I have scheduled two Do-It-Yourself Flagstone classes at the North Carolina Arboretum this spring.
Saturday April 21 from 9 to 4 at the NC Arboretum
Friday May 4 from 9 to 4 at the NC Arboretum
You can register via the Arboretum’s website.
In April 2010, I spent a day with photographer Steven Paul Whitsitt, touring projects I had done. Just last month the book he was working on was released by Schiffer Publishing. I am very excited by the book which is called Built with Stone: Eight Contemporary Artisans. It includes several projects, including the secretive Cabin on Mitchell’s Peak, a structural stone house I built with Fred Lashley and the Unturned Stone. The book is available from local booksellers and online merchants. There’s some amazing work in there by masons from all across the country.
In April 2012 I will again be offering do-it-yourself flagstone classes at the North Carolina Arboretum. Check back soon for dates and details.
During the installation process in Gainesville, my friend Mary Padua brought a group of students from the University of Florida to the site. She is a professor in the Landscape Architecture program at UF and a gifted designer and photographer. The students are studying implementation and construction drawings. I talked briefly about the project, about the work in general and designing with stone. At the end of the conversation, I ran through my five suggestions for young designers:
Just as a designer moving to Colorado would set out quickly to learn the local plants, learning about the local geology can be an invaluable asset. The make up of the Earth varies more dramatically from place to place than many realize. Knowing what types of rock are present, their formation and structure can help a designer choose the best application for each. The finished product is stronger and more durable and it looks like it belongs to the place it built. Also, the more you knows about the local geology, the more you can understand about the forces that will actively try to destroy your work such as erosion and earth movement.
Large architecture firms hire large builders. This is cost-effective and helps to ensure compliance with the myriad laws that control construction. But large builders don’t have the vision or the gift of invention that independent craftspeople do. Local craftspeople understand their materials intimately and create distinctive works that celebrate creativity and are meant to last. Employing local craftspeople is the sustainable choice for the economy as well; they spend their wages in their communities and often support other small businesses. Local craftspeople are a fantastic asset to the design process as well, adding a strong practical understanding to the conceptual development of an idea.
Dry stonework is the sustainable choice for landscape applications such as retaining walls, paths, patios, and steps. A well-crafted drystone retaining wall will have a smaller carbon footprint and will outlast a similarly sited mortared wall. I offer a more detailed take on this here.
There’s a misconception that modern materials and techniques are so advanced and technologically sophisticated that they can withstand any assault, resist any force. This is patently false. Water always wins. The forces of weather over time should be a central consideration in the design and implementation of every project.
I expect that most young Landscape Architects will start working in larger firms and over the early years of their design careers get practice at the whole range of design tasks. Many will, at some point, strike out on their own. It’s an amazing journey and incredibly rewarding, but it can be very challenging to start your own business. I encourage everyone to start learning their way around the business side of the design and construction trades now. Project bidding, tax issues and insurance requirements sneak up fast when you set up your own shop. Marketing is often very difficult for the self-employed. Taking classes now and reading books can be helpful. Learning by doing is best, if you can find opportunities to handle the business side earlier
Last week I traveled down to Florida and installed the “Blue Spiral” which I’ve been working on for the past few weeks.
I drove down on Monday and the stone arrived the next morning. It was a soggy day, but mild compared to the weather Gainesville had endured all summer. It never topped 90 on my whole trip, but the week before it had been pushing 100.
It took me a day and a half to pack up all the stones for travel. I used cardboard between each layer on a pallet and shimmed under stones to keep everything level and tight. Lots of strips of cardboard went between the stones on each layer, so that there wouldn’t be any movement and vulnerable points wouldn’t be broken. Then I shrink-wrapped the heck out of it. It all traveled beautifully; there was no damage to any of the 105 pieces. Thanks to Dennis at Dayrunner Systems for taking such care with my delivery.
