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Rosslyn Redux – Page 23 – Reawakening a home, a dream and ourselves

Blog

  • Toward a Barn Vernacular

    Toward a Barn Vernacular

    Barn Vernacular (Source: Geo Davis)
    Barn Vernacular (Source: Geo Davis)

    I’ve talked around my fascination with barns, barn architecture, barn construction, and barn aesthetics for long enough. But I haven’t outlined the tenets for my enduring intrigue, nor have I articulated exactly what I mean when I refer to a barn vernacular. It’s time to draft at least a preliminary look at my love of barns. I’ll circle back as I achieve clarity, but in the mean time, I’m going to venture into the white space, plant a flag, claim the territory. Excuse the untidy, incomplete effort. For now. In time I hope to revisit and expand this post, but I’ll start today with a precocious first foray toward a barn vernacular.

    Barn Vernacular Haiku

              Barn vernacular,
              so utilitarian
              and so efficient.
              — Geo Davis

    Yankee Barns

    In the vernacular vocabulary of quintessentially North American architecture, the barn endures as a practical yet proud icon of rural living. First and foremost a utility structure, the barn evolved to maximize usability while prioritizing efficient construction, cost, and maintenance. Barns have evolved regional and agricultural nuances to accommodate local materials, agricultural use, and climate but the fundamentals are similar. In the northeastern United States consistent elements, volumes, geometry, and even materials appear in many barns. Although history offers various compelling variations such as gambrel roof barns and round barns, one of which existed in Essex in the 1800s, these are not as compelling to me as the traditional New England or Yankee barn. Its familiar austerity, tidy efficiency — and I would argue — its exceedingly pleasing utilitarian aesthetic have appealed to me for decades. Based upon my personal experience it feels like the quintessential barn.

    Although the term, “Yankee barn” is often associated with the customs timber frame home building company, Yankee Barn Homes, I’m harkening back to an earlier and broader style of barn architecture.

    In New England, English barns were further adapted into larger, timber-framed structures, which became known as the Yankee barn. Yankee barns have large sliding doors on either of the gable ends, with large areas for livestock on either side of a central hallway. Overhead lofts allowed for convenient hay storage, and oftentimes basements were added in the bank barn style.

    Yankee barns, also called New England barns, allowed for more cattle to be housed, and were the first step in a continuing trend of larger barns to accommodate more animals. (Source: History of the American Barn – Grit

    Well proportioned, not only for agricultural utility but also in a more classic architectural sense, the Yankee barn was well built. The gabled roof was pitched to shed rain, snow, and ice during inclement weather. Positioning the principle entrances at the gable ends proved especially practical in rainy, snowy climates, allowing convenient access without needed to contend with ice and snowbanks collecting rom the roof. And traditional post-and-beam construction was well suited to the punishing loads and the swings in temperature and humidity to which the historically hand-hewn beams easily adjusted again and again over the years.

    Here’s another overview of Yankee barns.

    Yankee Barns (beginning ca. 1820s) In these barns, the main entrance is on the gable end and the drive bay parallels the ridgeline. Yankee barns usually have a larger footprint than English barns, and are characterized by sawn timbers (circular or water-powered up-and-down), large doors on either end, roofs at half-pitch (45 degrees), and stables along an eaves’ wall. They are sometimes banked with a basement level, and were often expanded by adding additional bays to the rear gable end. Rooftop cupolas and added windows help with light and air flow. Metal roofs became standard in the late 19th century. (Source: New Hampshire Preservation Alliance)

    Although my fascination with barn vernacular isn’t limited to Yankee barns, it is my most consistent and encompassing vision. For now, at least, I’ll narrow my inquiry and reflection to this general design.

  • Garapa Decking 2008-2009

    Garapa Decking 2008-2009

    I left you wondering, patiently waiting for a couple of weeks after the “Deck Rebuild” update. I promised a post specifically focusing on the garapa decking, but days turned into weeks, and no garapa gallery. Sorry. Rest assured it was an act of omission, my friends, not an act of commission. (Maybe “fall” earned its name as an abbreviation for “falling behind”?)

    Before 2022 re-decking… (Source: Geo Davis)
    Before 2022 re-decking… (Source: Geo Davis)

    But you needn’t wait any longer. Patience is overrated, and the new deck “eye candy” is ready. Pictures aplenty coming your way shortly, but first a little backward glance to Rosslyn’s first garapa deck waaayyy back in 2008-2009. You see, this newly completed deck is a redo of the same deck and decking completed during our epic rehabilitation project a decade and a half ago. 

    So, without further ado, let’s look at the first iteration of Rosslyn’s garapa deck.

    Garapa Decking v1.0

    Let’s start by rewinding the timeline to 2008-9. Building the new deck and installing garapa decking was the proverbial caboose in a virtually endless train of construction that started in the summer of 2006. And with winter upon us, December days flurrying past, the year coming to an end, carpentry conditions deteriorating rapidly, and the risk of missing yet another deadline, we were pushing hard to get the deck complete before 2008 morphed into 2009. Fortunately most of our crew had been with us for years and they were really, really good sports about giving everything they had to finish the year with a completed deck.

