and it unpacks our approach to the role of furniture in bringing people together, particularly around the holidays. If you live in the Bay Area, pick up a copy at the newsstands, or click on the link above. Ene and I are both very pleased with the article, and thank Joanne and Jenny for doing such a wonderful job.

Tagged: contemporary art, craft philosophy, deep craft, green design, innovation, scott Constable, slow design, slow food, sustainability, woodworking, wowhaus