More treehouses: A French company making bubble tents for tree yuppies. Awesome!
The cost for the entire package is apparently over $20,000, Which is a bit steep for a tent, even if beautiful, sturdy, and secured to its tree.
These are not unlike Tom Chuleigh’s Treespheres, which would be the cabin to bubbletree’s tent. These are finely-crafted cabins, made on Vancouver Island that are wired, insulated, and securely installed, going for approximately $150,000.
More can be found at coolhunter, cause treehouses are cool. (And a growing upscale industry.) A variety of exciting designs are being experimented with, I think in response to a collective desire to live more lightly, to get away from the unstable and stratified space of the surface, and to feel more connected to nature. To feel closer to the wood elves that many of us wish we were. What a heavy way, however, to live lightly!
Such is architecture. Art, while being a whole lot cheaper to make (for me at this stage of the game), does not such a machine for living make. Are these machines for living? Or are these temporary escapes from the family, the cares and concerns of the house, haunted by unresolved arguments, debts, and emotional games? Are they a way to experience being in nature without it actually touching you? To feel the rocking of a tree in the wind, the shift in perspective to that of a squirrel? Does it help us to be more sensitive to the needs of the tree, of nature, of eachother? How many of us leave a hammock or laundry line tied around a tree because we can’t be bothered to untie the knot when we leave a campsite?
There may be an opportunity here for a fundamentally different way of thinking, of living, than finding a new site for a camper, or a backyard refuge or even a novelty hotel. (Though the collective efforts to do so are extensive, and make up a very interesting branch of vernacular architecture. )
What kind of aliveness would it take to live like the Korowai in Indonesia? Check out these amazing shots of living above the jungle.
Would we even need to live so high up? So precariously? So in touch with the winds and rains and movements of a tree? ( I hope not – after a long history of climbing trees, I have developed a fear of heights in adulthood! )
Certainly the year that Julia Butterfly Hill spent in a tree in protest was an expression of a kind of sensitivity to nature that goes far beyond the personal, into realms of caring and deep ecology that I can only dream of. It is indeed fortunate that there are such activists and believers at work in the world, and even better that they may live 180 feet up a tree through an entire cycle of seasons and numerous confrontations to do such good work in the world.
Perhaps there is some pathology on my part, in being more attuned to the damage of the world than the hope and possibility for change, but I am not convinced that buying or building expensive escape pods, or frequenting luxury arboreal hotels necessarily help us. If it is a transformative experience, then yes. If it is yet another zone to stratify, control and separate the the priveledged from the common ground, then treehouses are another, albeit wonderful, way to avoid honestly being in the world as it is now.
A couple of years ago, Dave Csaky, known as Squirrelman, a homeless man living in Seattle, was evicted from his treehouse, which he had built over a vacant lot under the interstate. He had built a pretty amazing home from scraps, found materials and the generosity of his neighbours, who seemed to like having him there.
His resourcefulness, outlined in the local media, was born out of necessity. His creativity and struggle, however, presents a lifestyle that was much more in line with a lightly-lived, caring for the plot-of-land-where-you-stand tenacity, than one would expect from stereotypes about the homeless. Like similar tales of utopian squatting communities, Csaky’s was unfortunately defeated by local zoning and ownership laws. The happy ending to the story was that he moved out of the city into a donated RV with a much better view. (I can’t help but think, however, that he would miss the sense of empowerment from not only building his own home with no money, but from caring for and bettering the area around it.)
We know from narratives of grim futures that after the environmental/climatic/sociopolitical collapse or zombie apocalypse, zoning and boundaries of ownership are the first to go, and resourceful individuals like this become the true survivors and examples of how to be on this beleaguered planet.
At the same time, if I could return to the Gulf Islands tomorrow and start building a treehouse, with all the other alternatypes trying to live out a dream, I would be out there without a second thought. But I’m not there. I am here, in this bright metropolis, making art that is an exploration of what the future may hold, and how we can nurture life from within a decaying civilization.