DryStoneGarden

One native plant I haven’t always appreciated is Erigeron glaucus. It’s a nice enough plant — tough, low-water, good habitat value, long bloom period, showy during peak bloom — but the odd yellow in its center clashes with the purer yellows I like — Coreopsis ‘Moonbeam’, Achillea ‘Moonshine’, daffodils — and I’ve also never been totally happy with how it combines with a lot of the purplish bloomers that I tend to use. I have a dozen of them in my garden, but I only have them because I bought them on impulse for a project and then decided they clashed with the other plants. I brought them home and eventually planted them because I didn’t have anywhere else to put them; they look okay but I’ve never been particularly excited about them.

I really like how they work in this planting, however. The cultivar is ‘Wayne Roderick’, which has more of a lavender tinge to the petals than the pinkish ‘Cape Sebastian’ in my garden. More than that, though, I like them because the planting around them is primarily grasses — Sesleria ‘Greenlee’s Hybrid’, Festuca idahoensis ‘Tomales Bay’, and Lomandra ‘Breeze’ — and a patch of Delosperma, so there aren’t a lot of other colors for the yellow to clash with. And even though there aren’t many other things to bloom in that part of the planting, they bloom heavily enough and continuously enough to carry the flower burden; it’s December and they haven’t been cut back once this year, but they still have flowers. The focus of the photo above is the Sesleria in front of them, but the flowers in the background do a lot to add interest and give it a meadowy look, and all those old stems waiting to be deadheaded speak to what they looked like earlier this year. Obviously I’ll be able to get a better photo in the spring, but this is pretty good for mid-December without any maintenance, and it’s nice to find myself coming around to a native plant I hadn’t previously embraced.

Beautiful footage of marble quarrying in Italy, a trailer for the film, Il Capo, by Yuri Ancarani. The filmaker spent a year visiting the quarries of Carrara Italy and decided to focus on the delicate choreography between the foreman, the machinery, and the monolithic blocks of stone. I would love to see the full length movie in person on a big screen.

Video about a great project, Wildflowering L.A., by Fritz Haeg. 50 sites throughout the Los Angeles area were seeded with native wildflowers. The sites were also given signage inspired by forest service and park service aesthetics to announce the project and communicate to people that the ‘wild’ look of the wildflowers was deliberate. It would be nice to see something similar done in the Bay Area.

There’s a timelapse of one of the sites here.

… and back to posting about Andy Goldsworthy projects. He has a new wall at the Presidio in the Officer’s Club. He built a rammed earth wall with a half sphere of eucalyptus branches buried inside, then chipped away the wall to reveal the sphere. From a distance it has a nice graphic look, like a bas relief, and up close you can appreciate the method of construction. I haven’t seen this done before, but it’s simple and effective and seems replicable for a residential garden. It sometimes seems like a cliche to be a stoneworker and love Andy Goldsworthy’s work, but I need to just embrace the fact that he’s really good and does things exactly to my taste.

There a short video and photos of him posing by the wall here.

A little while back I took some photos of the cast shadows from a pair of pergolas we designed last year. The pergolas are made with rectangular aluminum tube, a little different from most of what I show on this blog, but it still follows the underlying aesthetic of my drystone work. The way the two pergolas overlap echoes the overlapping roof lines of the house, the house’s best feature, but it also overlaps the way stone in a drystone wall is supposed to overlap. Similarly, the rectangular concrete paving has the broken joints of a drystone construction. Even when I’m not designing with stone, I like to see things follow the drystone rules.

There is some stonework in this garden, but it’s not drystone and it’s built by another contractor, not by me. You can’t see it so well in the high-contrast mid-day lighting that was creating the shadows, but the courtyard has a limestone veneer, large thin slabs that are machine-cut and honed and installed with an adhesive instead of mortar and with a rubber crack-isolation layer (nicely explained in a patent application) between the stone and the underlying concrete slab. The stone has an interesting patterning and nice color variation; I’ll probably photograph it in softer light at some point after the planting has grown in.

For now, though, I’m happy with the way the cast shadows affected the landscape. The shadows on the door and on the courtyard steps were expected, but this raking line across the wall was a bonus.

A couple of before photos are below.

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Arches- Andy Goldsworthy (Frederik Meijer Gardens & Sculpture Park) from Dog & Pony Communications on Vimeo.

Almost fifteen years after Rivers and Tides, I wouldn’t mind seeing someone other than Andy Goldsworthy starring in a video about a dry-stone project. But it’s a tribute to his work and his uniquely charismatic persona that if you see a video about interesting stonework, there’s a good chance it will feature him.

This video has some good footage of the construction of a large dry-stone arch constructed for a sculpture park in Michigan. Dry-stone arches are always compelling and this one is the biggest I’ve ever seen.

There’s video of another of his arch projects, built for a sculpture farm in New Zealand, here.