The Conservatory has a celestial motif in the leaded windows, which is carried through in the railing panel design.
I cut multiples of each panel from chipboard on the Cricut Maker. (Side note: I get the best results from editing the cutting presets, after a test cut on my chosen material.) I decided on a double, rather than triple layer, to lessen the alignment errors.
I used a lamination technique I learned from the talented Heather Tracy at Thicketworks. She uses thin cyanoacrylate on her intricate chipboard pattern pieces to seal, strengthen and stabilize the material. When dry they are easily sanded and very, very hard, and take acrylic paints beautifully.
To learn the nuances of the technique, I used one of Heather’s patterns she generously makes available free of charge. (She also has an Etsy shop, a YouTube channel of tutorials, and a maker club.) I made the blue wheelbarrow first, and then the red, slightly improving my results. It is a worthwhile technique, but messy. (Also, to me cyanoacrylate is one of those devil’s bargain products.) If you’re not familiar with Heather’s work, I encourage you to check it out!
After sanding the panels smooth — paying particular attention to the outside edges — I glued (using wood glue) them into post and rail surrounds.
These were then joined into the L-shaped railing.
I sprayed the assembly with multiple light coats of matte black primer + paint, to seal and increase attachment bonds. After the glue and paint cures overnight, I’ll finish sand it and paint a final coat, then give it a matte seal.
I like a good wide top railing, for cats to lounge, elbows to lean, and drinks to be set upon, so I used 3/4- by 1/8-inch basswood. Thinking now of bracket designs to be cut from card stock to attach the railing securely to the deck, but that’s for tomorrow.
Having just finished watching the Amazon series Tales From The Loop, I’ll leave you with this image of Point Montara Light.
Late one night I decided to dry fit the HBS contest base because I needed to look at something new. I like the kit, but am undecided if I can responsibly build it. Ideas abound, and it’s currently on a turntable next to the studio thinking couch. It also makes a grand morning coffee cup platform.
Here’s a glimpse of the under-pier, under-stair Sea House Conservatory setting. Barnacles by Keli, air-dry clay boulders, and flotsam from the natural and manufactured worlds.
When I saw just how much of the low tide water is in the shadow of the Conservatory structure, I thought some bioluminescence might add charm. This is four flickering LEDs set in the back corner, under the pier.
The effect is subtle, but smile-worthy, especially in the dark.
Here’s a shot of preliminary bulb placement. You can see some of just how much is unseen.
A night view of the mystery.
I indulged the rare decorative impulse to design pier piling hardware that echoes the Conservatory finials.
Oh wait, another what-lies-beneath shot.
This was one of my birthday views, taken from Point Montara Lighthouse in early March, on a day-long field trip with my Greater Farallones Naturalist class. There was a large pod of dolphins cavorting not far offshore, visible through the very many pairs of binoculars and spotting scopes.
The pandemic was already getting real, but that was the last time I sat by the ocean, side by side with my classmates, eating our bag lunches together in the intermittent sun and light rain.
Here’s an image from a series Keli and I have been punting about. It started when Keli found a scale model canoe builder in Maine who makes these beautiful 1:8 paddles. We each bought one and the challenge is on Instagram #littlepaddletales and #paddlehomage. It’s been fun.
Although this photo was taken during high tide, this is the water feature look I want to emulate on the Sea House Conservatory low tide build.
After watching countless hours of video demonstrations from a variety of sources, I started my experiment with a small area at the front of the Leadlights landscaping that seemed natural for a water incursion. I glued a 2-inch tall length of acetate to the project board to form a dam, several inches longer than the intended 4-inch-wide pour, reinforced with masking tape below and tape holdfasts above.
Several deep breaths and I poured a scant quarter-inch of Realistic Water ™ from Woodland Scenics into the prepared area. Recommendation is an eighth-inch, but hey, it pours fast. So far so good.
I did the same prep on the Conservatory project board.
One tricky situation encountered is when any element of the landscaping extends past the base, even a little. I had some time to consider ways I will do it differently next time, as I held the acetate to the base while the glue set adequately.
When the glue seemed set, I boldly — yet delicately — poured the first course of water into the prepared base. Altogether, five or six individual glugs into each tide pool and basin.