    Although the deck had been underway for many weeks at this point, let’s start with a couple of cold and drizzly December 10, 2008 snapshots.

    Doug's Decking Tent, December 10 2008 (Source: Geo Davis)
    Doug’s Decking Tent, December 10 2008 (Source: Geo Davis)

    This makeshift weatherproofing was an attempt to endure the increasingly cold and wet conditions as autumn gave way to winter. Decking was closer, closer, sooo close,… but not yet done. And the damp child found its way into every every gap between clothing, up sleeves, down collars. Winter’s warning was everywhere as the team hustled toward the finish line.

    Wondering about that smiling, blurry apparition at the left? That’s Doug Decker, hustling to keep warm. (And his colleague, partially concealed beneath the tarp, is Jonathan “Boulder” Schier.)

    Here’s another glimpse of the challenging conditions the crew endured during the final stretch of the garapa decking project almost fourteen years ago. It’s not east to discern but Doug’s under the tarp tent working on the stairway.

    Decking Tent on Rainy Winter Day, December, 10 2008 (Source: Geo Davis)
    Decking Tent on Rainy Winter Day, December, 10 2008 (Source: Geo Davis)

    Of course, the only way to make these drizzly early December conditions look pleasant is to leapfrog forward to December 22, 2008.

    Installing Garapa Stairs on December 22, 2008 (Source: Geo Davis)
    Installing Garapa Stairs on December 22, 2008 (Source: Geo Davis)

    You might almost miss freezing rain once a couple feet of snow have blanketed the North Country. In the photo above, a dauntless carpenter (either Kevin Boyle or Warren Cross, I believe, though perspective and bundling make me uncertain) is scribing and installing garapa treads, the final step to completing the deck. And despite the snow, it’s sunny and he’s dressed for success. This is certainly one of the downsides of installing a deck so late in the season (and one of the upsides of having such an amazing team of carpenters, willing to do whatever it takes to get the job done right and on time!)

    Garapa Deck, January 1, 2009 (Source: Geo Davis)
    Garapa Deck, January 1, 2009 (Source: Geo Davis)

    What a perfect way to start the new year! Garapa decking installation complete; access to and from vehicles, garbage and recycling shed, side yards, safe and convenient; and an absolutely breathtaking addition to the property, transitioning perfectly from interior to exterior space.

    Garapa Deck, February 2, 2009 (Source: Geo Davis)
    Garapa Deck, February 2, 2009 (Source: Geo Davis)

    One month later Rosslyn’s garapa deck looks as if it’s always been there. Patinated perfection. Still unsealed, waiting for more forgiving conditions, but that too will happen in due time. (Although it’s an off-topic segue, I will revisit this period between garapa installation and sealing down the line. There was an unfortunate hiccup that required attention, but — spoiler alert — it wasn’t actually caused by the gap between install and oiling. Another gap was the culprit…)

    Wayne Gryk Sealing Garapa Deck, September 19, 2009 (Source: Geo Davis)
    Wayne Gryk Sealing Garapa Deck, September 19, 2009 (Source: Geo Davis)

    Friend and jack-of-all-trades-master-of-many, Wayne Gryk tackled the challenge of sealing the garapa decking 9-10 months after installation. He’s an artist, a perfectionist, a productive and diligent finisher, and exactly the right person for the final step in Rosslyn’s [first] garapa deck.

    Home stretch… One of the boobytraps of sealing a deck is maintaining house access. It’s easy to accidentally close off entrance and egress without forethought about how you’ll access the dwelling while patiently swaying the often lengthy cure time. Fortunately this isn’t the sort of drama Wayne delivers

    Sealing Garapa Deck, September 19, 2009 (Source: Geo Davis)
    Sealing Garapa Deck, September 19, 2009 (Source: Geo Davis)

    Wayne proceeded strategically, leaving a small unsealed “pathway” on the deck for us to enter and exit until the newly sealed decking had dried sufficiently. Once we could switch to another doorway, Wayne finish up the last little bit. In the photo below he’s almost finished, but you can already see the glorious accomplishment.

    Wayne Gryk Sealing Garapa Deck, September 19, 2009 (Source: Geo Davis)
    Wayne Gryk Sealing Garapa Deck, September 19, 2009 (Source: Geo Davis)

    At this point it’d be reasonable to fast-track from 2009 to the present, 2022. With a newly rebuilt deck, brand new garapa decking installed, and a fresh coat of oil accentuating the unique color and grain of the garapa, it’s a site to behold.

    But before showcasing the new decking, I’d like to make a quick pitstop on November 25, 2016 which is a handy example of the results of resealing our first garapa deck. Let’s start with a high sun, midday look across the deck shortly after oiling.

    Resealing Garapa Deck, November 25, 2016 (Source: Geo Davis)
    Resealing Garapa Deck, November 25, 2016 (Source: Geo Davis)

    You’ll note the considerably darker decking in the photo above. This is not because we used a dark pigmented sealer (we have always used clear sealers). It’s the effect of graying as the deck ages. We generally allow a few years between resealing, in part because we actually really enjoy how the gray patinated decking looks next to the Essex quarried limestone (aka Chazy limestone) walls. But a sealed deck is better preserved against the snowy Adirondack winters, so we reseal in service to longevity. In this photo you can see how much depth and character the garapa exudes as it matures. Each season offers intriguing nuances to discover and appreciate.

