Sunday, July 21, 2013

Living more creatively
in the kitchen and beyond
Originally published in the Santa Cruz Sentinel July 12, 2013


Rachel Santos makes her classic bucket bags from woven strips
 of upcycled rubber bicycle inner-tubes. Santos defines
 “upcycling” as the process of converting end-of-life products into new, 
valuable products without using lots of energy.

The brilliant writer Michael Pollan, famous for making Americans rethink their relationship to the land and the food they eat, spoke at Santa Cruz High School last month about his new book “Cooked: a natural history of transformation.” There are no recipes in this book about cooking. Rather, Pollan explores the act of cooking at home, because, he writes, it’s “the most important thing an ordinary person can do to help reform the American food system, to make it healthier and more sustainable.”

Pollan told the sold-out Santa Cruz crowd that the average American spends a mere 27 minutes a day on food preparation and another four minutes cleaning up, which is less than half of what his mother (and mine) spent cooking and cleaning up in the 1960s. With Americans watching 34 hours of television a week, and 8 in 10 Americans watching the vast assortment of cooking shows, Pollan suggests that a great many Americans are spending considerably more time watching images of cooking on television than they are cooking themselves.

Of course what Pollan is also suggesting is that living healthier and more sustainably is also dependent upon our willingness to live more creatively. If creativity is a three step process—from concept, to planning, to production—we’ve missed out completely when we merely watch others cook. What’s more, we’ve willingly traded the smell, taste and health benefits of delicious home cooking for a passive bit of entertainment.

So, it’s all the more amazing when you discover people who don’t fit the reality-TV-watching demographic, who spend their time creating things that promote sustainability and self-sufficiency and do it without a recipe before them—who spend time imagining, engineering, and then executing, and who aren’t afraid to learn through trial and error.

Held last month at the School of Visual Arts Theatre
 in New York City, the Independent Handbag Designer
 Awards recognizes and discovers new designer talent
 and creativity across an array of handbag categories. 
Rachel Santos, of Dante Robles Design in Aromas, won
 in the Timberland Best Green Handbag category, for her
 classic bucket bag made from sustainable, recycled materials.
Rachel Santos is one such person. A resident of Aromas, she recently traveled to New York City for the first time in her life, to become a winner in the 7th Annual Independent Handbag Designer Awards. Attended by industry notables, the award ceremony honored winners in six categories, and Santos’s lovely woven bucket bag won the Timberland Best Green Handbag award, which requires the bag be made out of sustainable, recycled or organic materials.

She loves to ask others what they think her shiny black bags are made from, because the usual guess is leather. Folks are surprised when she tells them the leather is actually reclaimed bicycle inner-tubes. Her handbags don’t look, smell or feel like bicycle inner-tubes, because they’ve been utterly transformed.

To win such a prestigious award is all the more amazing when you learn that she began working with rubber as a textile only a year ago. But it seemed to be the perfect fit for a woman with a degree in environmental studies, a 15-year career working in open space preservation, and a family-nurtured talent for crafting. In her line of work especially, she is constantly considering end-of-life (EOL) materials and asking herself how they could be resurrected and given new life.

Besides handbags, Santos also uses the rubber and valves from spent
 inner-tubes to make bracelets.
After briefly working with EOL neoprene wetsuits, she switched to rubber inner-tubes from road and mountain bikes, since they were easier to stretch and weave, and very easy to come by. Every two months she stops by Specialized Bicycle Components in Morgan Hill, who hand over 4 or 5 boxes of spent inner-tubes they’ve collected for her.

“Initially I was just having fun,” she says about her handbag design. Then her husband, who has experience in marketing new products, was impressed with her design, and told her, “I think it has legs,” she remembers. He encouraged her “to go out in front of people and get their feedback.” And in the process, she learned that her design was something extraordinary.

In developing her handbags from scratch, she had to discover ways of working with an unfamiliar material. “You have to get used to the way it moves and feels,” she says. “You have to adapt to the material.” So she learned how to carefully cut open the tubes, wash off the inner coating of talc, allow the rubber smell to off-gas, and cut them into even strips. She tried various cutting methods until her husband developed a rotary cutting system.

With her woodworking skills, she created a loom for weaving panels of inner-tubes. She then invested in a Juki industrial sewing machine with a Teflon pressure foot, for sewing the woven rubber the panels into handbags. “I was experimenting, prototyping,” she says. “The Juki allowed me to do so much more.” She also incorporates other parts from inner-tubes, like the Presta valves, into her handbag designs. Besides her winning bucket bag, she’s created a clutch, a satchel and a cross-body handbag.

Santos would like to develop her inner-tube weaving into a line of clothing, and participate in the Fashion Art runway show in Santa Cruz, but for now she’ll concentrate on working with Timberland to reproducing her handbag for sale in their flagship stores across the county. “The fashion industry has started to reduce their carbon footprint,” says Santos, and she is pleased to be working with the outdoor clothing retailer, Timberland. “They have a consciousness of moving in that direction.” Timberland makes footwear and outerwear from recycled, organic and renewable materials, and even builds their stores in a sustainable way using repurposed and reclaimed materials.

