carpentry (83)

Yurts in Cornwall

I recently got an Instagram post from Lisa Mudie at Mill Valley Yurts in Cornwall, U.K, along with some photos. (They rent yurts and cabins in a rural setting.) I asked her to email me, and she wrote:

“Thirteen years ago we started a rustic campsite in our beautiful Cornish Valley a few miles from the rugged Atlantic coast which has evolved over the years into a crazy mix of hobbit huts, wooden yurts, cabins, and gypsy vardos. All handmade by us using reclaimed materials and all Cornish timber. Our latest purchase is a mobile sawmill and 26 tonnes of local oak … now we can really start building!”

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Surfer’s Shack by Bruno Atkey on the “Wild Coast” of British Columbia

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Surfer’s shack built by Bruno Atkey on the “Wild Coast,” about 40 miles by north of Tofino (reachable only by sea–no roads), on the west side of Vancouver Island. We went in Bruno’s 17-foot aluminum fishing boat, with 50 HP rope-pull-starter outboard motor), stayed there a couple of nights, fished, surfed, drank whiskey, and took a driftwood-fired sauna when I was shooting photos for Builders of the Pacific Coast. Bruno was one of the first surfers on Vancouver Island.

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Studio on the Pond in BC

Roger Warren just sent this, along with this description of his studio on an island in British Columbia:

Lloyd… The studio was put together from scrounged everything, total investment under $300 that was mostly for floor ply. Size is 8 × 12.

Something you have never mentioned in any of your books (I have them all): Any building should be designed around multiples of 4. This fits in with standard construction lumber; i.e.: If you build 10 × 10, you (have to) cut off 2 ft. of floor ply.

I also designed and built the house, shown in my website.

www.rogeronsaltspring.com/gallery-iii

I also have the same tools you do.

Cheers Lloyd,
–Roger

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Tiny Home in Maine

April 6, 2020

Dear Lloyd,

A photo of our daughter’s house

I have been reading your books for years (and have given them to my kids) and, more recently, your blog. I studied architecture in college (in the 70’s) and when your Shelter book came out I wore it out reading it. It has influenced the last forty years of my life as a builder/carpenter.

Ours is a relatively sustainable and self sufficient lifestyle, and one our kids have adopted as well. Our daughter has been living for the last 5 years in a 7′×10′ house she built, with no electricity or running water, and is building a traditional Washington County peapod (a double-ended wooden rowboat). Our son is currently living in a 42″ wide × 10′ long shelter he built to live in, while building a tiny house for a college acquaintance. before that he was living on a 36′ sailboat he fixed up and sailed solo across the Atlantic to the Azores.

We are preparing to sell the house in which our two kids were born and grew up, and on which we have worked for the last forty years. My wife created a website so we can sell the house ourselves and I thought, perhaps, you might like to see the photos of the house.

Here’s a link to the website richmondmainefarmhouse.com

Thanks for all the inspiration — just wanted you to know that you’ve had quite an impact on our lives.

Best wishes to you,
Joe Stanley

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Handcrafted Homes in Pennsylvania Woods

A terrific article in today’s NYTimes (3/16/20) online by Michael Snyder, with great photos by Chris Mottalini.

Everything about this story and the photos struck me as right. I felt at home here. I love the rumpled bed in the second photo. I also like the idea of an “alternative to modernism.” 

How Two Children Are Keeping Their Father’s Design Legacy Alive

A pair of Pennsylvania homes constructed by the Japanese-American furniture designer George Nakashima have become an enduring testament to mid-century folk craft.

“From 1946, when he founded his studio on a three-acre plot in New Hope, a historic artist’s colony halfway between New York City and Philadelphia, to his death in 1990 at the age of 85, Nakashima devoted his life to transforming slabs of walnut, cherry, burled maple and redwood into coffee tables shaped like pools of water, Shaker-style chairs with hand-whittled spindles and dining-room tables fashioned from slices of tree trunks, their cracks and seams bridged with joints like butterflies caught in amber. ‘He felt his work was a form of integral yoga: How you work and live is all connected,’ his daughter, Mira, 78, told me on a damp, gray morning last fall while showing me around the grounds of the studio, which she has run since her father’s death. Organic, improvisational and individual, the tens of thousands of objects he made in the course of his lifetime were also functional, meant for daily use; they were, Mira says, “the antithesis of Modernism, a protest against mass production.”

“But the homes where Mira and Kevin live, patinated and imperfect and crowded with debris, more fully capture the spirit of mingei. Less an antithesis to Modernism than an alternative to it, such projects embraced 20th-century idioms while refusing to accept industrial mass production as the fundamental fact of modernity. ‘Dad always said that building furniture was just like architecture but smaller,’ Mira says. In his houses for his children, the opposite holds true: Like Nakashima’s tables and chairs, they can be read as works of folk art, useful objects that, as Yanagi wrote, ‘honestly fulfill the practical purpose for which they were made.’”

www.nytimes.com/2020/03/16/t-magazine/george-nakashima-legacy.html

Article sent us by Elizabeth Kirkland

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