It took three very full days to install, plus some final tweaks in Friday morning before I started my drive home. My favorite part of the installation process was seeing the stone in natural light. I had built it in the shop, but it was always deeply shaded in there, with a few florescent lights overhead. Thursday evening, when it was substantially complete and the sun was setting, I really got to see the richness of the color in the composition. It was a very gratifying moment.
Here’s the piece in its new home. I placed some sod around the edges, but I think the landscape crew will make some adjustments to that, maybe even add a gravel path. It’s sited at the Gainesville Regional Utilities Eastside Operations Center. It’s a huge new campus, with seven new buildings, all of which will be certified LEED Silver. It’s an impressive place.
On Thursday, my friend Mary Padua brought a group of students from the University of Florida to the site site. She is a professor in the Landscape Architecture program at UF and a gifted designer and photographer. The students are studying implementation and construction drawings. I talked briefly about the project, about the work in general and designing with stone. I’m hoping that someone took a picture or two that I can post here in the near future, with notes on the conversation.
I owe a debt of deep gratitude to John Hayes, the Public Art Coordinator of the City of Gainesville’s Art in Public Places Trust and his board for giving me this opportunity. I am also very grateful to Reid Rivers, GRU’s Project Manager, who was incredibly helpful and supportive in shepherding the project along.
It’s not exactly a maker’s mark, but I did sign the bottom of stone 8.1 with a Sharpie.
The Blue Spiral is an original Artwork commissioned by and in the public art collection of the City of Gainesville.
I installed this bench in a Biltmore Forest garden a few weeks ago. The supports are ‘finger’ boulders that I cut down to a suitable length. The seat itself is a step slab, precut by the quarry. It’s exactly four feet long and eighteen inches from front to back. What follows is a brief view of installing such a bench. Unfortunately, I didn’t take pictures showing how I cut the boulders down which was mostly chisel work with some grinding to take off the ugly lumps.
I start by placing the supports. The googly eyes represent the center of the holes, where we start digging. If the orientation of the bench isn’t obvious, it’s a good idea to have a piece of cardboard or paper the same size as the bench slab. A life sized template lets you twist it this way and that, until you find the place the bench wants to be.
Once the holes are dug, I drop the supports in, onto a tamped base of pea gravel. Getting the supports leveled to each other and the tops flat is absolutely crucial. I use a cup wheel on my grinder to level off the tops. This is the most time consuming part of the installation. I had tested the design and assembly in BENCHLAB, but the way the stones relate in the actual installation means this step has to be refined in situ. Happily, I like making dust.
With the supports in place, I pour concrete around their bases. The top surfaces are flat, but I have used the grinder with a diamond blade to score the tops, giving the mortar a place to adhere. There’s about 7-8 inches of stone underground.
The seat slab weighs over 500 pounds. I use a pair of pressure treated 2″ by 12″ boards as a ramp to get the stone from the truck bed to the ground. I make sure it comes down the ramp facing in the right direction, with the top up. Then we just walk it up the ramp.
The first step up is a couple chunks of 4″ by 4″ scrap. Next, we lift it up onto standard 8″ blocks. From there we step up to the 12″ blocks. At each level, we remove the previous step, so there’s one less thing to trip over. It’s a heavy stone, but we’re never lifting it more than four inches and just one end at a time. The 12″ block is close to the full height. I bring a couple of extra bits of board to place under the stone to make sure it’s above the height of the supports. You want to set the slab down on the mortar bed, not slide it across it which risks pushing the mortar off.
Full disclosure, my helper Gary was there to make this install happen. I have done it by myself, but an extra pair of hands really helps.
I put a bed of mortar across the top of the supports and we set the slab on top. To finish it out, I adjust as needed to make sure everything is level, clean up the mortar joints and re-grade the area.
Then, I test the bench.
Yup, works.