    Resealing Garapa Deck, November 25, 2016 (Source: Geo Davis)
    Resealing Garapa Deck, November 25, 2016 (Source: Geo Davis)

    The same deck, the same day, viewed from another angle highlights the honey and maple syrup range of Rosslyn’s garapa deck approximately eight years and several resealings after her debut.

    In more recent years we allowed the decking to gray without resealing because we knew that the substructure was failing and deck replacement was iminent. In preparation for our summer 2022 deck rebuild we carefully salvaged all of this original garapa decking, and current experiments are underway to determine the most appealing adaptive reuse in the new icehouse project. (I’ll post an update on that soon!)

    Next up? Installing garapa decking on the newly rebuilt deck!

  • Phoenix Rising

    Phoenix Rising

    Phoenix Rising: Entrancing Icehouse Entrance (Photo: Hroth Ottosen)
    Phoenix Rising: Entrancing Icehouse Entrance (Photo: Hroth Ottosen)

    Hroth sent me the photograph above so that we could troubleshoot some subtle details for the old/new icehouse entrance and the relationship between the door and the still-to-come exterior landing. I think we’re 99% in sync, but we’ll hash out the details tomorrow so that we’re 100% in sync. In the meantime, I’m enchanted with this photo. The significant evidence of progress toward a new chapter in the life of Rosslyn’s icehouse. The new floor visible within. The shadowed but perceptible interior framing for windows and doors on the far western elevation. A through-view of the area west of the icehouse where lie the gardens and orchard, and where — on a less overcast day — the sun will set into Boquet Mountain a few tree lines beyond Rosslyn’s meadows and woods…

    Entrancing Icehouse Entrance

    Ever since 2006 when we removed the existing windows and closed up the gaping openings on the north and south elevations of the icehouse in order to re-stabilize the structural integrity of the building, this handsome edifice has been a shrouded utility building primarily employed for off-season storage of deck furniture, hammock stands, unused building materials, and almost decades’ worth of architectural salvage.

    But the vision illuminating our rehab project is of a light filled space, a delicate balance between the finite volume of such a small structure and the uninhibited openness of vaulted ceilings and generous fenestration. Rosslyn’s icehouse is mid-journey between dark and constrained to light and open. It’s a transformation from merely functional to inviting, inspirational, invigorating, and multifunctional. A tall order? Perhaps. But the photo above suggests to me that we’re heading in the right direction.

    Phoenix Rising: A Haiku

    Auburn and umber,
    where embers are memories,
    phoenix from ashes.
    — Geo Davis

    This micropoem draws upon the hues of the nearly century and a half old building, naked without siding, textured with time. And it associates these with earthen pigments and with the fading signs of fire. Ashes. Memories. On the one hand this photograph captures a moment on the quest for redemption. Rebirth as a new sort of utility building, relevant in the 21st century as opposed to an icehouse no longer fulfilling its original need. On the other hand, this photograph, as a tiny puzzle piece in my ongoing conversation and collaboration with Hroth, alludes to his still recent, still raw firsthand experience with the Calf Canyon/Hermit’s Peak blaze, the largest wildfire in New Mexico history.

    Rising from the Ashes

    I detect the energy of this post getting away from me. I intended to reflect briefly on Hroth’s photo, an aperture into the icehouse itself and into the vision for its future. But I feel the mounting wind pulling free the threads of my narrative. The focus is scattered and the motif is blurring.

    A more entangled tale is untucking itself, fluttering and flapping, vying for attention. I understand that I can’t contain it forever, but I’d like — a little longer, at least — to discipline my post, my posts to march in a phalanx toward, well, toward the moment of truth. Or unraveling. Or arrival. Or departure.

    I feel the azure dome spinning overhead, and the earth below. I realize I’ve been restraining this mythological force for months, for years. It surfaces and I acknowledge it, but then hasten on. Like a hummingbird or a butterfly lighting brightly, then buzzing on, fluttering on.

    Here, for example.

    Sometimes setbacks are actually the inspiration to regroup, reboot, and outperform original expectations. Sometimes fiasco fans the fires of triumph. Sometimes the phoenix rises from the ashes.

    Icehouse Rehab 4.5: Foundation Collaboration

    And here.

    While our carpenter fiasco of the previous year might be summed up as a run-of-the-mill “crash and burn” story, this summer’s refreshing sequel was a quintessential “phoenix rising” story of mythic proportions.

    Installing Garapa Decking 2022

    Two fleeting mentions. And then this less oblique reference.

    I’m hoping to eventually persuade Hroth Ottosen to share his very personal decision to roadtrip east from Santa Fe… after the 2022 catastrophic wildfire season that ravaged the southwest… Hroth reminds us that it is possible to emerge from calamitous circumstances braver, wiser, stronger, and freer than we were beforehand… Like I’ve already suggested, a phoenix rising from the ashes!

    Installing Garapa Decking 2022

    But now I’ll abbreviate this reference to Hroth, as the story is his to tell, if and when he’s ready. Instead let’s bring some semblance of closure to this curious clutch of field notes.