Unsurprisingly, as I looked and marveled at the swampy effect and the no-going-back-nowness, a few small, very slow leaks began to develop. I used wide painter’s tape to further seal — more on that later — the acetate dam to the base. Checking again about two hours later I added more tape, and also noticed a few small areas where the glue I had used to cement the gravel and boulders to the base seemed to be turning opaque white.
The recommendation for the water product is to let each layer dry at least 24 hours. It was very late by this time, so I called it a night very early morning and went to bed.
Next morning, not 24 hours later, I was encouraged to see the water was turning clearer, but the small white areas were still present, noticeably in the transition areas of gravel I had applied a few days earlier.
So I re-read the product label instructions.
Not for use with PVA glue. I’ll shorten my whole lengthy tirade — who doesn’t commonly use PVA glue? Why wasn’t this the very first caveat on the label, and why was this condition never mentioned in any of the company’s instructional videos on use of the product, etc… and lots of swears and unkind, rude assumptions and declarations. But then there was the offhand “Cure above 70°F.” Thankfully I have a wise and patient bitch buddy to vent to with whom I can vent. You know who you are are.
Then I calmed down enough to embrace that since there was nothing I could do about it now, I’d wait and see what would continue to happen. After all, it had not been even 24 hours yet, and it is a rather larger area and blah, grumble, blah.
I wasted more time did more research on pouring water, this time with a variety of mediums and preparation techniques, and even grubbed around in some forums, which I detest, and learned that yes/no there are some/not any problems with PVA glue that can be gotten around by sealing everything with — and here again suggestions vary — some sort of varnish, and, most valuably, some clever ways to build and seal dams for water feature success. One involved swamp water.
Time passed, and my watery problems with this product mostly resolved themselves. I continue to steep myself in the experiences of others.
I did a second pour on Leadlights, and a second and third pour on areas of the Conservatory. Above you can see the dam removed to reveal the fully cured water. (One of the plants bled a little color into the water, but I don’t mind.) I wanted a “live edge” to the water, and used an Xacto knife to carve away the lip. The project base itself will be edge-banded with thin basswood for a finished look :)
All in all, I am happy with and consider the results a success. I’ll know so much more on the next one.
Check out the light shimmer on the right pier piling, a reflection from the late afternoon light. Magical realism, which validates my efforts :)
I’ll leave you with this image found in Bolinas, on the estuary marsh/riparian transition on a winter afternoon hike at low tide. (Very low and long ago for this guy.)
In preparation for creating the tidal water surge under the Sea House Conservatory, I mixed up a nice ocean green base color and painted it generously on the project board. I made sure the whole 26 x 20-inch base — foam cliff landslide, boulders, cobble, gravel, old tiled patio — was well-sealed with glue or paint to prevent water leaks. Two-inch tall heavy acetate strips were cut, ready to glue to the base to form a (removable) perimeter dam.
I estimated an area about 18 by 18 inches would be covered an inch deep, then used the Woodland Scenics water estimator to see how much product I needed to buy. Two, maybe three bottles?
Um, no. No, no, no. Depending on whether I chose “Realistic ($24 for 16 ounces)” or “Deep Pour ($30 for 12 ounces)” the estimated 180 ounces required 12 or 15 product bottles, costing a total of $288 or $450. For a feature, however awesome, mostly obscured beneath the Conservatory deck, this makes no sense. Back to the proverbial literal project board to drastically reduce surface area.
After fashioning more florist foam into reefs and rocks, I glued them to the project board.
Starting this time with black Model Magic, I forged another batch of accent rocks.
The foam shoreline formations were generously sealed and detailed with a few shades of warm and cool gray acrylic and stabbing holes with a pointy thing. All base edges were given a transitional application of gravel, cobble and accent rocks. These were allowed to dry, excess gravel brushed out, and the process repeated.
“What are those white cone things?” I can hear those of you looking at this photo on your phone exclaim. What, yes! Those white things are perfect barnacles, crafted by Keli of iseecerulean.com.
(I am not ungrateful. We have a longtime water-influenced exchange going on.)
I did a final brushing and shaking off loose gravel after the glue dried over my (1:1 life) front deck, just as the sun was setting.
You know how it is when maybe you fall a little bit too much in love with your build? That’s how it is for me right now with these sunset light photos. I have about a dozen that made first, even second cut, and they are all epic. One more, please indulge me.