The future looks pretty bright for Santos and her label “Dante Robles Design,” as she scrambles to market her handbags through social media and by making industry connections. “I met quite a few of the leaders of the handbag industry in New York, and some manufacturers,” she says. And “some of the other contestants in the competition want to collaborate with me in the future.” She’s also thrilled that her winning handbag will be featured in the September issue of InStyle Magazine and Bicycling Magazine.

The oak leaf, with its stem pointing upwards, is the perfect symbol for
 the upcycled materials Rachel Santos uses in her handbags.


“Dante Robles” is Latin for “enduring oaks,” and Santos has added an aluminum oak leaf to her bags with an upward-pointing arrow on the stem—the perfect symbol not only for the extended life of the upcycled materials she uses, but also for the upward trajectory of Santos’ career as a handbag maker. “[Winning this competition] has been a great launching pad,” she says.
Crafting in the digital era: Design your own fabric
Originally published in the Santa Cruz Sentinel, June 28, 2013


 On a typical episode, the long-running competitive reality show “Project Runway” gives the remaining fashion designers a conceptual design challenge, then takes them off to shop in midtown Manhattan in a multi-level store (“Mood”) bulging with fabric. Famous for throwing curve balls, “Project Runway” has caught many a contender off guard by dispensing with the trip to Mood for one episode, and requiring them to design their own fabric, from which they are expected to create a winning look. The final results serve as proof that good fashion designers are not always good fabric designers, and many are so used to working with solids, they have no idea what to do with a print.

But for those of us who love to work with fabric, we watch this design-your-own-fabric episode with envy and wonder. What would it be like to have that much creative freedom and control? How much more would that curtain, quilt, dress or textile art we want to make become a truer expression of our creativity?

In this one-of-a-kind book-DVD package, 
celebrated fabric designer, illustrator, sewist, and
author Heather Ross shares reproducible artwork
 for her bestselling fabric prints and step-by-step 
instructions for designing your own fabric.
What with the recent development of print-on-demand calendars, books, and tee-shirts, I should have suspected there might be a way to have your own fabric printed. I’ve actually been doing that for years on a small scale, running 8-1/2 x 11 pieces of freezer-paper-backed cotton fabric through my home printer. But a small piece of fabric obviously has its limitations. So now there is a way to create yards and yards of fabric, digitally printed with your own design. Welcome to the amazing world of print-on-demand fabric.

The book that clued me in to this exciting new opportunity, written by a former Santa Cruzan, is called, “Heather Ross Prints.” In the late 70s, Heather Ross moved from Vermont to Santa Cruz in fourth grade with her father and twin sister, Christie. They lived in family housing at UCSC while her father attended graduate school there, and the girls had plenty of opportunity to explore their new community. Heather, who learned to sew at a young age, remembers shopping at Harts Fabric. “I used to buy my own fabric when I was in junior high and I remember shopping for my Halloween Bride of Frankenstein outfit and a woman helping me there,” she says.

In 2011 Heather Ross teamed up with Walden
 Surfboards to create this Mermaid surfboard for girls.
Today Heather lives in New York City, and has become an author, illustrator and trend-setter in the designer fabric world, with her whimsical, childhood imagery. Playful caricatures of mermaids, unicorns, antique bird cages or long johns dance about in soft, retro hues making her style very recognizable and sought after. “Prints,” her latest book, is unusual because she actually shares her signature designs on an included DVD, which can be printed at home on paper for use in several projects. But what really makes the book worth buying is her willingness to walk you step by step through process of designing and having your own fabric printed.

“I really had to force myself as an adult to use a computer,” says Heather. “Digital fabric printing was a little funky at first, but now it’s possible to get a really beautiful fabric.” About her book she says, “What people needed was just some really clear instructions,” and that’s what her “How to Create Designs in Photoshop” chapter is all about.

Heather suggests that good fabric design starts with paper and pencil. She writes that that “a simple drawing will translate much better to a digital design than a realistic or heavily detailed one.” In addition, “Wonky proportions and a ‘flat’ or ‘naïve’ style make the best prints!” For those who do not want to start with a sketch, she also shows a method for creating designs using photos.

“Heather Ross Prints” provides instructions for turning
 her “Race Track” fabric into a toddler duvet.
  The fabric can be purchased on Spoonflower.com.
In her book, Heather demonstrates the process of turning a sketch into a print. From a pencil sketch of a donkey, she makes several photocopies, adds new pencil lines and ideas to create variations and connections, and then cuts them out to make a collage. The collage represents one block that will be repeated throughout the printed fabric, in a pattern of your choosing. The collage is scanned into Photoshop as a black and white image, cleaned up, and scaled to the finished size. Then she shows how to add spot color with various tools until she has finally created an amazing, fabric-ready image.

The finished block is then scanned and uploaded to an on-demand digital printing service, which can print on all sorts of fabric in quantities of your choosing. Heather uses Spoonflower, which prints swatches, fat quarters, and yards of fabric, plus wallpaper, peel-and-stick wall decals and wrapping paper. The website also has a fun “vote for the Design of the Week” feature, which is a great place to soak up inspiration and learn (or buy) from others. Another site, Fabric on Demand, specializes in custom fabric printing, and offers some fabrics, such as lycra/spandex, not available through Spoonflower.