This is a photo montage/panorama of the steps I built this past winter in the Montford district of Asheville. The step treads are made of the full-color variant of Pennsylvania bluestone. The wall, columns and step risers are made of granitic gneiss, mostly from the Hooper’s Creek quarry in Fletcher. The steps and columns are mortared; the wall is completely dry. Click the image for a larger view.
Sandstone steps and wall buried in snow. Looks positively comfortable right now. Click the image for a larger view.
Last Friday I led an hour long workshop for craftspeople and artisans on how to market their work. It was part of Handmade in America’s Art, Craft and Design Expo at the North Carolina Arboretum. The main push of my talk was that marketing is education and that craft artists should focus their marketing efforts on the 3 P’s: product, process and person. I also talked a bit about setting goals, making a cohesive plan and punk rock.
A couple of weekends ago, I led a workshop at the NC Arboretum on building stone benches. First thing in the morning we studied images of various benches, stone-cutting techniques and ways to move heavy objects safely and with relative ease. Safety was a recurring theme throughout the day. After the classroom presentation, we went outside and built a free-standing bench, a style I call castle-block for the big chunks of stone that make up the supports. The bench we built is now a permanent fixture at the Arboretum, a rest station along one of the trails.
To facilitate ease of movement, we cut the big stone down in the back of my truck. In this image, Ronnie is using a star bit chisel to notch shallow guide holes in the top of the stone. This gives the drill bit a place to sit, reducing the likelihood of the bit bouncing around and scarring the stone.
Everyone got a chance to use the drill and work at cutting stone. Here Judy leans into the drill to get the proper placement.
Since our cut edges were going to be exposed, we took some time to clean up the drill holes. Here Carol is using a handset chisel to knock off the cut edge of the bench stone. We put the cut edge to the back of the bench, less visible to passers-by.
We spent some time doing bench math, designing everything so that it would be the proper height and balanced as a structure and as an aesthetic object. Here Carol measures the thickness of the slab, the starting point for figuring out the math. I handed out the following worksheet to guide the design and layout process.
By cutting it in the back of truck, we made the stone more manageable, but it was still a heavy chunk. Jason uses a rock bar to move the stone from the pallet onto the ramps we have set up. Using 2″ by 12″ pressured treated lumber as ramps, we slid the stone down to waiting blocks and from there into place.
We used mortar to set the bench. This design can be done dry, but the mortar reduces the risk of movement, particularly since the bench is in a public place.
We all felt good as we finished up. The bench looked great and we had built it efficiently and safely. It felt good to be leaving something cool and useful for everyone to enjoy. Tre and Ronnie test drive the bench and pronounce it good.
My friend Matthew in Chapel Hill sent me this image recently of Grandpa Tony’s memorial bench surrounded by spring time flowers. He mentioned that some neighborhood kids circulated a flyer announcing a lemonade and cookie sale at Grandpa Tony’s bench, suggesting it’s already become part of the character of the place. That’s always gratifying to hear.
On May 15th I’ll be leading a workshop at the Arboretum on making a stone bench similar to Tony’s.
I am starting my class prep for the Stonework Special Projects: Making A Bench session at the North Carolina Arboretum in May. Here’s a section of the slideshow focusing on making a bench in a drystone retaining wall.
The new class schedule for the North Carolina Arboretum was recently announced. I am leading three stonework classes this spring. DIY Flagstone Paths & Patios will be offered twice, on Saturday April 10th and on Friday April 16th. In the morning session, we discuss the basics of drystone flagging: necessary site prep, the principles of good structure and varying joinery styles. In the afternoon we go outside to the stone classroom and practice the essential skills: moving stone safely, shaping individual pieces and leveling the patio.
I am offering a brand new class this spring, called Stonework Special Projects: Making a Bench on Saturday May 15th. In the morning we will discuss the design and structural issues of building a stone bench. In the afternoon we will build a freestanding bench ourselves. Topics of note including cutting stone with feathers and wedges and how to move large stones safely.
Register via the Arboretum’s on-line calendar.