I sighted through all the open viewpoints, and as I mentioned earlier, most all will be obscured once the Conservatory is in place. But I know, and now you do too, what lies beneath.
I bought two of Kris Comapas’s Estate Chair kits because I wanted to use more of this thrift store dress fabric, which I love.
It’s a rather large scale print for miniature upholstery, as well as being a very fine and lightweight fabric, but did I mention how happy it makes me feel?
Kris includes good instructions and cord to make fabric-covered piping in her kits, but I generally prefer a twisted cord made from 3 strands of embroidery floss.
Here you can see my associate K-2SO inspecting the floss piping with his massively articulated fingers. (I love him, too.)
I find attaching tiny piping gracefully onto miniature upholstery to be a tedious task, so I’m putting it off until I feel more… um, articulated dextrous. And patient.
The Leadlights design studio also has a new chair. Makes it look way more office-y, don’t you think? I’m really pleased with the level of quality and detail in this chair. (Ack! This photo also reminds me I want to finish tricking out the desk accessories, and to trim that orange bookmark on the last-minute-made sketchbook!)
Work continues on the Sea House Conservatory build, with a sea level rise remediation support pier in place.
Geologic rock and boulder construction is underway. My preferred material — think I’ve tried just about all of them — is Model Magic air dry clay, made by Crayola. It is lightweight, inexpensive, readily available, pleasant and responsive to sculpt, accepts all kinds of pigments well, and dries with virtually no shrinking.
With this last batch of rocks, I experimented with adding black acrylic paint or India ink to the white clay before sculpting. One batch had fine black gravel mixed in. The paint or ink initially made the compound stickier to work with, but it was nice to start with a pre-tinted base. These have green and gray washes spritzed on. When dry (takes a day or two depending on size and relative humidity) with a fine brush I painted the surf erosion holes and granite veins with white acrylic, diluted 1:1 with water.
As I was ordering new clay, I learned Model Magic also comes in black, gray, and “Earthtone, Bisque and Terra Cotta”. So stoked to use these colors on the next exploratory rock and boulder sets.
The finished rocks are slicked with a satin multi-purpose sealer, as they’re meant to look wet. The final Conservatory project base will have about an inch of water in tidal flow. (I’m excited about that, too, as I’ve never worked with a “water feature” before :)
Deck planks are installed, and I’ve finally arrived at a stair design that makes sense and blends into the overall structure.
Yesterday I was at Chrissy Field in the Presidio, and took a bunch of pier photos for genuine detail ideas. It was a perfect winter’s day, cool, clear and sunny, with very little breeze.
The Sea House Conservatory removable plexiglass and faux iron beam roof is assembled. It is supported by iron pillars and wood siding painted N-C16 Midnight Stroll by Clark+Kensington. I made new finials from wooden beads and toothpicks.
Where the two corner beams met the center beam and roof ridge there was an inelegant gap, so I cut iron brackets and bolts from two layers of black card stock, to reinforce both the roof structure and the illusion :)
The fireplace and hearth underwent yet another color change. I wanted something more working/utilitarian looking, less living-roomy. Picture the chaise draped in reference books and aprons and a seaweed drying rack hanging from the rafters.
Turning my attention now back to the many windows, cutting the original kit grid mullions out of the frames with a Dremel. Tedious. Then sanding, painting, and fitting the cut leaded designs into the frames, front and back. Oh, and finishing (but not mitering) the outsides with 1/16-inch square trim. Ugh.
We’ve been getting breaks between rain storms, glimpses of the sun, and some beauty clouds.
Spent a long weekend in Santa Cruz with my daughter and younger granddaughter Ruby, while her papa and older sister Maddie were in Lake Tahoe getting Xtremely snowed on. Ruby’s choice of outerwear was her sister’s vest. Ruby on the runway.
Maddie, who turns six next month, is loving Kindergarten. Her mother shared some pages of the journals the children keep. The first remarkable is that upper and lowercase writing is still being taught — yay! So for Maddie, already proficient in capital letters, this manifesto represents challenge, learning, practice. And then the everything else: the sentiment, and the exuberantly joyful self-portrait. Perfect expression, I’d say.
I can’t compete with polar vortexes or 37 feet of snow — nor do I wish to — but it’s a bit chilly, so I made a fire. Wheelie came out to approve the primal nature of warmth and goodness, and flex her wings in the glow.