Both websites are user friendly, offering several design layout options, step-by-step instructions, and examples. The process is not in expensive, though. On Spoonflower, for example, cotton fabric starts at $17.50 a yard, and their most expensive option, silk crepe de chine, is $38 a yard. But even at those prices, I think it would be absolutely thrilling to get that first glimpse of your very own design on fabric.

Heather, who still has close connections to Santa Cruz, recently talked with friend Matt Basile, the owner of Harts Fabric in Santa Cruz, at a recent quilt market in Portland, and mentioned that her sister, Christie Danner, who lives in Scotts Valley, has breast cancer. Basile offered to do a benefit at his store in Santa Cruz, and the event began to take shape.

Inspired by the wonderful murals on the streets in Santa Cruz,
 Heather Ross has hand-painted a sewing machine,
 donated for the auction by Harts Fabrics and Jacome.

The fundraiser they are hosting will take place Sunday, June 30, and will include both a raffle and an auction emceed by Heather herself, with donations by Harts Fabric, Martha Stewart, Amy Sedaris, Windham Fabrics, Walden Surfboards and many others. Heather will also make her newest flowery fabric line, Briar Rose, available before its wide release, which, Heather says, will appeal very much to quilters.

Heather’s twin sister, Christie Danner, who lives in Scotts Valley has been battling breast cancer for several months, and will start chemotherapy, July 1, the day after the benefit. “It’s a super aggressive type of cancer,” says Heather, “but they caught it early.” Christie is a mother of three and works full time as an advisor and intervention counselor at Scotts Valley High school. “She is the glue that binds my (somewhat functionally challenged) family together,” writes Heather on her blog. “She is never the person that asks for help, she is always the one who gives it.”


 All proceeds will help Christie (who is not eligible for district insurance, and is covered only by a high-deductible health policy) afford the mounting, non-covered costs associated with her cancer treatment. “The craft community is the most generous and heart-based community,” says Heather. “The response has been amazing.”

(All book photos provided by the publisher, Abrams Books, (Mark Gruen, photographer) except for photos of sewing machine provided by Heather Ross.  Surfboard photos also taken by Mark Gruen.)

Saturday, May 11, 2013

Last month I joined a Sierra Club group on an overnight trip to
Hite Cove, outside Yosemite along the Merced River.
The wildflower displays were spectacular, and hikers
 brought varying amounts of equipment and conveniences
 (including salmon for dinner!) for the two day trip. 

Lighten up: MYOG*
 *Make your own gear

Originally published in the Santa Cruz Sentinel May 3, 2013

As I write this, hundreds of hikers are gathering at Lake Moreno, in the dry grasslands of east San Diego County, readying themselves for the hike of a lifetime. After a weekend of camaraderie, psyching up and final preparations, they will be shuttled south to the Mexican border to begin the Pacific Crest Trail (PCT)—a 2,663-mile-long trek that will take them all the way to Canada along the Sierra and Cascade ranges, with elevations ranging from sea-level to 13,153 feet. If they hike the entire trail in one year, they are deemed “thru-hikers”—a rare breed of human able to walk from dawn to dusk for up to six consecutive months with a loaded backpack, willing to suffer all the pains and deprivations inherent in the attempt.

Hiking the PCT takes months of planning and incredible dedication and stamina, and it’s estimated that only about 60% of those who attempt to thru-hike the PCT, actually succeed. For most of us, though, backpacking doesn’t need to be an extreme challenge to be satisfying. A week-long hike into the breathtaking splendors of the Sierras can provide durable memories. And even just a single night spent sleeping under the stars in the quiet wilderness can reawaken your senses and renew your spirit.

I recently began backpacking again after a 20-year child-rearing “vacation”—starting my first weekend hike with a 33-lb. pack—and, although I saw some beautiful backcountry and made some new friends, I quickly realized that my overall enjoyment of the experience had a direct correlation to the weight on my back. And so I began to learn from my fellow hikers and many backpacking resources (reinforced by my physical therapy co-pays) that carrying so much weight was old-school and counter-productive. They showed me not only how to find the lightest equipment, but more importantly, how to make it. By making your own gear, you’ll lighten your load, save money and backpack with gear that’s exactly right for you.

Ken Koval bought a sewing machine and became an adept
 gear designer, so he could make his own tarp tent, backpack,
 trekking poles and other customized backpacking equipment.
Step one: Bookmark these websites
1)      www.backpacking.net/makegear.html  The most comprehensive website for making your own gear (MYOG), Makegear provides plans and instructions for making a variety of backpacks, shelters, stoves, sleeping systems, cookware and accessories.
2)      www.questoutfitters.com  The place for raw materials, Questoutfitters sells fabric by the yard, down, foam, mesh, webbing, seam-sealer, fasteners, sewing supplies, replacement parts, patterns and instructions.
3)      www.backpackinglight.com  An online magazine and forum for ultralight backpacking enthusiasts, Backpackinglight teaches you the basics and beyond, and provide lots of updates on trends, gear, techniques, and technology.

