two of my Deep Deck ‘completes’, in cold-molded, natural elm (Ulmus Americana)

I designed my new series of Deep Deck longboards to be ideally suited for both town and country riding, and Aili and I have been enjoying putting ours to the test as we negotiate the two. Measuring about 44” x 9.5”, the decks are both long and wide, with longitudinal camber, cupped rails, wide trucks and gummy wheels, all contributing to a stable, smooth ride while maintaining enough ‘snap’ to carve under speed. The tail curves up after a shortened wheelbase for quick turns or pick-ups on sidewalks.

This is the third iteration of the Deep Deck concept in elm (Ulmus Americana) , and I’ve sold four of a series of ten to this design. I plan to keep producing this particular deck in limited editions using different species of wood, with slight alterations in form depending upon the properties of the material. After over two years of experimenting and prototyping, I think I have it just right!

Aili and I enjoy a leisurely afternoon cruise on the Joe Rodota trail in Sebastopol

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

A triad of Deep Deck longboards in American elm, ready for trucks and wheels

I’ve been making small batches of my Deep Deck longboard in the background of other projects in the shop, laying up a new deck each day, trimming, sanding and finishing the previous day’s cured laminations. Making decks at this scale has been a pleasant, fairly effortless task, a good way to wind down from carving the crane before I sweep up and call it a day.

I burn my ‘deep’ logo onto the undersides of the decks, and stamp the species and date.

In the coming year, I plan to scale up my Deep Deck production, and hope my limited production prototypes will help to generate interest. I’ll continue to make the decks by hand, but in larger batches, which should be easy once I invest in a few key tools to speed production. The decks will be offered in dated, limited editions, sequenced from locally sourced logs that I mill and dry myself; the scale of each tree will determine the scale of each production.

My next batch of decks will come from a 100 year old white oak.

I recently purchased the log that will yield my first large production run of decks, a giant white oak that was felled for safety reasons on the property of a historic, one room schoolhouse in Healdsburg, CA. It’s likely the tree was planted adjacent to the Felta schoolhouse when it was constructed in 1906. I look forward to researching the site and posting more about its history as the wood dries after I mill it in early 2012.

The Felta schoolhouse, built in 1906 in Healdsburg, California

Tagged: deep craft, deep deck, innovation, longboard, scott Constable, skate deck, skateboard, woodworking

Two identical bases of green pecan, ready to receive the top, a giant slab of sycamore.

Whenever I design and make a new piece of furniture, I’m always keenly aware of how it will age, and how the piece might transform over time to encourage and support future, as yet unforeseeable patterns of use. I’ve been collecting choice local woods over the years, all neatly stickered in the barn, so my design process usually begins with rummaging through my piles for inspiration, making measurements and drawing directly onto the wood with white chalk. My primary criteria at this early stage is whether the piece of furniture I have in mind is the appropriate final destination for the wood- will it do the tree justice? I’ve always thought of my furniture as a way of extending the life of a tree, as a way of simultaneously storing and appreciating wood by putting it to good use; living daily life as an extension of making.

As I continue to collect and store local woods, and especially as I begin to mill trees myself, I’m becoming more attuned to the value of locally sourced, well-sawn, air-dried wood as a commodity. An increasingly scarce resource, fine wood is a good investment and increases dramatically in value, especially if it has the added cache of ecological responsibility, streaming from the urban forest, or as ‘horticultural salvage’. Because handmade furniture ultimately needs to compete in the marketplace with an increasingly sophisticated range of mass-market comparables, it can be challenging to offer a price point in proportion to the value of the material itself, which is a dilemma, even if the quality of the finished product is markedly higher. This is especially the case when ’studio furniture’ needs first and foremost to meet rigorous functional, as well as aesthetic requirements.

I milled grooves into the stickers for better air flow and to allow for movement.

While my way of thinking about wood-as-commodity has lived quietly in the background of most of my furniture design to date, I’ve been wanting do make a new body of work where the concept is front and center, both in the process of making and in the process of using the furniture. To this end, I’m grateful to my friend Cindy Daniel, who commissioned a ‘Community Table’ for Shed, her Healdsburg-based café/retail/community hub offering local foods, goods and quality wares. Shed is Cindy’s contemporary spin on the traditional country mercantile store, and I’ve enjoyed working with her over the past two years designing interior scenarios for the new building currently under construction, a large, open air metal structure designed by Mark Jensen.

