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StarStyle® Productions, LLCIn My Sister’s Garden-A Wistful Romp through a Drought Resistant Oasis
"Spring is the time of the year, when it is summer in the sun and winter in the shade." - Charles Dickens
One of the great things about growing up on a farm in the boondocks is that your tribe is your family. We five siblings were as thick as thieves as we climbed trees, worked the fields, pulled fences, drove tractors, branded cattle, and planted the spring garden. We played, we quarreled, and we dug in the dirt together. By the time May arrived, we ached to get our hands grubby in the vegetable patch. Waiting for the vegetables to sprout and be harvested taught us patience and responsibility. Of course, Mom’s beautiful flower gardens would already be abloom by this time of year getting us into constant trouble because we were forever picking bouquets not only for her, but, for teachers, 4-H leaders, and Sunday masses.
As we grew into adults, our love of the earth grew as well. Following in the big shoes of my Father, my brother continued the family tradition of being a farmer and has one of the most beautiful vineyards in the county. Our Mother’s love of gardening instructed the gardens of her girls.
Recently I walked with my sister Debbie through her eclectic garden. There is a saying that “you can take the girl out of the country, but you can never take the country out of the girl.” With Deb, she’s never left the land where we were born. She is a country cowgirl through and through. She’s always adorned with her cowboy hat, rodeo belt buckle, and boots! She hunts, fishes, grows her food, and would have relished being a pioneer in the 1870’s.
Debbie and her husband are the ultimate recyclers and re-purposers. With their barnyard of adopted animals-pigs, goats, donkeys, chickens, even Texas long horns at one time, all the weeds and garden cuttings feed the animals and the manure is then recycled back to the garden. They collect rooftop rain runoff in used wine barrels then pipe it to a storage tank to help with summer watering. It’s never enough, but every drop helps. Their garden art includes rusted plows, wooden swings, a plethora of homemade birdhouses, multiple fountains made from found objects, wagon wheels, antlers, the cutest country chicken coop you ever did see, and a sleeping shed outfitted with a bear hide, antique fishing gear, pinecones, and found treasures of every sort. From their patio they watch the wildlife on their hillside property-deer, bobcats, raccoons, turkeys, skunks, and the occasional mountain lion. It’s a playful, restful garden setting, albeit with a watchful eye for the rattlesnakes that enjoy this oasis as well.
What I love about Debbie’s garden is how it reflects her unique personality, her love of the land, and her admiration for the history of the Wild West. As we ambled around the property with her happy dogs in the lead, the songbirds sang, a bevy of butterflies delicately landed on her flowers, and the koi in the pond swam to the surface to greet me. This time together immersed in this sustainable landscape nurtured my soul and brought our childhood memories to vivid life. Although we grow the same plants, shrubs, trees, and succulents in both of our yards, our designs and esthetics are completely different. And that’s the beauty of creating a garden, making it your own special paradise where you can find peace, tranquility, and restoration in tandem with the wild kingdom.
TIPS TO CREATING YOUR OWN UNIQUE PLAYGROUND
⎫ Don’t over-think it! Make lists of everything you enjoy in a garden then do it.
⎫ Be conservation conscious as well as considerate of nature.
⎫ Be creative. Think swathes, angles, circles, and flow. There is nothing more boring than a box.
⎫ The hardscape must include natural materials: rocks, gravel, barn wood, shells, or anything meaningful to you.
⎫ Instead of buying art, repurpose childhood toys, old sinks, even a commode overflowing with flowers can be comical.
⎫ Be playful. When you are going to spend time in the outdoors, you want to enjoy yourself. Allow your personality to shine.
⎫ Add surprises, secret gardens, hedged rooms, anything that will enhance the whimsical and magical element to your garden experience.
⎫ Lead to a focal point or view with meandering paths, walkways, and trails.
⎫ Invite the pollinators; bees, butterflies, and birds by providing housing, nectar flowers, protection, fountains, and ponds.
⎫ Mix it up. For a drought resistant garden, consider an array of beautiful succulents, cactus, lavender, bulbs, iris, daylily, geraniums, and other plants that will add color, texture, form, and structure, yet require little maintenance and minimal water.