Step Two: Concentrate on The Big Three
The heaviest items on my back were the backpack, my sleeping bag/pad, and my tent, each of which weighed around 6 lbs. or more. Luckily, technology has provided new materials which allow dramatic reductions in the weight of “the big three” to around 2 lbs. each.

  1. The backpack
One way of reducing the weight of the backpack you already own is to perform surgery: cut out/off all the non-essentials, including the internal frame, and most belts, pockets, straps, stays, foam pads, webbing and cords. “Ultralight Backpackin’ Tips” by Mike Clelland (a great book that will make you rethink the word “essential”) provides a diagram of what to remove, replace or modify and how to do it.

Another option is to sew a frameless pack, which is essentially a large sack made from lightweight fabric (ideally silnylon, Dyneema or Cuben Fiber) with shoulder straps. Your sleeping pad functions as an internal frame. For frameless backpack patterns, instructions and materials, see the Step 2 bookmarks, www.mountainultralight.com, www.owfinc.com or www.backwoodsdaydreamer.com.

Many ultralight backpackers use a floorless tarp, instead of a tent, which can be held up by two trekking poles and stretched tight with stakes. Most tarps cover a larger area than a tent and so keep all your gear out of the elements, and even allow cooking in wet weather. Fellow backpacker Doak Jones introduced me to tarps on a group hike in March through the backcountry of Henry Coe State Park.

  1. The tent
Most ultralight (UL) backpackers use a floorless tarp, instead of a tent, which can be held up by two trekking poles and stretched tight with stakes. Most tarps cover a larger area than a tent and so keep all your gear out of the elements, and even allow cooking in wet weather. For a simple or a more complex-shaped tarp, see the Step 2 bookmarks, the “projects” tab at www.tarptent.com, or Google “BlackCat Tarp” or “MYOG Tarp.”


  1. The Sleeping System
Unless cold temperatures are expected, many UL backpackers prefer to use a down quilt (which is like a sleeping bag without a zipper) and a bivy sack, which offer more flexibility and functionality than the sleeping bag/ground cover combo. The quilt keeps you warm, while the bivy sack is multi-purpose, with its waterproof bottom and breathable, water-resistant top. Besides keeping the quilt clean and dry, the bivy provides added warmth and is the stuff sack for the quilt. For instructions to make your own quilt, bivy, bag or hammock, see the Step 2 bookmarks or the “projects” tab at thru-hiker.com, www.sixmoondesigns.com, or www.backwoodsdaydreamer.com.

Backpacking in Henry Coe State Park,
Richard Roullard of Santa Cruz
rehydrates a homemade meal
using Esbit tabs for fuel.  He also
 uses a windscreen he made from flashing
that holds the pot above the flame. 
Step Three: Every Ounce Counts
Tip #16 of author Mike Clelland’s “153 amazing and inexpensive tips” is, “Never say ‘It’s only a couple of ounces.’” The ounces add up and if you’re serious about getting your pack lighter, a 2.4 oz. Cliff Bar won’t be on your checklist.  Here are a few more UL items easily made with online instructions, introduced to me by some local backpackers.

  1. Cooking stove: My JetBoil (1.44 lbs. with fuel) boils water quickly, but Richard Roullard saves a lot of weight by using Esbit tabs (.54 oz. per tab) which take slightly longer. Richard has fashioned his own ventilated windscreen from aluminum flashing, which also supports his cooking pot above the flame.  Richard also uses a piece of inexpensive Tyvek (retrieved from a construction site) as a ground cloth.

There are many versions of the Fancy Feast
 alcohol stove, and instructions for making
 them are plentiful on the Web. Ken Koval’s
 double-wall stove is light and efficient,
 and uses pieces of coat hanger wire to
 support the pot above the flame.








Ken Koval showed me another UL cooking option—a double-walled alcohol stove he made from a sample-size saving cream can, a Fancy Feast cat food can, and some wire.  Relying on denatured alcohol is good for long trips because it’s easy to store and refill along the way.

  1. Trekking poles and pot cozy: Ken has made some light, collapsible trekking poles from three sections of tent poles and pipe insulation covered in fabric for the grips. The points are salvaged from heavier trekking poles. A pot cozy saves on fuel by keeping your dinner hot while it simmers and rehydrates. Ken made his UL cozy from reflective insulation and metal FlexFix tape.

Ken Koval of Burlingame has developed some compact,
 lightweight meals that don’t require rehydrating or cooking,
  and so save on fuel, such as his spaghetti chips, barbecued
 chicken chips and kale chips. He says his chewy/crunchy kale chips are, “basically a smoothy with a little quinoa in it.”
  1.  Dried food: Ken Koval—a backpacker and member of a group of “trail angels” who provide a carb-loaded spaghetti dinner in June to PCT hikers in the Sierras—has also developed some compact, lightweight meals for his own use, that don’t require rehydrating or cooking, and so save on fuel. “It’s hard to get nutrition on the trail,” says Ken, “and I don’t want to pay all that money [for purchased backpack food].” With a food dehydrator he makes high-protein, low sodium kale chips (kale, quinoa, bananas, strawberries), spaghetti chips (Prego, ground, turkey and oatmeal) and barbecued chicken chips (chicken, sweet potatoes, grains, and barbeque sauce). “When I go on my trip in June I’m not going to be cooking spaghetti—I’m going to be eating spaghetti chips. I’m pretty happy with my spaghetti chips,” says Ken with a smile. “I nibble on these and they get better and better.”