My original thumbnail sketch for the Stickered Table

As much as my Community Table for Shed will serve as a gathering place in the café, it doubles as a process piece for the duration of the enterprise, establishing a kind of invented tradition. The table’s base consists of two nearly identical stacks of green pecan wood I recently milled from a dying tree, neatly stickered to allow the wood to naturally air-dry. The table’s top, a massive slab of sycamore, rests on top of the two piles, acting as a gravity clamp to keep the material from cupping. I milled V-grooves into the stickers to allow for better air flow and to decrease friction as the boards inevitably shrink. After one year, when the stock is adequately dry, the top will be lifted and the material removed and converted into functional wares for Shed, either to be used in the café or sold as product to customers. This first batch will likely make small table tops for the Shed café, slated to open in October 2012.. The two bases will then be re-constructed, stacked from freshly milled wood each year, that will in turn be made into a small production run of whatever item surfaces in the course of its drying.

I typically shellac and wax the ends of boards to prevent undo checking.

I like the idea of adding an element of ‘crowd-sourcing’ to the design development of an annual product, taking advantage of a constant flow of people gathered around the table while the material slowly cures beneath. I also look forward to maintaining an ongoing relationship with Shed as a kind of artisan-in-residence, collaborating with Cindy to design products that exemplify the Shed ethos.

Please click here to see the table with the top installed.

Tagged: appropriate technology, craft philosophy, deep craft, furniture design, green design, green woodworking, innovation, Jensen Architects, scott Constable, sculpture, Shed, slow design, sustainability, vernacular, woodworking

The first in a series of coffee tables, a lozenge-shaped slab, 30″ x 72″ x 16.5″ high

I’ve begun making a series of coffee tables, encouraged by a recent commission from my brother in law to make one for my sister’s 50th birthday later this month. It’s always easier to make things in small multiples, with variation in material, proportion and construction style. I had honestly never given much thought to the idea of a coffee table, but am discovering that it’s the perfect form to experiment with some new ideas. I also like that the coffee table is inherently casual, functioning as a site for dining, reading, writing, as a footrest and even as seating. Plus, I have a stockpile of wood I’ve been saving that is ideally suited to the task.

The first table to come off the bench is for our own use, a lozenge-shaped monster I cut from a solid slab of locally-milled Monterey cypress, three inches thick. The table has bent wire legs I salvaged from a 1950’s era production table that I plan to tool up to replicate in my shop. To me, the table bridges a Southern Californian ethos of casual modernism with a North Californian ethos of forest stewardship and artisanry.

I like the ordinariness of the grain pattern; you can feel the girth of the tree

I like any piece of furniture to have a stance, an attitude

Tagged: aesthetics, coffee table, deep craft, furniture design, scott Constable, sonoma coast, woodworking, wowhaus

Model of Tsuru, commissioned for the new Ralph M Carr Judicial Center in Denver

We’re celebrating at the wowhaus studio after winning the public art commission for the courtyard of the new Ralph M Carr Colorado Judicial Center in Denver. We worked especially hard for this one, and the concept and presentation evolved collaboratively through a process Ene and I have honed over years of trial and error. We’re especially excited about the prospect of making another monumental sculpture to be cast in bronze and integrated into the landscape, where it will be accessible to the public and contribute to the daily lives of the people who work in the building.

Tsuru features a slightly larger than life bronze inspired by the Whooping Crane

Here is the text Ene wrote to accompany our presentation:

TSURU

“Conscience is the chamber of justice” – Origen

This artwork takes its inspiration from the crane, an ancient symbol of justice, peace, independence, and wisdom in many cultures. Among some Native Americans, this majestic bird was revered as an emblem of justice and intelligence.  For the Japanese, the crane (“tsuru”)  became a symbol of world peace in World War II as a Japanese girl tried to stave off leukemia caused by the bombing of Hiroshima by making 1,000 paper cranes. Sandhill cranes play a role in the local ecosystem, migrating annually through the Denver environs; many eagerly anticipate their seasonal arrival.

The crane embodies the independence and moral courage Ralph Carr brought to bear in resisting the internment of the Japanese during World War II.  The sculpture depicts a crane in flight, wings outstretched in a delicate state of balance, the stance echoing our quest for balance and equilibrium in the pursuit of justice.  Finally, the sculpture has additional symbolism: the Whooping Crane, the only other crane in North America, is an endangered species, protected by the laws of the land. In this way, the artwork embodies the vital role that the legal system plays in protecting not only our citizens but the fragile ecosystems of our earth as well.

The focal point of the courtyard will be a bronze sculpture of a Whooping Crane rising in flight. This graceful form, feathered wings outstretched to a span of 8’, will be sited on a rise of native Bluestem grasses toward the rear of the lawn, with a total height of 8’.

The sculpture will be framed by a circle of granite stone elements radiating in a 4’ wide ring around the piece.  Each of the cardinal points of the compass will be etched into the stone, orienting the viewer to their place in the landscape, just as the law orients and guides those seeking justice.  The granite used to create this feature was reclaimed from the Justice Center Building that was demolished to make way for the new building.  The artful repurposing of this material embodies an ethos of environmental responsibility; it also links the artwork aesthetically to the pavements surrounding the space, which is created from the same granite. Etched in the stone will be the phrase  “Conscience is the chamber of justice.”,  a quotation from the ancient Greek Origen.