    What Does Phoenix Rising Mean?

    Without further muddling the message, I’ll step back and offer a sounder source.

    To rise like a phoenix from the ashes means to emerge from a catastrophe stronger, smarter and more powerful. An example of rising like a phoenix from the ashes is someone who opens a new, successful business after his previous business has failed. Another example is someone who builds a new house after his previous house has been destroyed in a tornado.

    (Source: Rise Like A Phoenix From The Ashes)

    Familiar? Here’s a look into the mythological origins of this familiar “born again” story.

    The phoenix bird is a mythical bird from Greek mythology. It was a feathered creature of great size with talons and wings, its plumage radiant and beautiful. The phoenix lived for 500 years before it built its own funeral pyre, burst into flame, and died, consumed in its own fiery inferno. Soon after, the mythical creature rose out of the ashes, in a transformation from death to life…

    (Source: Rise Like A Phoenix From The Ashes)

    And this, for now, strikes me as a suitable spot to sidle off.

  • Fox & Squirrel

    [youtube=http://www.youtube.com/watch?v=h8vmPSvUNps]

    When I was in middle school my parents moved our family from a circa 1876 manse in Wadhams that they’d restored gradually over a decade, to a new home tucked into a tree-lined meadow near Lake Champlain.

    Formerly part of the Higginson farm, the homeowners association comprised a little over a half dozen camps and homes tucked between Rock Harbor and the Split Rock Wilderness Area. During the next two years before I headed off to boarding school this wild wonderland dished up a daily buffet of adventures.

    Recently I’ve been remembering the spring that we discovered foxes. Or the foxes discovered us. In the spring of 1985 a pair of red foxes got themselves in the family way and unwittingly lured my brother, sister and me into a full-scale Vulpes vulpes obsession.

    Red Fox Kits
    Red Fox Kits (Photo credit: Wikipedia)

    I don’t remember now if there were two or three fox kits, but I do remember that their mother would let them play around the house while she hunted for mice or freshened up the den or got her hair done or whatever it is that vixens do when they get a little time to themselves.

    The kits played and wrestled and chased butterflies and explored while we studied their every move, first from the windows and then from the open front door and then from the steps of the front stoop.

    Day by day they became more comfortable with us, and day by day my brother and sister and I grew more entranced. At first the kits were skittish but they gradually grew more comfortable with us. They tousled and nipped at each other in the sunshine a mere 6 to 10 feet away. As we became more and more obsessed with the idea of diminishing the distance between ourselves and the foxes, they too became curious about us. They watched us and came closer to sniff and inspect.

    I was 13 at the time, the eldest of my siblings, and I probably should have spent more time considering the dangers of interacting with wild animals, but I didn’t. I’d abandoned prudence and reason. The beauty and playful nature of the rapidly growing kits had swept me up, eclipsing any common sense I might have possessed.

    Red Fox cubs.
    Red Fox cubs. (Photo credit: Wikipedia)

    No doubt it was my idea to see if we could entice the young foxes into the house. Little by little the kits followed the trail of snacks placed on the steps, on the landing, on the threshold, in the hallway… We gradually lured the young foxes into the kitchen where they sniffed briefly, nibbled the snacks and headed back outside. We were elated.

    In hindsight, there was no meaningful reason to entice the foxes inside except curiosity. And challenge. And the almost primal thrill of interacting with beautiful, wild creatures.

    I’m not quite sure how we managed this without my parents realizing what was going on. Perhaps it was early on weekend mornings. I don’t know, but somehow we managed over several weeks to overcome the foxes’ sense of caution and prudence. And then the adventure ended. I’d like to think we wised up, realized the danger of befriending the kits, the danger of having their mother return when the kits were inside. But probably my parents discovered our misguided obsession and abbreviated the adventure.

    The memories flooded back this winter because that handsome (if somewhat short-legged) fox in the video clip above became a frequent Rosslyn visitor. Perhaps affected by the virtually snow-less conditions or more likely by my bride’s enthusiastic bird and squirrel feeding regimen, the fox made daily — and sometimes twice daily — tours of our front lawn. I was usually the one to spot him early in the morning while feeding Griffin breakfast, though Griffin’s attentive window watching served as a reliable early notification system.

    Handsome fox hunting for mid-morning snack. Gr...
    Fox hunting for mid-morning snack. (Photo credit: virtualDavis)

    It turns out that plump, well-fed squirrels are not only a tasty breakfast for a fox but they are also easy prey, unable to skitter up the ginkgo tree as quickly as necessary to escape the hungry hunter.

    Despite the emotionally disturbing reality of observing any predator-prey showdown, the foxes cunning and efficiency intrigued me in the way the playful kits had more than a quarter century ago. I’ll save details for another time as I know that my bride suffers these descriptions. She’s informed my on multiple occasions that our yard is a safe haven for wildlife, which is a laudable decision, but difficult to enforce. So far we’ve failed to communicate the message to the foxes and hawks… Any suggestions?