Tuesday, April 16, 2013

Sustainable Seating
Annie: repurposed shopping cart by Reestore Ltd., U.K.
 Originally published in the Santa Cruz Sentinel, April 12, 2013

Words like “ecology” and “recycling” have become commonplace and a bit tired these days now that we’ve been separating out our paper and plastic for a good decade, and proudly carrying our reusable bags into even mainstream supermarkets. Popular new additions to the green vocabulary are “salvage” and “sustainability” which imply that new is not always better, even if it is recyclable, and that each of us has an individual responsibility to think beyond plastic and paper.

I wouldn’t argue that every old thing merits salvaging, or that “old” must mean vintage. Instead, we are being called to re-examine the ever-expanding contents of our closets, attics and garages and everywhere else we see unused stuff awaiting the landfill, and question whether these everyday objects have, in fact, reached the end of their useful lives.

Cork Chair: plywood, luan, gorilla glue, pins and 2,700 wine
bottle corks by Aaron Kramer of Urban Objects
We might need some inspiration and a new set of re-purposing goggles to envision the larger task before us. To that end, three recent books showcase reuse in a fascinating range of furniture, lighting, and household accessories, all of which will help make you see that broken lawnmower and rusted treadmill in your garage in a whole new way. To illustrate the point, I’ll narrow my focus to chairs—a piece of furniture we can hardly do without—and show how a chair of uncommonly good looks and clever construction can be made from the most unexpected of materials.

1000 Ideas for Creative Reuse – Remake, Restyle, Recycle, Renew
By Garth Johnson

Crutch Stool: crutches, bicycle wheels, foam
insulation and bicycle innertubes
by Ryan 'Zieak' McFarland
Max: repurposed vintage cast-iron bath
by Reestore Ltd., U.K.
“1000 Ideas for Creative Reuse” enchants us with a padded armchair fashioned from a shopping cart, a stool made from three crutches and a bicycle wheel, and a loveseat carved from a clawfoot bathtub. Over 30 different examples of ingenious seating have been developed from materials you might not recognize without consulting the image directory in the back of the book. A sleek folding chair is made from salvaged white-oak wine barrels. A “Jet Set Lounge Chair” is made from eight skateboard decks and a metal frame. An armchair and ottoman are made from corrugated cardboard and glue.

This enormous collection of household products made by international designers from repurposed materials was put together by Garth Johnson, who admits, “it was hard to limit myself to 1,000.” There are so many ideas in this book you’ll begin to recognize the inherent salvagability in just about everything. Not only have literally tons of cast-offs escaped the cruel fate of the landfill, they’ve been magically transformed into something truly extraordinary, and quite often, beautiful.
Jet Set Loung Chair: skateboard decks with cushions and
metal frame by Gil Delapointe and Pierre Ander Senizergues

Upcycle! More than 100 upcycling ideas for furniture, lighting, products and accessories!
Published by Gingko Press

“Upcycle!” confirms that the term “recycling” is passé by asking, “Why just recycle when you can upcycle?” and defines upcycling as “converting an object into something of greater value without degrading the material with which it is made.” It also features designers from around the world, who transform hundreds of discarded items as pedestrian as a tire, a metal pie pan, a radiator, or a damaged upright piano, into stylish and functional ottomans, stools, lounges or chairs.

UpCycle Cabbage Chair by Oki Sato
One of my favorites is the “T-Shirt Chair” by Maria Westerberg, which gives new life to forty old t-shirts. One by one, the shirts are woven through a single sheet of bent metal grid into a cushy, reclining chair.

Another original is the “Heater Chair” by Boris Dennier. His rudimentary bending technique involves placing a cast iron radiator on two blocks and jumping on it. He then welds on legs reclaimed from old pieces of furniture and applies red enamel paint.

For those drawn to fiber arts, “Tis Knot Ottoman” is made from colorful heavy-duty nylon crocheted around used tires, which are rescued from tire shops or road-side ditches. Each style in the collection is named after a car popular in Australia, where the designer Cindy-Lee Davies lives, such as “Datsun” and “Gemini.” Another designer, Camilla Hounsell Halvorsen, makes a similar floor pouffe from large rubber innertubes wrapped with strips of scrap upholstery fabric.

Pallet Outdoor Loveseat by author Chris Gleason
Wood Pallet Projects – Cool and Easy-to-Make Projects for the Home and Garden
By Chris Gleason

Author Chris Gleason says that pallets have a unique “patina of experience.” They are weathered, distressed and aged and “beautiful in a way that shiny new things can never be.” He believes that incorporating “defects” such as nail holes, stains and the rough board texture can be desirable and appealing.