Flanking the sculpture will be a series of four elegant sculptural granite benches, also cut from the repurposed granite, laminated to form a solid mass of stone.  Measuring  30”l x 18” h x 16” deep, these curved seating elements, which provide a place for respite and reflection,  echo the abstract form of a crane with wings outstretched.

Tagged: contemporary art, public art, Ralph M Carr Colorado Judicial Center, scott Constable, sculpture, wowhaus

My 1/6 scale model of the humpback whale tail for our ‘Fluke’ project

The arrival of spring typically finds Ene and myself juggling proposals, installations and fabrication at the wowhaus studio, having spent the rainy months laying the groundwork for new production in public sculpture, furniture and product design. We’re particularly excited about a new commission from the City of Santa Cruz to create a public project for the new NOAA Marine Sanctuary Exploration Center. We proposed making a full scale whale tail to be cast in bronze and sited at the new building’s entryway courtyard, for which we also designed a colorful hardscape. Based on the stylized tail of a diving humpback whale, the sculpture is called ‘Fluke’ and will be approximately 13′ long and 3.5′ high.

rendering of ‘Fluke’, showing the hardscape (illustration by Chemisa Kellogg)

I carved a 1/6 scale model of the sculpture, which is now being scanned by Scansite in West Marin County, one of the world’s most reputable 3d scanning services. A full scale 3d model will then be CNC cut in foam, which we will texture with plaster before molds are made and it is cast in bronze by Berkeley’s Artworks Foundry. I carved the model from old growth coast redwood and Alaskan yellow cedar, both species native to the Pacific Coast where the humpback whale makes its annual migration. The tight grain allowed me to cut precise, symmetrical  contours by eye using tiny spokeshaves, the grain’s pattern changing subtly enough with each shaving to match the two sides. I would occasionally rub the model with wood ash to expose slight imperfections.

Our ‘Watershed Creek Marker’ project is being installed at 5 sites in Oakland (photo: Ken Katz)

(photo: Ken Katz)

Meanwhile, Ene has been working with a construction crew in Oakland, installing the cast bronze stepping stones for our ‘Watershed Creek Marker’ project at five sites throughout the City. To read more about the development of this public art project, click here and scroll down.

research for the visual identity of SHED, a project in development in Healdsburg

I’ve also been working closely with Cindy Daniel, Doug Lipton, and Mark Jensen Architects, designing furnishings and consulting on the visual identity and material culture for SHED, an innovative new concept combining local food, food and garden-related retail, and community gathering under one roof. The project will soon be under construction in Healdsburg, CA, and I’ve thus far designed and prototyped three new chairs, several built-in seating and retail display units, and two types of table, one of which has a stacking base and easily disassembles for storage. I will post more as this project takes shape. Meanwhile, please click here to follow earlier posts.

prototype of my shed stool concept, which can be modified for use as an indoor/outdoor cafe chair

Tagged: chair design, deep craft, furniture design, innovation, Jensen Architects, Oakland, public art, scott Constable, Shed, visual identity, watershed marker, wowhaus

“The Gust”, Willem van de Velde, 1680

The bad news is that we had to cancel our final voyage as planned, due to a foul weather forecast and the state of completion of the students’ watercraft projects. The good news is that we’ve agreed to complete all vessels for a March 19 launching, the first day of the Spring Break, aligning us with a full moon, rising at 7:33 PM, just as the sun is setting. Also, the tides will be in sync with the direction of our journeys to and fro, with a 6.1′ high tide just as the moon is at its zenith around midnight. Should be a dramatic occasion.

Meanwhile, several of the students are nearly finished with their projects, particularly the SUP’s and folding dinghies. Grace has been making wonderful progress with her portable catamaran and has proven to be a remarkably capable builder. The delay in our plans will allow the students to be more thorough in detailing their vessels, with more time to make float tests and the inevitable adjustments obviated thereof. I remain confident in the group’s ability, enthusiasm and motivation to carry on, and am proud of all they’ve accomplished over the fall semester as part of my CCA Studio:Atelier, Micro-Expedition. Here are some highlights of progress made over the past two weeks:

Susan and Peter milling ‘bead and cove’ strip planking from yellow and red cedar.