  • Boathouse Repairs 6: Northside Post Wraps Installed

    Boathouse Repairs 6: Northside Post Wraps Installed

    Boathouse Northside Posts Installed (Photo: Peter Vaiciulis)
    Supi Installing Northside Post Wraps (Photo: Peter Vaiciulis)

    With the blizzard barreling into our neck of the woods, Peter and Supi hustled to wrap up installation of northside posts before snow stalls their progress.

    Boathouse Northside Posts Installed (Photo: R.P. Murphy)
    Supi Installing Northside Post Wraps (Photo: R.P. Murphy)

    These photos give the golden-lighted illusion that work conditions down at the boathouse are temperate and eminently agreeable. Reality is a bit different, of course. Temperatures have been damp and cold. And working on a manmade peninsula out into chilly, windy Lake Champlain isn’t for the delicate.

    Boathouse Northside Posts Installed (Photo: R.P. Murphy)
    Northside Post Wraps (Photo: R.P. Murphy)

    In the photo above the copper tops are as obviously absent as the railings. I had a “tin knocker” fabricate the copper tops almost a decade and a half ago. They’ve patinated handsomely in their demanding lakeside environment, and they’ve even endured a few dings from waterski fins, windsurfer booms, etc. over the years. So replace them, right? No way! We’re carefully removing the small copper nails that secure them, and we’ll reuse them once railings are in place. As if nothing ever changed!

    Boathouse Northside Posts Installed (Photo: R.P. Murphy)
    Boathouse Northside Post Wraps Installed (Photo: R.P. Murphy)

    Northside Posts Ready for Rails

    The northside posts are s assigned and ready for Peter and Supi to install the railings. The railing components are being fabricated — almost done — and following the posts to Willsboro where Erin is priming and painting the components prior to installation. Lots. Of. Steps. Have I mentioned before that it takes a team?!?!

    Boathouse Northside Posts Installed (Photo: Peter Vaiciulis)
    Boathouse Northside Posts Installed (Photo: Peter Vaiciulis)

    That photo above shows new post wraps primed, re-sanded, and ready for another coat of primer. Then they’ll receive two coats of paint before being installed. Overkill, you’re wondering? Actually it’s future -proofing. An investment in longevity. Yes, historic rehabilitation is a perpetual balancing act between revitalizing the past and endeavoring to preserve these architectural artifacts well into the future. Onward!

  • “In Old Champlain” by Mills Brothers

    “In Old Champlain” by Mills Brothers

    "In Old Champlain", released in 1942 by Decca Records, performed by Mills Brothers, and music/lyrics by Cliff Friend and Charlie Tobias
    1942 recording of “In Old Champlain” by Mills Brothers (Decca Records, 78rpm)

    It’s time for another fun, local-ish song (or so I hope to discover) that just might celebrate the greatest of lakes, our one and only Lake Champlain. From the scarce little I’ve been able to learn about “In Old Champlain” (released in 1942 by Decca Records, performed by Mills Brothers, and music/lyrics by Cliff Friend and Charlie Tobias) it more likely pertains to a small town located near Rouses Point, New York.

    Of course, I’m not even 100% certain that it relates to either, but I’m hoping that maybe, just maybe somebody out there — you, perhaps? — might able to help solve this mystery.

    That’s right, today I’m sharing this crackly old audio recording (and an intriguing video montage based on the recording) with my perennial optimism that crowdsourcing this so far dead-ended research might illuminate it’s geographic/cartographic mooring. And I’m also hoping that lyrics — somewhat difficult to make out in this timeworn 78 — might manifest from the magical interwebs as well.

    Audio of “In Old Champlain”

    Enough with the details. “Can we skip to the good part?” No, not that good part. The poppy-scratchy but still pretty groovy 78 recording of “In Old Champlain” by Mills Brothers. Here. It. Is.

    Hope you enjoyed that. And hope even more that you (or somebody within your rhizomic reach) can demystify the where this song is celebrating. Which Champlain are the Mills Brothers singing about?

    Video Montage of “In Old Champlain”

    I stumbled across this likely answer to my question. Champlain, New York is about a 45-50 minute drive north of us, close to the Canadian border. This video montage offers a pretty convince visual argument that the song is about this town located on the western shore of Lake Champlain. But, is the creator correct? Or merely inspired by the song’s title and lyrics?

    If you enjoyed the song, spread the word. If you thought it stinks, spread the word. 😉 And maybe somebody will be able to help out. Thanks.

    https://www.instagram.com/p/CoXV6uMOzJD/

  • Tuesday Snooze-day

    Tuesday Snooze-day

    I’ve succumbed to the rhythm and rhyme of Tuesday snooze-day, not because this is an especially unusual site, Carley enjoying a postprandial siesta (after all, the same could be said of Monday, Wednesday, Thursday, Friday, Saturday, and Sunday.) But coupling the second day of the work week with the hole-up-and-play-hooky siren call of a mid morning snooze? That’s simply too intoxicating to pass up. Especially because every inch of my 50 year old frame, and the grungy gray matter between my middle aged ears are aching for a little unplug and reboot time. Soon…

    Tuesday Snooze-day: Carley enjoying a postprandial siesta (Photo: Geo Davis)

    Tuesday Snooze-day

    Snowflakes drifting
    at a remove
    of two glass panes,
    radiant heat,
    a snoring dog,
    shuffling paper,
    a cardinal
    gathering seeds,
    morning meeting
    double header,
    conference call,
    branches frosted,
    fluttering paws,
    barking in sleep,
    time to triage
    daily deadlines,
    silence ringer,
    to steal some z’s.

