the surfboard originated in Hawaii, where local woods were shaped for specific waves

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

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

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

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

1/4 scale, schematic model of the Vermillion Rockfish, carved from pine and redwood

Between meetings for new wowhaus projects over the past week, I’ve completed two 1/4 scale models of our mosaic fish sculptures for the Ortega Branch of the San Francisco Public Library, commissioned by the San Francisco Arts Commission. I’ve borrowed a few techniques from boatbuilding to visualize the forms in 3d and consequently loft the structure to full scale. Traditionally, a marine architect would carve a ‘half hull’ model in wood to test a new shape, from which all sections and measurements would be made for full scale construction. The model would literally be cut into sections, which translate directly into construction plans and building jigs.

Ene made a lovely sample panel of the reflective, tile mosaic for the ‘anchovy’ sculpture (photo: Genevieve Masse)

To make the models, I laminated scraps of pine and redwood and roughed out the shapes with a bandsaw. Using small spokeshaves and rasps, I then shaped the contours of the fishes, knowing I would later add a layer of clay for surface details. Next I will cut the models into sections to make templates for the interior steel armatures, to be cut and welded at full scale, after approval by Artur Tan, our structural engineer. I’ve been enjoying working subtractively with wood in this way, and would love to do more purely sculptural work in wood, which lends itself so forgivingly to precise carving. The entire process has also been great practice for designing and making my radical board boat and shapes my thinking about future sculpture projects in general.

schematic sketch showing steel armature for the fish sculpture(s)

Tagged: contemporary art, craft, deep craft, public art, scott Constable, sculpture, woodworking, wowhaus

Scoping a site for Watershed Field Research in Fruitvale

One of the most rewarding aspects of a collaborative working relationship is that both the relationship and the work it produces tend to improve over time. Whenever Ene and I (aka wowhaus) perform field research for one of our public projects, we pay as close attention to streamlining the mechanics of our process as to the production of meaningful data. Sometimes this can be as deceptively simple as making sure we keep it entertaining for us and engaging for our participants. As with travel, the pleasure often derives from unintended consequences.

Ene fields responses to visual symbols of water at the Grand Lake farmer’s market

The thing I like best about staging the mini interventions that comprise our project research is the opportunity to make the props. I like the formal constraints of having very limited time and money to design and make something that persists in functioning well despite the odds. Granted, the results border on slapstick, but that fits with my default craftitude. To support the field research for our Watershed Marker project for the City of Oakland, I made a portfolio case that doubles as a surprisingly un-flimsy, portable table. Able to carry several large pads of paper, magic markers, clipboards and more, the case is easy to carry over several city blocks, and the table sets up and breaks down in minutes, the legs being stowed within.

My surprisingly un-flimsy, portable valise/table for field research sets up in minutes

Tagged: aesthetics, appropriate technology, contemporary art, deep craft, DIY, green design, innovation, Oakland, scott Constable, watershed, wowhaus

I’m taking a deep breath before I fly down to San Diego to dive into a couple of days of market research at the ASR (Action Sports Retailer) Conference. I will be scoping out the viability of my Deep Deck TM, an innovative, solid wood interpretation of the classic homemade, old school longboards of yore. I have successfully prototyped the Deep Deck and it has already demonstrated regional, niche appeal, which has me wondering if any eco-comparables exist on the market so I know what scale of production to anticipate. I’ve even had my first ever business cards made, designed by Ene using the now familiar ‘deep’ logo I developed with C2, lovingly printed by The Ligature in San Francisco.

Stay tuned for a dispatch from the floor of the ASR Convention Center, and wish me luck as I seek simpatico in sunny San Diego.

Tagged: asr, C2, deep craft, green woodworking, innovation, longboard, scott Constable, skateboard, slow design, woodworking