Pallet Chair by author Chris Gleason:
All of the wood used in this chair
came from a single pallet.
“Wood Pallet Projects” takes salvaged wooden pallets and provides lots of project ideas and instructions, including how to make a “simple meets sophisticated” chair and a backyard loveseat. Pallets are ubiquitous once you start looking for them—languishing in lots, resting behind buildings, and stacked at yard sales. (You can also buy pallets for cheap at Walker Street Pallet in Watsonville or for $2 at Last Chance Mercantile in Marina.)

Although a few of Gleason’s projects use pallets as-is, for most you’ll need a basic set of tools such as hand or power saws, a miter box, and a power sander, plus a hammer or crowbar, to deconstruct and reconstruct a pallet into furniture.

Remake Recap

These three books might help us re-envision what kind of chairs we want in or homes or yards and how their inclusion might transform our environments. Any one of these chairs might become a conversation piece and an invitation to reconsider responsible consumerism. Or they might inspire spring cleaning with an upcycled mind-set, rather than committing more waste to the landfill. Or, they might actually provide a comfortable place to sit, rest our feet, relax and smile.

Thursday, March 14, 2013

Nest defense


Decorative birdhouses are usually not weather-tight and don’t allow for easy cleaning.
 If placed outside, the hole should be blocked to discourage house-hunting birds.

Cat vs. bird: how to give birds an edge
Originally published March 8, 2013 in the Santa Cruz Sentinel

Two summers ago a family of Bewick’s Wrens took up residence in my front yard. They chose to nest in a small birdhouse which I had hung from a plant hanger less than 3 feet above the ground. We have two outdoor cats and I couldn’t believe these birds would mistake a garden ornament for a potential maternity ward. I thought about moving the birdhouse to a safer location, but by then I could hear the urgent peeps of the hungry babies and it didn’t seem wise to move the nursery.

A Bewick’s Wren with a treat for its hatchlings, pauses to make
 sure it’s safe, before darting in and out of the birdhouse
 placed too close to the ground in my front yard.
Mom and dad were tirelessly devoted to their hatchlings and they allowed me to photograph their activity from a distance. They would take turns, perching nearby with an insect in their beak to make sure the coast was clear before darting in and out of the birdhouse in a nanosecond. Anytime our cats got near I chased them away with stern words, hoping they would respect the sanctity of the birds. However, our neighbors’ cats are also frequent visitors to our front yard, so I don’t really know for sure if this wren family survived. One day, they were just gone.  I quickly moved the birdhouse to a less vulnerable location, under the eaves of our house.

I was reminded of the wren family during a recent flurry of online outrage over an “Atlantic” magazine interview, in which a New Zealand economist and environmentalist, Gareth Morgan, suggested that cats should be gradually eradicated from his country for the sake of New Zealand’s native birds and other native species. Morgan’s website, “Cats To Go” explains that New Zealand has the highest per capita cat population on the planet (nearly one cat for every two people) and that these animals have already “contributed to the extinction of nine native bird species.” Therefore, Morgan advises, to save endangered bird populations, pet cats should be neutered and kept indoors, cat owners should not replace their pets when they die, and all stray cats should be caught and euthanized.

Back in the US, Steve Homer of the American Bird Conservancy (a cat owner himself) agreed that cats are a very real threat to native birds. He told ABC News that, “about a third of the birds in the United States are in decline, and cats have been identified as one of the more significant factors in this decline.”  Homer said that habitat loss remains the top threat to birds, but predators rank second.

So all this got me thinking about steps we could all take to create safer bird habit in our own yards. To begin with, we need to better understand the nesting habits of birds.

BIRD HABITAT

Different species of birds prefer different types of habitat. Bewick’s Wrens, for example, prefer wooded open forest, farmlands, mixed conifers and deciduous trees. You probably can’t transform your yard from forest to desert, or meadow to marsh, but you can accommodate birds with some simple alternations.
  • Plant native species of plants, shrubs and trees—especially ones that provide food (seeds and berries) or shelter.
  • Leave seed-bearing plants untrimmed a bit longer in the fall and resist the temptation to be too tidy.
  • Sweep dry leaves and branches into piles away from your house for nesting material, and for insect cover, which in turn provide food for the birds.
  • Designer Birdhouses by Richard T. Banks,
    is one of the best birdhouse-building
     books around. Banks gives lots of tips
     for keeping a birdhouse safe from
     predators and provides easy-to-follow
     building instructions for his unique designs.
  • Choose organic or natural products for weed and pest control.

WHAT MAKES A GOOD BIRDHOUSE?

In North America, of the 920 known birds, only about 50 will regularly inhabit a birdhouse. “It may sound like a small number,” writes Richard T. Banks, author of “Designer Birdhouses.” “But the sheer volume of these birds and the steady decline in suitable nesting places is what makes building birdhouses so essential to their survival.” Banks suggests three requirements for building a good birdhouse:

  1. Adequate box and entry-hole size for the intended species
  2. Solid construction for weather-tightness and durability
  3. Security for warding off predators
In his book, Banks provides a chart that gives the optimal dimensions and location of a birdhouse for attracting a particular species of bird. A Bewick’s Wren, for example typically chooses a birdhouse with a 4x4 to 5x5 inch floor, a 1-1/4 to 1-1/2 inch diameter hole that’s 4 to 7 inches above the floor, an interior height of 9 to 12 inches, and placement from the ground of about 5 to 10 feet. Obviously, birds don’t carry measuring tapes, but these are general guidelines.