There’s a storm blowing in.
Bolstered by a double cappuccino, I chanced a walk on the beach. Observe my chilly, stubborn fingers.
Of course I got rained on and walked super briskly back to my car. Driving home, I blasted the heater and the seat warmer.
Work on the Sea House Conservatory continues also briskly, yet slowly, thoughtfully. That’s a thing, right? This photo was mid-January, when I had just completed Kris Compas’s chaise lounge kit, in a fine cotton canvas trimmed in black and cream cording. And yes, that’s the Cynthia Howe Victorian birdcage and table, finished in multitudinous coats of flat black spray paint to round out the brusque laser cut edges. Almost everything has changed since then, and I could not be happier.
2019?! This is beginning to require a lot of mathematics. For this I am very glad, because consider the options? Above are the new Sea House Conservatory leaded glass front doors. The conservatory has more of a celestial, sun and planets design, whereas the Sea House Sea Rise Pavilion, below, is all about surf froth.
I cannae help that I’m the same designer, and that all my structures are connected in long time, in location, history and circumstance. And that they’ve all been built (and rebuilt) using salvaged parts of the now venerated Sea House Pleasure Pier and Estate. Oh, what a time and place to be actually alive and doing something than whenever that was!
I finished gluing the painted paper tiles to the pattern for the Sea House Conservatory main floor.
Stoic Albie helped keep them flat, as Stoics do.
I then spent a lot of time considering how best to make the floor fit the base and carry over to outside the walls in a way that pleased me.
If I was a cat, this is how I might look pondering the options. “Why yes, that might actually work …”
As part of the solution, from quarter-inch birch ply I built a two-inch riser for the base and painted it medium grout gray. And — not because I want to relive the 1980s and feature wall faux finishes — I sea-sponged on a lighter warm gray. Mostly because I didn’t want to stare at a flat gray box. (My building process involves a lot of staring.)
Eventually, the weather/temperature/humidity cooperated and I was able to spray two good coats of matte sealer on the floor tile assemblies, prior to their grouting.
Also got a few more coats of satin antique white on the fireplace. (Built from this Houseworks Deco fireplace.) Here it is curing in the late afternoon sun, admiring its reflection in a glazed ceramic vase.
Gluing down the sealed tiles to the base. It will might make more sense in a few days when you see the whole idea. Are you really, really weary of seeing pictures of these tiles?
Then here’s a pic of Scarlett sitting next to me on the front deck yesterday, watching the sun go down (and grooming). (Her, not me. I was sipping a glass of delicious Double Brut IPA.)
This is my current design inspiration for conservatory decor. It is a Cycladic terra cotta vessel from 2000 BC — ! — found on Naxos. I’m smitten with everything about it: the spiral waters, fish, the sun, or maybe a full moon? (From Art of Crete, Mycenae and Greece by German Hafner, 1968, public library.)
A last peek at the conservatory in the night studio, with the standing walls. For now.
In real life, I’m working on a landscaping project on the side of our hillside house under the sunroom add-on. The soil is compacted and full of rubble, and I’m putting down flattened cardboard to suppress what weeds do grow, and adding top soil, compost and worm castings. There’s next to no direct sun, so I’m transplanting hardier succulent cuttings to see what will survive. They get a little leggy reaching for the light, but they’re doing all right. In September I noticed what looked like a young tomato plant growing at the back of the area, evidently self-started from the compost. When it put out flowers I was charmed; what hope and vigor this plant has! And then the other day I noticed it had made a tomato! A single, multi-lobed heirloom. In December! It’s like a miracle :)
And finally, here’s one for your reference files. Look at the beautiful rust pattern and colors on this cast iron plancha, sadly left out in the rain next to the BBQ. (Left behind when our neighbors moved, it was already warped, but was still serviceable for outdoor cooking.) We’ll see if I can bear to scour it clean, or if it joins the Things That Are Rusting collection.
I added more pattern sections to the tile floor template.
To facilitate a smooth transition between tile colors, when I began to run low on the first set I glued them randomly further out on the template to integrate with the as-yet-to-be-painted new batch of tiles.
Using the same paints as before, I splattered up a new sheet to cut into tiles.
Meanwhile, I’ve got a working idea for the back fireplace wall, so I can alternate experimenting on that with setting floor tiles.