    If I can’t justify a Tuesday snooze-day IRL, then at least I can pen a paean — albeit a quick micro-paean — and enjoy the revitalizing bump of an imagined siesta. Ah, the life of a dog!

  • Yesteryear or Yesterday?

    Yesteryear or Yesterday?

    Yesteryear or Yesterday? Rosslyn boathouse v3.0 (Photo: Geo Davis)
    Yesteryear or Yesterday? Rosslyn boathouse v3.0 (Photo: Geo Davis)

    As I inch my way toward a long anticipated halfway point — six months of old house journaling — I’m finding that time, more than sixteen and a half years, has begun to blur. Excavating and analyzing more than a decade and a half of Rosslyn notes and artifacts and drawings and plans and journal entries has been an immersive and fascinating journey. It’s also become increasingly disorienting. Time has become unreliable. Kaleidoscopic. I find myself wondering, did that happen yesteryear or yesterday?

    Yesteryear or Yesterday? Rosslyn boathouse v2.0 (Photo: Geo Davis)
    Yesteryear or Yesterday? Rosslyn boathouse v2.0 (Photo: Geo Davis)

    If I were an historian or a detective, this protean timeline would be problematic. Big time.

    But I’m not. And the bug is beginning to feel like a feature, as my techy friends like to joke.

    Yesteryear or Yesterday? Rosslyn boathouse v1.0 (Photo: Geo Davis)
    Yesteryear or Yesterday? Rosslyn boathouse v1.0 (Photo: Geo Davis)

    Postcard of Yesteryear or Yesterday

    Three postcards above. Rosslyn’s boathouse. Yesteryear of yesterday. The version numbers tell the story, but the illusion is an invitation to join me in the timeless sanctuary which is Rosslyn, Historic Essex, the Adirondack Coast, Lake Champlain,…

    We live amidst history. Ancient history and recent history. Forgotten history. History happening anew, now. And now. Layers of Rosslyn’s past, present, and future intermingle. Sometimes they resolve themselves. Sometimes they coalesce. A kaleidoscopic collage emerges, vanishes, re-emerges transformed. Again. Timeless. A thousand iterations. More. A mercurial montage. Sequencing. Re-sequencing.

    https://www.instagram.com/p/B2-WgMcg7Ck/

    I invite you to join me at the boathouse for a midwinter mallard jacuzzi or a midsummer double rainbow. Maybe slip into the Riley for a nostalgic cruise. Backward in time. Forward in mind, interweaving our collective imagination. Windows down, wind in our hair, wandering Essex byways. 19th century and 21st century, hand-in-hand. Yesteryear or yesterday.

  • Genre Resistance

    Genre Resistance

    Rosslyn Boathouse: Genre Resistance (Geo Davis)
    Rosslyn Boathouse: Genre Resistance (Geo Davis)

    After a lengthy pause — a series of pauses, really, punctuated with intermittent updates — August 2022 marked my return to the challenge of *redacting Rosslyn* out of sprawling scrapbooks, flaneurial field notes, poetry and storytelling, lyric essays, monologues, and an avalanche of artifacts.

    One of the persistent questions that I’ve been exploring is whether or not there is a cogent (and compelling) way to weave sixteen and a half years into a single, cohesive composition, an engaging word-work worth sharing. (Truth be told, it’s actually more like twenty years since the preamble to our Rosslyn adventure is intricately interwoven with the decision to exit Manhattan and embrace our new life in Essex.)

    Ostensibly a memoir in trajectory and scope, this idiosyncratic experiment I call Rosslyn Redux is actually an anti-memoir in format and style. It’s an amalgam (my mind defaults to a book’s tidy vessel, though it’s proving overly confining in many respects) that bridges and blurs genres, that gathers heterogeneous ingredients and collages them, more buffet than entree. It’s an experiment in interstitial narrative, allowing the wholeness to emerge out of the fragments, not altogether unlike a mosaic. Or a montage. Or a sculpture… The space in-between the fragments becomes as important as the fragments themselves.

    My path forward is primarily bushwhacking. Chopping through and chopping out. Advancing by felling obstacles and skirting ravines. Navigating treetop to escarpment to promontory.

    Yes. No. And…

    My path forward is sculpting by removing. Collaging by reducing the shards to only the most relevant, discarding the rest, and then reassembling them in a “mobile” of… words.

    Yes, this intoxicatingly compelling process is also daunting. The repository of memories and essays and stories and poems and photographs and artifacts and drawings is so vast and so sprawling, that wrapping my arms around it is an almost hubristic aspiration. Obsession. Wrangling this rhizomic narrative into a tidy, chronological, page-to-page experience is at once enticing and daunting, sexy and scary, viable and perhaps beyond my capacity. But I must, I will give it one final push!

    What in the World is Genre Resistance?

