Month: May 2018

There are as many ways to garden as there are ways to cook. Some folks plant neat rows of vegetables; others create geometric arrangements of herbs. Traditional ornamental gardens in our part of the world might feature forsythia, crepe myrtle and daffodils—plants that originate in Asia, Europe and other faraway places. But for gardeners sensitive to the larger systems that surround our gardens, there are compelling reasons to choose native plants: those that evolved here in our region, in concert with other native species.

One of the reasons is simple practicality. “Native plants, once established, are tougher than your average garden plant,” says Tim SanJule. He and his wife, Wanda, opened Hummingbird Hill Native Plant Nursery, north of Crozet, in 2016.

Because natives are evolved to thrive in our local soil and climate, they generally demand less coddling than exotic plants. At the Quarry Gardens—a new 40-acre native botanical garden in Schuyler—gardeners from the Center for Urban Habitats have planted thousands of plants in the last two years, but have done little watering. The bluebells, blue-eyed grass, birdsfoot violet and many other species growing there are, in the right spots with the right conditions, well-equipped to thrive.

But the greater significance of native plants is the key role they play in the abundant biodiversity of our locale. In a world undergoing widespread development by humans, says SanJule, “There’s a huge difference in the amount of wild places for wild critters—a lot less space for them to live and less food for them to eat. Native plants are the base of the food chain.”

Birds and butterflies are some of the more obvious creatures who get their food from native plants, but so do a host of other species, including many fungi and invertebrates. Mary Jane Epps, a biologist at Mary Baldwin University and a member of the Virginia Native Plant Society who sometimes leads plant walks at Ivy Creek Natural Area, points out that while threatened honeybees have been rightly getting a lot of press, they themselves are not native—and there are many species of native bees that are in even worse trouble. “A surprisingly high proportion of bees are specialized,” she says. “You’ll only see them on particular native plants.” Willows, for example, can support eight to 11 species of native bees.

If the opposite of native is exotic, it’s important to understand that not all plants originating on other continents are invasive—that is, prone to uncontrolled spreading that crowds out native species in the garden and beyond. Many species introduced to our region for one practical purpose or another have escaped their intended boundaries; some of the most notorious are honeysuckle, kudzu, Chinese privet and Japanese stiltgrass.

Yet even in a time of increasing awareness about invasives, some are still offered for sale in the garden trade. “A lot of places advertise garnet autumn olive,” says Epps. “It sounds great on paper—really hard to kill, nothing eats it, produces tons of berries…” But these are exactly the qualities that make it invasive. Other plants can directly harm native wildlife—like lesser celandine, whose pollen is toxic to bees.

The more you learn about native plants, the more the subject deepens. In his work with CUH, Devin Floyd aims for as narrow a definition of “native” as possible. A species may grow in many eastern states, but seed gathered from that plant in Pennsylvania is not genetically identical to that collected from the same species in Virginia, he explains. The geographical definition of “native” gets more circumscribed the more rigorously you consider environmental factors like geology, soil type, elevation and exposure. Ideally, Floyd tries to source seed from within a 15-mile radius of where the plant will be sited.

That said, planting natives doesn’t need to be an intimidating affair. CUH is partnering with two area native plant nurseries—Hummingbird Hill and Farfields Farm—to produce plant specimens with as local a genotype as possible. These could become important resources for gardeners around here who otherwise may have trouble sourcing some native plants at all, much less from local seed.

Start small by adding a few plants to your landscape that are known to benefit wildlife. One of Hummingbird Hill’s bestsellers, says Wanda SanJule, is mountain mint. “It’s a pollinator magnet,” she says. “It blooms like crazy, it’s pretty easy to grow, and it doesn’t spread like peppermint.” She says native milkweeds, asters, goldenrods and sunflowers are also popular, as is medicinal elderberry. The nursery sells herbaceous plants as well as flowering shrubs, small trees, ferns, vines, grasses and sedges.

Another strategy that can be fairly simple is to choose a section of your lawn to leave unmowed. “You can mow around it and make it look intentional,” says Epps. Scatter native seeds and let the plants stand uncut through the winter. “When you do mow it, do it in March after the nesting bees do their thing and before the next growing season is upon us.”

Observing the pollinators and birds who interact with your native garden is one of the most rewarding aspects of growing these plants. “This is a way that anybody with access to a garden can help restore the environment,” says Tim SanJule.

Native plant resources

Hummingbird Hill Native Plant Nursery

The retail nursery is open on weekends or by appointment.