⎫ A potager, pots, or area designated for edibles and herbs is a must have. There is nothing better than picking your dinner from your own property.
⎫ Benches, swings, lounge chairs, umbrellas, and places to unwind, watch the clouds, savor sunsets, and marvel at the stars make your garden your home.
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What’s so fun about our family gardening experience is the sharing that we all do in giving each other clips, snips, cuttings, bulbs, and volunteers. We grow the same specimens and as we stroll and admire our handiwork, we can’t remember who gave what to whom first.
As I said farewell to my sister, she handed me a hand-painted tin filled with blooming echeveria from clippings I had given her a few years before. We shared a laugh.
Little did I know this would be the last walk with my sister. She died just a few days before this article was published. She would have loved to have seen her passion in print. Debbie may you garden in the heavens. The circle of life continues.
Happy Trails to you, Debbie. Until we meet again...
Read more: https://www.lam
orindaweekly.com/archive/issue1006/Digging-Deep-with-Cynthia-Brian.html
Scribd: https://www.scribd.com/doc/313702488/My-Sister-s-Garden-Digging-Deep-With-Cynthia-Brian
Radio Broadcast: http://www.voiceamerica.com/episode/92459/porn-alarm-effective-apologies-in-my-sisters-garden
Press Pass: http://vapresspass.com/2016/05/24/in-my-sisters-garden-a-wistful-romp-through-a-drought-resistant-oasis-by-cynthia-brian/
©2016
Cynthia Brian
The Goddess Gardener
Starstyle® Productions, llc
Cynthia@GoddessGardener.com
www.GoddessGardener.com
925-377-STAR
Tune into Cynthia’s Radio show at www.StarStyleRadio.com
I am available as a speaker, designer, and consultant.
Keywords: Debbie’s garden my sister’s garden, a cowboy western garden, drought resistant plants, cynthia brian, lamorinda weekly, starstyle, goddess gardener.
Neumann & Rudy ArchitectureThis image performs an act of deliberate spatial framing: we are positioned as intruders in a threshold, the photograph's foreground bracketed by two monumental slabs of mahogany-toned door leaf and jamb that compress the visual field into a portal roughly one-third the width of the frame. The composition is therefore a study in *enfilade* logic — a controlled, telescoping sightline that draws the eye through a narrow aperture into a recessed alcove, a purpose-built writing niche carved from what appears to be a corridor or dressing-room vestibule. The niche itself is architecturally modest in footprint but generous in vertical proportion; the ceiling reads as a plain plastered plane, unadorned save for a surface-mounted linear picture light on a slender drop stem, and the wall is treated as a full-height field for a single dominant object. The joinery is the true architecture here: a continuous run of casework establishes a horizontal datum at desk height, with a cantilevered writing surface returning perpendicular to the left-hand wall and a lower bank of drawers and a shallow ledge running right. That ledge functions as a *cimaise* or picture shelf, resolving the base of the framed nautical chart and giving the composition a plinth. Above, an integrated soffit or upper cabinet with concealed under-lighting terminates the left elevation, reinforcing the sense of an inhabited, tailored recess rather than a room. The herringbone parquet in the foreground introduces a diagonal geometry that runs counter to the orthogonal grid of doors, casework and picture frame, and this friction — chevron against rectilinear — animates what would otherwise be a static, axial composition. The single chair, canted slightly off-axis and pulled away from the desk, is the compositional pivot: it breaks the symmetry, occupies the exact center of the aperture, and converts an architectural vignette into a narrative one.