    I probably mean this in the most manifesto-ing way that genres don’t exist. They don’t exist at all. They serve the needs of marketing, of academic specialization, even as modes of work, but in terms of meaning or content or associative formations they are like traffic lights—not so interesting and most adamantly not what we are doing today. Genres for me are just a way in which we are controlled, protected I suppose but I’m not a writer to be protected at all. — Eileen Myles (Source: The New Inquiry)

    Maybe this is why I’ve gravitated towards digital storytelling and blogging for so long. I don’t find it interesting to stay in my lane, to observe the rules of the road, etc. Blogging for me has been an opportunity for genre resistance since the beginning. It’s not journalism. It’s not memoir. It’s not fiction. It’s not poetry. For me. I’m not talking in overarching generalizations. Just my case. My experience. A direct-to-reader platform where I can play around and experiment and defy expectations and overlap genres and distort genres per the whims or needs of my moment, my message. And this doesn’t just go for word salad. It’s a visual salad too. A library, stage, and interactive interactive gallery. And more. Lately I’ve been experimenting with video. With audio. Experimenting. Exploring. No rules.

    This freedom to share our Rosslyn adventure per my mesmerizing muse, uninhibited, unbound, has been an exhilarating and liberating counterpoint to the often rigid structure, rules, and traditions that guided our historic rehabilitation. Untethered. Whimsical. Freestyle.

  • Undocking

    Undocking

    Undocking 2022: ready to remove the docks (Source: Geo Davis)
    Undocking 2022: ready to remove the docks (Source: Geo Davis)

    Once upon a time undocking referred to a boat pulling away from a dock, a ship disembarking from a pier. At Rosslyn we also use the term to describe the annual autumn removal of docks (and boat lift) from Lake Champlain once the boats have been hauled and we begin to prepare for the North Country wintry. There’s also a more modern conotation in recent decades that summons grainy video footage of a spaceship uncoupling from the space station, or in a more quotidian context disconnecting technological devices or applications. For me today, in this post, undocking is all of these and more, a sort of metaphorical undocking, uncoupling, disconnecting as well.

    Undocking 2022: docks removed (Source: Geo Davis)
    Undocking 2022: docks removed (Source: Geo Davis)

    Undocking v1.0

    Let’s start with those first two photos above. Before and after autumn dock removal. In the first, an early morning photo, I sent the drone up for an end-of-season portrait of Rosslyn’s waterfront. A moody moment as if the lake and sky and the forces of nature were brooding, perhaps wavering, second guessing this seasonal transition. Less than a couple of hours later the boatlift sits high and dry (just barely visible north of the cottonwoods and west the multi stem maple) and the docks are lined up on the beach, their temporary home until late fall / early winter when they’ll be moved up onto the grassy terrace.

    Undocking 2022: ready to remove the docks (Source: Geo Davis)
    Undocking 2022: ready to remove the docks (Source: Geo Davis)

    This third image, an aerial view directly above the boathouse, dock, and boatlift, offers a better perspective of the waterfront before undocking. And the photograph below offers virtually the same view except that the docks and boatlift have been stored on shore.

    Undocking 2022: docks removed (Source: Geo Davis)
    Undocking 2022: docks removed (Source: Geo Davis)

    Of course, before proceeding with dock and boatlift removal, there’s an important prologue, disembarking in the Nautique ski/surf boat and the Chris Craft picnic boat for the final time of the season. So last Friday we hauled both boats for the winter, and today we removed the boatlift and the docks. Undocking complete, we’re —metaphorically speaking, at least — one step closer to our big seasonal transit. We’re temporarily unmoored. Unvesselled.

    https://www.instagram.com/reel/CiCnGSnAgab/

    Undocking v2.0

    In the spring of 2021 I sold a 31’ sloop that I’d sailed around Lake Champlain for seven seasons. In retrospect, I suppose it was one of my pandemic pivots. Although I’d been considering selling it sooner rather than later, I had expected to hold onto the sailboat for at least another year or two. I was contemplating a move to a larger boat, and I was beginning to wonder aloud with Susan if it might be time to start thinking about coastal sailing, a step toward blue water sailing that has long beckoned me. I’ve explored my rather sudden decision to sell Errant elsewhere, so I’ll curtail that narrative here. But I’ve brought it up for two reasons.

    For starters, selling Errant was part and parcel of an ongoing period of transition with roots well before — but catalyzed during — the pandemic. But there’s something more germane to the present context.

    Usually when I headed out to sail it was for a span of hours. Maybe half a day. If lucky, maybe a day. But sometimes, when opportunity allowed, I would depart for days instead of hours. On occasion Susan would join me. More often I sailed solo. And whether heading out for a few hours of wind chasing or setting off on a multi day sailing adventure, I would experience a euphoric wave as I hoisted the sails. An exhilarating wave simultaneously deep in my gut, high in my heart, and even higher in my head would sweep over me. A sort of high that would fill me with enthusiasm and hope and a profound feeling of freedom.

    Helming 6-tons of home, vessel, food, and plans into a stiff chop and a swift blow is one of my “happy places”, as the saying goes. A plan and an itinerary but also a comfortable awareness that circumstances and conditions could shift unexpectedly, that sailing by definition presupposes a state of fluidity and flux from undocking (or untethering) to setting anchor or returning to harbor.