Nicolas’ innovative SUP frame, ready for strip planking

Nicolas and Susan begin to lay up their strip-planked decks

Nicolas, gluing up strips on the underside

Sarah successfully glues and nails the contoured plywood underside of her SUP

Sarah has strip-planked the deck of her vessel, now ready for faring and sanding

Peter prepares to sand the strip-planked hull of his SUP, which has a flat plywood deck

Dean prepares to install the thwart, and fore and aft transoms for his folding dinghy

Grace assembles the second of two pontoon frames for her portable catamaran

Willey decides to reveal the layers of material beneath coats of clear epoxy resin and bamboo fiber on the underside of his experimental kayak/skiff

To follow the progress of Micro-Expedition, the Atelier Studio I am teaching this semester as Visiting Wornick Professor of Wood Arts at California College of the Arts (CCA), please click here and scroll down.

Tagged: boat building, cca, deep craft, folding dinghy, innovation, longboard, scott Constable, SUP, woodworking

I photographed my new Deep Deck overlooking Tomales Bay on my way to SFMOMA

I delivered the first in a series of Deep Deck skateboards to the San Francisco Museum of Modern Art yesterday, where they will be on display as part of Stephanie Syjoco’s Shadowshop project, opening on Novemver 20 through May 1, 2011. Below are a montage of images and text that will be displayed alongside the Deep Deck, which I will be custom making to order for the duration of the exhibition:

The Deep Deck is the first in a line of bioregional products by Deep Craft, a hybrid brand-movement-ethos developed by artist/designer Scott Constable.

The Deep Deck concept emerged from Constable’s diversified efforts to create a regional vernacular of sustainability, tapping the unique physical and cultural geography of the Sonoma Coast and San Francisco Bay bioregions. Studio investigations and field research are archived on Constable’s deepcraft.org site, culminating in his ongoing Deep Craft manifesto.

Each Deep Deck is handcrafted according to an individual’s bodytype and riding style, utilizing unique native Californian hardwoods culled from ‘horticultural salvage’.

For Shadowshop, the Deep Deck is being produced as a limited edition, numbered series in American Elm (ulmus Americana) with wood milled from a cache of reclaimed street trees characteristic of the urban forest. Styled after the classic longboard borrowed from surf culture, Deep Deck is designed mainly for cruising and transportation, but is well suited to carving a gentle country slope, or simply hanging on a wall. To discuss a commission, please contact Scott directly at scott@deepcraft.org.

Tagged: contemporary art, deep craft, green design, innovation, longboard, scott Constable, sfmoma, shadowshop, skateboard, sonoma coast, stephanie syjuco

Jack and Willey broke out the hand planes to joint a long stringer of Sitka spruce

The boats are shaping up and the students are getting fired up for our journey next month. Here’s a little gallery from the past two weeks of Micro-Expedition, the Atelier Studio I am teaching this semester at CCA as the Wornick Distinguished Visiting Professor of Wood Arts:

Willey made a glue test and submerged it in a jar. It’s holding up just fine after 2 weeks.

Tagged: appropriate technology, boat building, cca, deep craft, DIY, furniture design, invention, longboard, scott Constable, woodworking

My Shed Chair concept was inspired by fences built by local frugal farmers

I’ve been paying particularly close attention to the vernacular forms of Sonoma County’s family scale agriculture- the fences, coops, crates and outbuildings associated with our region’s numerous orchards, ranches and vineyards. My friend Cindy Daniel is in the process of realizing an innovative, hybrid retail/cafe/event space in Healdsburg called Shed, for which she has commissioned me to design furnishings.

I’m truly inspired by her vision for an energy efficient, two-story, seasonally open-air building sited along Foss Creek, housing a ground floor garden center, deli, community ‘larder’, cafe, and upstairs restaurant and space for events and performance. Shed will be a modern interpretation of the time-honored General Store or Grange, featuring the artisanal foods, goods and services of local purveyors. The building, an ultra efficient pre-engineered metal structure is designed by Mark Jensen of Jensen Architects in San Francisco. I’m honored to be working closely with such a visionary team, and have been enjoying developing a language for the furnishings that resonates with Cindy’s sophisticated take on Sonoma County living, and bridges the high modernist utilitarianism of Jensen’s building.

1/4 scale model of a dining chair and table concept I’m developing for Shed.

The major challenge of designing furnishings that range from retail display to dining has been in inventing a structure system that allows for low cost flexibility, durability and variability, while telling a story and making a memorable, unique experience. The furnishings need to reinforce the Shed ‘brand’. As I research ready-made systems to appropriate for retail display, I’ve begun to experiment with chair and table concepts, knowing that it will be easier to have these inform, rather than be informed by, the look/feel of the ready-mades. The dining furniture is sure to evolve, but I like the basic idea of a chair that stacks into a sculptural column when stored in the space, and a table that transforms into a low, Japanese style version, using the chair’s cushions for seating.

The upper portion of the Shed Table concept converts to a low version, using the chair’s cushions for a more ‘Eastern’ dining experience.

Tagged: aesthetics, chair design, Cindy Daniel, deep craft, furniture design, innovation, Jensen Architects, scott Constable, Shed, watershed