The palette is a disciplined exercise in the warm end of the spectrum, essentially monochromatic in hue and differentiated almost entirely by value, sheen and grain. The dominant material is timber, deployed in at least three distinct registers: the foreground door and jamb in a deeply saturated, red-brown mahogany or sapele with a high-build lacquer or French-polish sheen that catches light in long vertical highlights; the desk and casework in a lighter, honeyed figured wood — quartered cherry or anigre — finished to a satin rather than gloss, so that the eye reads it as a working surface rather than a ceremonial one; and finally the pale, blond oak of the herringbone floor, cerused or naturally oxidized to a straw tonality that lifts the lower register of the frame. Against this timber triad, the walls provide a chalky, low-saturation ground: a limewashed or flat-emulsion cream with a distinctly yellow-warm undertone that absorbs rather than reflects. The upholstery is the room's chromatic keynote — a saddle-tan or cognac leather, semi-aniline, already developing patina and slight slouch at the seat, its edge articulated by a close-set brass or antique-nickel nailhead trim that reads as a stitched seam of tiny metallic points. Metals are used sparingly and with historical precision: the polished chrome rosette and knob of the door with its heavy escutcheon and mortise strike plate, the slim brushed housing of the picture light. Texturally, the room stages a dialogue between the hard, reflective and the soft, absorbent: lacquer against limewash, taut leather against the friable, foxed paper of the antique chart. That chart — a hydrographic survey rendered in ochre, sepia and faded aqua, its ebonized frame supplying the composition's only true black — is the material anchor, its aged paper introducing a granular, time-worn texture that no new surface in the room could supply. The terrier, coincidentally or not, participates in this material scheme: a wiry tan-and-black coat that reads as a textile in its own right, tonally identical to the leather beneath it.
The lighting design is layered, warm-Kelvin and almost entirely artificial in its narrative effect, though the scene depends on a critical unseen source. A shaft of low, raking daylight enters from the right — presumably a window outside the frame — and lands as a hard-edged parallelogram across the parquet and the chair's front rail, creating the image's strongest contrast and lending the floor a sense of temporal specificity: late afternoon, low sun. Against this, three artificial layers operate. The surface-mounted picture light washes the nautical chart in an even, slightly amber flood, functioning as accent lighting that establishes the chart as the room's hierarchical focus. Concealed strip lighting beneath the upper casework grazes the left-hand desk return, providing task illumination and articulating the millwork's shadow line. Ambient fill is minimal and deliberately so; the corners of the niche fall into soft, unresolved shadow, and the whole tableau is rendered in a narrow tonal band of amber and umber that suppresses cool light almost entirely. The resulting atmosphere is one of burnished interiority — hushed, crepuscular, protective. Stylistically, the room resists easy categorization but sits most comfortably within a contemporary *Warm Traditionalism* or refined **Anglo-American Modern Classic** idiom: the vocabulary is unmistakably tailored-traditional (nailhead-trimmed leather, mortise hardware, framed cartography, a Deco-inflected barrel-back desk chair), yet the detailing is stripped of ornament — no cornice, no panel molding, no applied millwork profile — and the casework is resolved with the flush, planar minimalism of a mid-century yacht interior. It is, in essence, a *cabinet de travail* reimagined through the discipline of modern joinery: a room that borrows the emotional register of the club library while adopting the reductive geometry of contemporary architecture. The dog, unhurried and centrally enthroned, is the final aesthetic argument — evidence that the space is not a set piece but a lived, occupied, and evidently affectionate interior.
Find the right local pro for your project
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Custom Surface SolutionsCustom Surface Solutions (www.css-tile.com) - Owner Craig Thompson (512) 430-1215. This project shows the remodel of a master bathroom with before and after pictures of the project. 32" x 16" tile was used on the walls and 32 x 8" tile on the floor. The accent and shower pan tile is flat pebble stones. The faucets are Delta.
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http://annacaitlinphotography.com/
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Glenview Haus – Custom Doors & Wine CellarsThe Glenview Haus Classic Collection of front doors provides solid wood doors with elegant, archetypal designs. The custom-made styles range from two-panel doors with elaborate raised moldings to beautiful glass doors with leaded patterns, adding beauty and grace to the home’s entrance. The artisans at Glenview Haus focus on enhancing the natural elegance of the high-end wood grains by using furniture quality stains and techniques.
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Example of a classic staircase design in New York
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Schroeder Design/Build, Inc.Drop-in bathtub - mid-sized transitional master gray tile drop-in bathtub idea in DC Metro with an undermount sink, raised-panel cabinets, white cabinets, granite countertops and white walls
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