964-1034, humming birdhillnatives.com

Farfields Farm

Mostly a wholesale nursery, the facility does have occasional times when the public can buy plants on-site. Upcoming events at the farm are on May 6 and May 27. The nursery will also be part of a Nelson County Master Gardeners plant sale at Devils Backbone Brewing Company on May 6. 326-2157, facebook.com/farfieldsfarm

Each season has its sounds and smells. In the quiet of late winter stinky skunk cabbage entices winged insects hungry for carrion. Spring brings birdsong and sweeter breezes although nature continues the rotting meat theme with the lurid  purple hue of paw-paw flowers. As we approach the equinox of June 21, the legendary longest day when everywhere day and night are the same length, the fragrant heady buzz of summer reigns supreme.

The peepers’ song (our little native chorus frogs) was the opening act for bees, butterflies, moths, wasps and flies that fill the air with their whirrings. From now until the first killing frost, rich odors and bright flowers with protruding stamens and landing pads of petals lure myriad flying things to pollinate vegetables, fruits, trees, shrubs and each other. In turn they provide food for toads, turtles and birds on up the food chain. Cicadas and crickets in late August and the tang of nasturtiums will foretell summer’s end.

So what does this have to do with city gardeners or even suburban and country folk who are just trying to keep everything in check and have something pretty to look at or eat? Summer’s prime directives are to feed the hungry (fertilize roses, tomatoes, annuals), water the thirsty (transplants, containers, drought-stressed shrubs and trees) and try to keep weeds from taking over (mulch with newspaper, cardboard, wood chips, and compost).

Attracting pollinators and keeping water on your property are two of the most important things you can do to achieve the first two of these ends (weeds can become a losing battle at any time). Unless you’re going to get out there with a cotton swab, all those tomatoes and cucumbers and squash, not to mention the fruit trees, depend on bees and flies and wasps, even bats, to move pollen from one plant to another. Plant flowers, give shelter, and they will come. Spray pesticides and you will kill them. A variety of native flowers like black-eyed Susan, coneflower, beebalm, phlox and butterfly weed is best, but even the much-derided Asian butterfly bush has abundant nectar and gives a twiggy home.

When you capture runoff with rain barrels, rain gardens and permeable surfaces (avoid asphalt and concrete and look to pavers or stones set in soil or sand), it’s a win-win for your landscape and the Chesapeake Bay, which does not need any more yard waste. Barrels and rooftop catchment store water for outdoor use.

Rain gardens are swaths of grasses, shrubs and perennials in low spots that absorb runoff from streets, parking areas and roofs, i.e. impermeable surfaces. Check out the Virginia Conservation Assistance Program at Thomas Jefferson Soil & Water Conservation District for cost-share programs. Rain gardens hold and filter excess water while providing space for flowering shrubs and perennials to feed the insect world. They are not neat and tidy and have a meadowish look. They generally get cut down once a year in early spring and are not heavy feeders.

The best of public plantings teach us ways to improve our landscapes. Our city is full of rain gardens when you start looking for them. From the parking lot at Region Ten on Preston Avenue to the ones at Boar’s Head by the pond and at the bottom of the County Office Building on McIntire Road, you can study efforts to hold and clean stormwater instead of dumping it in the bay.

Our shining jewel is the University of Virginia’s Dell, which daylighted part of Meadow Creek and tamed its flow into a pond (with resident egret). Plantings along its run up to the old cemeteries reflect Virginia’s different ecological regions, from waterside to foothills. A meandering path with excellent signage leads through river birch, switch grass, bayberry, fringetree, Joe Pye weed, cardinal flower, sweet fern and more. Walk right in and immerse yourself in the songs and smells of summer.

Though they’ve been around since the 18th century, painted floors (when done right) can be nostalgic, practical and surprisingly modern, says designer Franny Hurt. Back then, they were used in everything from modest farmhouses to Victorian mansions, helping to protect hardwoods before modern sealant was developed. Now they’re more multipurpose, used as a temporary (and cost-effective) solution to refinishing or replacing old floors; to ease a transition between one room to the next; or to provide visual interest in a character-less room.

“I believe that any time is a good time to experiment with paint,” Hurt says. “It’s an inexpensive, nonpermanent treatment that can be applied to virtually any surface.” And the Washington, D.C., transplant practices what she preaches: She transformed the kitchen of her own 1930s Shaker-style house just by applying a checkerboard pattern to the floor.