A functional birdhouse is basically a weather-tight box made from cedar or redwood, held together by galvanized nails or screws, with an entry space or hole, and easy access to the interior for annual cleaning. The outside can be painted or stained to help preserve the wood. A good how-to book such as “Designer Birdhouses” or website such as http://www.instructables.com/id/How-to-make-the-bird-house/ will provide plans and directions for building a sound, attractive birdhouse.

This simple birdhouse—one
 of dozens placed along trails
 in Christmas Hill Park in Gilroy
—is mounted 8-feet above the
ground on a metal pole which
 is difficult for predators to climb.
 (photo by Suzi Ortiz)
Trees and fence posts are not a good choice for supporting a birdhouse, since cats are good climbers, says Banks. In fact, a safe birdhouse should be placed at least 10 feet away from trees, houses, fences or other jumping-off places. Most birds, except wrens, don’t like the movement of a hung birdhouse, so mounting your birdhouse atop a tall pole or post is the best strategy.

  • Metal Pole:  A ¾-inch threaded, galvanized pipe allows you to screw a matching threaded floor flange to the top of the pole and then attach the birdhouse to the flange. Use a metal fence post spike to hold up the pipe, or dig a hole 18 to 24 inches deep and secure the pipe in quick-set concrete.
  • PVC Tube: A 3-inch-diameter PVC tube can also be fitted with a PVC floor drain flange that fits snuggly inside the tube and serves as the underside mount for your birdhouse. PVC pipe is inexpensive, slick and difficult to climb. Pour about 18 inches of gravel into the tube to make the bottom more stable and attach it to a metal post for stability.
  • Wood post: A 4x4 pressure-treated post will require a baffle to make it secure from cats. A baffle can be a saucer, cone or tube which makes access from the pole impossible. Set the post in a 24-inch deep hole with gravel at the bottom for drainage and add concrete.

And lastly, here’s one my own birdhouse placement tips, taught to me by a family of Bewick’s Wrens: if you have a birdhouse in your yard that’s not in a safe location and you don’t want to move it, cover up the hole to discourage house-hunting birds from settling in.

Saturday, February 2, 2013

The Dutch Mona Lisa Superstar comes to San Francisco

Johannes Vermeer, "The Girl with a Pearl Earring"

The Girl with a Pearl Earring
Also: The Columbarium—a quiet trip back in time
Originally published in the Santa Cruz Sentinel February 1, 2013

You know her. Tracy Chevalier wrote a captivating, best-selling novel about her. Scarlett Johansson played her in the movie. She’s been compared to her iconic rival, Mona Lisa, but she’s much more exotic, enigmatic, and strikingly gorgeous. And yet, despite her extraordinary popularity, she was never real. In fact (scholars believe), she’s a “tronie”— a painting exercise created from the imaginings of the brilliant Dutch painter, Johannes Vermeer.

 No matter. The “Girl with a Pearl Earring”—a superstar in oil on canvas—has come to the de Young Museum in San Francisco, and this might be your only chance to see her, since she rarely leaves the Royal Picture Gallery Mauritshuis in The Hague, South Holland. Despite her diminutive size—the painting is just 17.5 x 15 inches—she won’t disappoint, with her glinting pearl, frozen-moment-in-time gaze, and simple beauty—all of which invite speculation and adoration.

To see an original painting by Vermeer is also a rare treat. There are only 35 (give or take) in existence, and their rarity makes them so highly prized, that their owners (mostly museums) rarely let them out of their sight. Vermeer initially painted biblical and mythological scenes, but around 1656 made the fortuitous switch to more intimate scenes of contemporary life in Delft, where he lived and worked all his life. For the next 20 years, he made unprecedented paintings that galvanized viewers, even to this day.

“Girl with a Pearl Earring” is spotlighted in its own darkened room at the de Young exhibit. The guards allowed
 me to get close to most of the small painting in the exhibit, however “Girl” is protected by a railing.

What makes Vermeer’s paintings so special—what “Girl with a Pearl Earring” so aptly demonstrates—is his ability to elevate the common place. He infused “modest images of ordinary middle-class experience with the imposing gravity and monumental seriousness traditionally reserved for history painting,” writes Los Angeles Times art critic Christopher Knight. “His pictures captivate in part because they give value to the mundane—namely, you and me and the utterly ordinary things we do—endowing it all with quiet grandeur.”

Besides Vermeer’s masterpiece, “Dutch Paintings from the Mauritshuis” also features other exceptional works—35 paintings in all—from well known painters such as Rembrandt van Rijn, Frans Hals and Jan Steen. The exhibition highlights the artistic genius of the Dutch Golden Age—a fascinating time in history with many parallels in our own century.