    To some degree this euphoric state is present every time I set out in any boat, any journey, any transition. Our seasonal migration between the lush shores of Lake Champlain and the high desert southwest is one of these undocking rituals. A setting out. An ending. A beginning. Closure. A fresh start. A new adventure. Another chapter. Seasonality writ large…

    But I’m digressing and meandering. Back to the present, to removing the boats and storing them for the winter, to removing the docks and storing them for the winter, to winterizing the waterfront for the coming cold, the snow, the ice…

    The present undocking is even more significant for us than usual. Or at least I have the sense that it is more significant. As we navigate a period of curated liminality, I am especially conscious of the uncoupling. The untethering. Sometimes a simple, familiar seasonal ritual — falling out of summer and into autumn, undocking vessels and the temporary means by which we secure them — turns out to be an integral constituent part of a larger, more profound transformation.

    This is what I see when I look at the aerial photographs above. It is an awareness, a conscious yielding to the change(s) underway. I’m confident that Susan and I are both attuned to this liminality, that we’re aware and willing to embrace the shift, to immerse ourselves fully into what is feeling like a monumental shift in the proverbial seasons. I believe that we’re in the flow in a way that has eluded us in recent years. In many years really. This present undocking and its various rhizomic permutations feels more significant than its predecessors. In fact, this undocking is increasingly reminiscent of our transition from Manhattan to Essex 16 years ago. It’s still early. And it’s still unclear what exactly were moving through, moving toward. But we are journeying toward greater clarity each day.

  • Mutual Respect & Team Spirit

    Mutual Respect & Team Spirit

    Team Spirit: Sailing with Susan (Photo: Geo Davis)

    While every day is an important day, today is an especially significant milestone for me. But more on that tomorrow since I’d prefer to dedicate this personal benchmark to a celebration of our team whose collaborative accomplishment on the icehouse foundation made way for a significant subsequent uptick in productivity.

    Since sometimes the best way to express something is to say as little as possible, I’m going to get out of the way and let the idea(s) speak for themselves.

    Hence, I’ll offer you two excerpts, one from yesterday’s update, “Icehouse Rehab 4.5: Foundation Collaboration“, and the other from Close to the Wind by Pete Goss.

    The combined concrete collaboration would be Pam, Peter, Hroth, Supi, and Tony. With everyone coalescing around one specific goal — completing the icehouse concrete… without blowing up the budget or timeline — the objectives were obvious, but so was the potential for challenges and setbacks. Imagine a metaphorical pressure cooker.

    And now for the companion excerpt let’s see if anything resonates with this nautical vignette.

    The interesting thing about an offshore trip on a small boat is that you untie more than the boat when you slip the mooring. The trappings and pretensions of rank and authority are soon stripped away. There’s nowhere to hide, and it can be a raw experience for some. Natural leaders come to the fore, and a pecking order emerges which is not necessarily the one in place prior to departure. What is important is that everyone feels they are making a contribution, whatever their skill or ability. This promotes a mutual respect which evolves into a healthy team spirit where rank ceases to matter. — Pete Goss (Close to the Wind)

    Pick your metaphor — pressure cooker or small boat — these raw experiences promote mutual respect, camaraderie, in team spirit. I’m proud of our team for meeting the challenge and gathering together to celebrate their accomplishment.

  • Meadowmount and Rosslyn

    Rosslyn Boathouse, by Steven Rochen
    Rosslyn boathouse photographed from Essex ferry dock (photo credit Steven Rochen)

    What a pleasure to discover on Monday morning that the newest friend of the Rosslyn Redux Facebook page was Steven Rochen. Who you might ask? (Though, if you’re a Meadowmount School of Music alum, you probably already know!) Mr. Rochen first crossed my radar back in February of this year when I happened upon an interesting photograph of Rosslyn’s boathouse. The following was originally posted in “Rosslyn Boathouse in August 2005“:

    Another Rosslyn boathouse sighting, this time discovered via Google Earth. The photo was taken by czechsteve on Panoramio.com on 2005/08/12 which is approximately one year before my wife and I purchased Rosslyn. The wooden Chris Craft on a mooring between our boathouse and the Essex ferry dock belonged to our neighbor, but he has since replaced it with a sailboat which is visible in more recent photographs.

    If you go click through to the original photo and enlarge it, you can see the degree of disrepair that we inherited when we took ownership and began restoring this stately old maritime structure.

    I have contacted the photographer to suggest a title because the image is currently untitled.

    Update: Today is Wednesday, February 2, 2011 and I’ve just heard from the photographer:

    I have added a title to your boathouse picture. Thanks for your input – I have seen that boathouse for many years (I’ve been coming for summers in the Adirondacks since I was a teenage student at the Meadowmount School of Music coming from Texas to study violin.)

    Was the boathouse there in 1980? I don’t remember when I first saw it from the ferry crossing but I have always enjoyed seeing it – that is why I took the photo years ago…I can’t wait to see what you have done…

    All best wishes! Steven Rochen – a.k.a. czechsteve!

    Wonderful response. I’m excited to have made the connection, and I’m hoping that I may one day have the chance to meet Steven Rochen and give him a tour of the boathouse which has intrigued him for decades.