“Painting the kitchen floor was a referential and relevant solution,” Hurt says. “Changing up the color, scale and pattern made it feel decidedly modern and fresh.”

But what should you know before applying this technique in your own home? Choose a durable paint (Hurt says Farrow & Ball and Benjamin Moore are both good options) and think hard about the scale of the pattern: “Large spaces with small-scaled patterns can quickly look too busy and small spaces with too large of a pattern can feel cramped.” And, while it might not bother you, keep in mind that high-traffic or high-moisture areas will need touch-ups more often. “However,” says Hurt, “the patina enhances the look of painted floors, so have fun and paint away.”

How to

Use these guidelines to get started in your house. First, figure out how the pattern will lay in the space, using scaled drawings, trace paper or a computer drafting program. Next, clean the surface and lightly stencil the pattern on the floor. Tape off the lines using painter’s tape (Hurt recommends FrogTape Multi-surface), then lightly sand and clean areas that will receive the paint. Apply the paint using a brush or roller (depending on your desired effect), then seal it with a topcoat.

When your property overlooks the Moorman’s River, miles of verdant fields and finally the Blue Ridge Mountains, it seems obvious that the view is a primary attraction. Yet when one couple bought a Western Albemarle house in 2000, its siting and design didn’t do as much as they could have to connect occupants to the vista. “It was really close to the edge,” says architect Bob Paxton, referring to the spot where the land drops off sharply toward the river.

The new owners knew they would replace the house, which was a small International-style structure with a flat roof. Having worked with Paxton’s firm Dalgliesh Gilpin Paxton twice before, they also knew that Paxton and partner Roger Birle would be their go-to design team. Landscape architect Rusty Lilly collaborated to create a seamless marriage between inside and out.

“Setting the house back gives you a foreground,” says Lilly, explaining how the siting of the new house, some distance back from where the old one stood, improves on the experience of looking west. Now, a flat expanse of lawn anchors the viewer in a human-scaled outdoor “room,” with the bigger spaces beckoning from beyond.

The house is traditionally styled with an exterior of painted brick and a shake shingle roof. It’s designed along a long horizontal axis to allow many of the rooms to take in the view. “[The clients] liked classical architecture,” says Paxton. “We kept the main block very symmetrical, and then as we moved away from that, we let it meander and get more playful.”

The relationship between house and land is meant to be informal. “They didn’t want a house that appeared grand and imposing,” says Paxton. He and Birle designed the structure so that the second floor is de-emphasized within the façade, and the team made sure that guests would feel a sense of welcome. The parking court sits close to the front door, and guests’ approach up the driveway is softened by the large trees that the design team worked to save. Allowing the house to conform to the existing grade of the site meant that more big trees could remain undisturbed.

Outdoor living spaces include a pool, screened porch and uncovered rear porch. Bluestone ties all these together along with paths through the lawns and the treads of the steps leading up to the screened porch. One advantage of bluestone, Paxton says, is that it can be sourced in large pieces, resulting in fewer joints and a quieter look.

“They really wanted a screened porch,” Paxton says. “We tried to put it to one side so from the main rooms, you’re not looking through the screen.” Similar logic placed the pool to the side as well, considering that in colder months pools are not especially attractive. So a “summer area” developed to one side—screened porch, with dining table, opening onto swimming pool. In season, the owner, an avid gardener, adds many containers of flowers to this area, which is defined by a black metal fence on which clematis and other vines grow.

That allows the lawn adjacent to the main, symmetrical volume of the house to be a separate and somewhat more formal space. “The lawn creates a visual green edge,” says Lilly, pointing out that as one exits the house through the main rear door, the spaces become progressively more open: from interior, to pergola-covered porch, to tree-framed lawn, to the sweeping view beyond.

The pergola is semicircular, its white supporting columns dividing the vista cleanly into segments. Because this porch faces west rather than south, Paxton says, it did not need a solid roof to protect it from the sun.

Two cutleaf Japanese maples flank the porch—they were moved to their present locations from elsewhere on the property, and Lilly can vouch for their age since she remembers them being planted when she herself, coincidentally, lived in a rental cottage on this property for several years in the late 1960s.

They stand within a symmetrical composition of plantings that Lilly designed to complement the balanced architecture of this portion of the house. Crepe myrtles, boxwoods and andromeda set a palette dominated by green and white. Boxwood and slender deutzia define the perimeter of the lawn, while fragrant sumac populates the slope below it. “The way Rusty picks and locates the plant palette, as it comes out of the natural woods and moves into lawn, it’s seamless,” says Paxton. The sumac is low to the ground in winter, its less appealing season, but visible to those strolling the lawn in summer, when it’s more attractive.