In the Netherlands 350 years ago, technology, foreign trade, banking and the stock market ruled the day and led to an explosion of wealth. (Sound familiar?) But this remarkable prosperity was not limited to the uppermost strata of society. Peace and religious freedom allowed the rise of a healthy middle class who, for the first time ever, had the opportunity to buy things that were less practical and more pleasurable. They ate imported foods, collected exotic plants and animals such as tulips and parrots, and purchased small, original paintings that would fit into their compact urban homes.

The focus of artwork changed utterly in 17th century Europe, from religious to secular. But maybe even more ground-breaking at the time, Dutch painters embraced subject matter that was not only secular but also mundane. The burgeoning middle class wanted art that mirrored their lives, featuring their simple, domestic routines, and brilliant artists like Rembrandt, Vermeer, and Hals gave them what they wanted.

Jan Steen, "As the Old Sing, So Twitter the Young"
 Most of the paintings in this exhibit are small, domestic-sized works. But one of the larger paintings (probably a commission), “As the Old Sing, So Twitter the Young” by Jan Steen, says a lot about the excesses inevitably resulting from prosperity. It features three-generations of a family, raucously laughing, smoking, singing, and celebrating the baptism of the youngest offspring. Apparently the artist had an ironic sense of humor, as well as a moralizing message, since he included himself in the group of merry-makers, who are blithely setting a bad example for the young children in the room.

Studio copy, "Portrait of Rembrandt with a Gorget"
Rachel Ruysch, "Vase of Flowers"

I also loved the lush-but-passed-its-prime still life “Vase of Flowers” by Rachel Ruysch (a gender phenomenon in her day) and “Portrait of Rembrandt with a Gorget,” a studio copy of an early self-portrait of the famous artist, with its flattering shallow depth of field, as if it had been painted from a modern day fashion shoot.  A companion exhibit, “Rembrandt’s Century” with works on paper largely from the Fine Arts Museums of San Francisco’s collection, sheds further light on the Dutch Golden Age and its remarkable artistic achievements.

Carel Fabritius, "The Goldfinch"

***

The Columbarium is tucked away at the end of a
 cul-de-sac near Geary Blvd., with free parking for visitors.
While in San Francisco for the day, I also visited the Columbarium, a hidden gem I’ve wanted to see ever since I heard about it. A repository for human ashes, this impressive Neo-Classical building is not far from the east end of Golden Gate Park. Built in 1895, the Columbarium was once part of the Odd Fellows Cemetery which spanned 167 acres of prime Richmond District real estate. When the city passed an ordinance in 1902 prohibiting the further sale of cemetery plots, the Odd Fellows established Green Lawn Cemetery in Colma and began the momentous task of transferring bodies beginning in 1929. The Columbarium (now owned by the Neptune Society) is the only remaining structure from the original cemetery, and I’m sure it was spared because of its enchanting, anachronistic beauty. 

Niches from floor to ceiling line the rotunda and the circular hallways
 that follow the circumference of the building on three separate floors.


The three story domed building contains 8,500 niches, of which a few are still available. The niches are placed floor to ceiling in circular hallways and small rooms. Beautiful stained glass windows grace the vaults and dome, and the niches range in size to accommodate the great variety of urns and chests containing ashes. Some niches are sealed, but those with glass windows allow you to view not only the urns, but various other remembrances of the dead, including photographs, personal belongings and other memorabilia. Many of the niches were purchased and sealed 100 years ago, but others were more recently acquired.

Lovely stained glass windows grace many of the vaults.
At times, because of the circular, symmetrical nature of the building, I lost track of where I was and how I entered—a metaphor for the never-ending fate of the ashes themselves. Notable internments (or memorials) include Chet Helms (music promoter and father of San Francisco’s 1967 “Summer of Love”); Dorothea Klumpke (astronomer and mathematician); and Harvey Milk (first openly gay man elected to public office in California).

***

After writing about my online family history research last month, readers Bill Delaney and Susan Alland filled me in on some local genealogy resources. The Genealogical Society of Santa Cruz County has a library, located on the ground floor of the Santa Cruz Public Library, 224 Church Street, which houses microfilm of local newspapers back to the early 1800s; close to 10,000 books; computer access to Ancestry.com library edition and Heritage Quest (available at all branches); and volunteers to assist patrons in their searches.  The Genealogy Library is open during library hours and staffed with volunteers from 10:00-12:30 and 1:00-3:30 each day to assist patrons with their research. Go to www.scgensoc.org for information about the Genealogical Society’s monthly meetings with expert speakers open to the public. The Watsonville Library has an upstairs history room with many of the same resources.

Tina Baine
For an archive of my columns go to www.tinabaine.blogspot.com

The Neptune Society Columbarium of San Francisco
One Loraine Court, San Francisco
Monday - Friday, 8 a.m. - 5 p.m. 
Saturday - Sunday, 10 a.m. - 3 p.m
www.californios.us/columbarium/


Girl with  a Pearl Earring
Dutch Paintings from the Mauritshuis
de Young Museum, Golden Gate Park, 20 Hagiwara Tea Garden Drive, San Francisco
Tuesday – Sunday, 9:30 a.m. – 5:15 p.m.
Friday (beginning late March) 9:30 a.m. – 8:45 p.m.
deyoungmuseum.org
415-750-3600