A pair of white-blooming spirea bushes signal the entrance to a path around the side of the house, where Kousa dogwoods, hydrangea and more andromeda and spirea await. Lilly prefers a limited group of plants, with species planted in masses for a cleaner, less spotty look. Yet this property is extensive enough to allow room for various islands of ornamentals: forsythia along the driveway, camellia in a protected spot near the house, hellebores and daffodils near the parking court.

The landscape here is primary, both outside and inside. “We’re always trying to bring the landscape indoors,” says Paxton. Inevitably, this landscape must also invite people out.

Three decades in one house makes some people set in their ways, but, for others, it ends with an abrupt change. Tom and Carolyn Frazier had lived in Northern Virginia in a “typical, traditional D.C. house,” says Carolyn, and when they reached retirement they were ready for something “totally different. We wanted something modern and open.”

After searching unsuccessfully for an existing house in Charlottesville, they found a lot in Nellysford’s Stoney Creek development, facing the golf course and the Blue Ridge. “No matter where you look, you can see the mountains,” says Carolyn. A plan they found for a contemporary farmhouse seemed to suit the site well, and contractor Jefferson Area Builders helped modify the details to cater to the Fraziers’ needs and tastes.

“We wanted to keep it simple and elegant, with clean lines,” says Carolyn. The previous house had lots of traditional detailing—chair rails and so forth—and was filled with family antiques and other traditional furniture. The couple now craved a crisp, almost minimal look.

The house plan called for a great room with a very high 18-foot cathedral ceiling, and for that large main space, “Tom wanted white walls,” says Carolyn.  “It’s the simplicity,” he says, explaining why he stuck to his guns even when interior designer Alexandra Bracey, of Bracey Designs, suggested some gray in the space. Instead of color on the walls, then, she introduced grays and a bit of red-orange via the furniture and accessories: sofas from Theodore’s in D.C., a pair of Design Within Reach chairs and a rug from Matt Camron (also in D.C.).

The fireplace is a minimalist design dwarfed by the stone chimney that extends the full height of the great room—a major architectural element in itself. Three small clerestory windows also emphasize the room’s lofty height, as do the exposed beams near the shiplap ceiling. The seating arrangement sits between two facing rows of French doors, an invitation to natural light and an homage to the view.

In the kitchen, white and gray granite countertops provide very generous workspace; there’s even a lower, table-height section of countertop tucked into a windowed nook. “I like to spread out when I cook,” says Carolyn—yet the ample storage in this kitchen means that when she’s not cooking, there is virtually no clutter on the counters. A dining table custom-made by Shenandoah Furniture Gallery overlooks the golf course; pantry, broom closet and mudroom are found down a short hallway, nearly out of sight.

“We were looking for something livable on one level,” says Carolyn, “that could accommodate our kids and grandkids upstairs.” Besides the great room, the other main living spaces for the Fraziers—master suite and den—are nearby on the first floor. The den is an appealing space, with a sliding barn door, blue walls and a second fireplace. Bracey sourced a teak root coffee table from Jayson Home and suggested a cowhide rug layered over a sisal rug. Tom’s collection of antique maps fills one wall.

Some of Bracey’s design recommendations were bold: A powder room features tree-patterned wallpaper and a very modern bare-bulb light fixture from Lambert et Fils hangs in the stairwell. In the master bedroom, a midcentury modern dresser was refinished, its drawers painted light gray, by Martha Leone Design in D.C. The rug was created, in a custom smoke-blue color, by Timothy Paul Home.

Upstairs, the three bedrooms and two baths each have their own wall color, but the hues are compatible: Together, they form a palette of soft grays, blues and sage green. “The rooms work cohesively,” says Bracey. “I am a big fan of softer, soothing colors—colors without a lot of yellow,” fortunately also the one shade that did not interest Carolyn.

Very few pieces of furniture traveled with the Fraziers from their previous home—a small writing desk that’s now in the grandsons’ bedroom and a white canopy bed that’s unfussy enough to fit perfectly into this contemporary house. They’re joined by new pieces including iron twin bedsteads for the kids, tall glass cylinder lamps from Arteriors and custom patterned window treatments.

Planning and outfitting the house was a yearlong project for the Fraziers, but Carolyn says the pleasure of living in a totally fresh environment was well worth it: “We got what we wanted.”