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[City Sleuth] Los Feliz Gardens Featured in Garden Conservancy’s “Open Days”

“Open Days,” the Garden Conservancy’s program to showcase and preserve America’s most distinctive public and private gardens, came to Los Feliz on May 5th. Some 600 visitors walked up steep hills and down narrow garden paths, beginning at Fern Dell—a onetime garden oasis in Griffith Park now sunk to hard times because of municipal budget constraints. In the process the guests discovered a wide variation in the type of garden: some formal and reliant upon water; others using the principles of water conservation. Overcast skies provided comfortable temperatures and an unshaded perspective of Mother Nature.

“We had 1,000 guests last week for Pasadena Open Days,” coordinator Joseph Marek warned the 40 volunteers who gathered the day before to undergo training. “But that community has participated in Open Days for at least a dozen years, and this is our first time featuring Los Feliz.”

One of the six Open Days gardens belonged to noted garden designer Judy M. Horton, whose practice is located at 136 1/2 N. Larchmont Blvd. While it contained water thirsty plants like hydrangea, the Horton garden proliferated with drought-resistant aloe, pig’s ears, agave and salvia.

“My garden is filled with plants I love,” she said, “from the ordinary, like nasturtiums, poppies and pelargoniums, to the unusual. I try out the more unique by putting them in pots in the driveway and along the back of the house.”

Horton became an advocate for the Garden Conservancy on the west coast in the 1990s when the New York based non-profit began to expand into the rest of the country. As a garden activist, Horton organized the Coalition to Save the Hannah Carter Japanese Garden that hangs under a legal cloud as Hannah Carter’s heirs fight UCLA over the Japanese Garden’s destiny. In April, an injunction from Los Angeles Superior Court was issued against sale of the property, and UCLA has asked for a hearing in an appeals court.

The Garden Conservancy uses the Open Days program to strengthen the public’s commitment to garden preservation. Selecting gardens that are “living works of art,” the organization uses a set of criteria which can be translated into practical use for those of us who visit nurseries to stock our own yards. The nine criteria for being selected include unity and harmony of design; appropriateness of design to the setting; innovative use of the site or plantings; interesting collection of plants; aesthetic groupings of plants; unique intermingling of plants or colors and textures; aspects that educate, enlighten and inspire the visitor; and finally, ecologically sound design and maintenance techniques.

To track Open Days weekends taking place in other parts of the country, go online to www.gardenconservancy.org. The $5 per garden fee for visitors is a real value.

 

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Garden Calendar: Design outdoor spaces with natural elements

BECOME A MASTER GARDENER: The Kaufman County Master Gardener Association will detail its 2013 master gardener training program for those interested in earning the certification. 6 p.m. Thursday. 2471 N. State Highway 34, Kaufman. 972-932-9069. sbburden@ag.tamu.edu.

WATER-WISE LANDSCAPE TOUR: See water-wise landscapes that showcase native and adapted plants. Sponsored by Dallas Water Utilities. Free, self-guided tour. 9 a.m. to 3 p.m. Saturday. 214-670-3155. savedallaswater.com.

DESIGNING OUTDOOR SPACES: Learn how to boost the look of your Texas landscape with naturally inspired elements. 10:15 a.m. Saturday. All Calloway’s Nursery locations. Free. calloways.com.

TWELVE HILLS NATURE CENTER: Visit the Twelve Hills Nature Center for nature walks and the introduction of the Garden Sponsorship Program. Families welcome. 9:30 a.m. to noon Saturday. 900 Mary Cliff Road, Dallas. Free.

SMITH COUNTY GARDEN TOUR: View five private gardens on the Smith County Master Gardener annual tour. 9 a.m. to 3 p.m. Saturday. Gardens are in the city of Tyler or The Woods. $12. txmg.org/smith.

GARDEN EDUCATION:

North Haven Gardens, 7700 Northaven Road, Dallas, offers these events. nhg.com.

Bonsai Society of Dallas meeting, 9 a.m. to noon, Saturday, free

Summer vegetables, 10 a.m. Saturday, free

Colorful tropicals, 1 p.m. Saturday, free

Mosquito control, 2 p.m. Saturday, free

Container gardening, 1 p.m. Sunday, free

Attracting butterflies, 2 p.m. Sunday, free

ORCHIDS: The Greater North Texas Orchid Society’s monthly meeting will include a repotting demonstration. 3 p.m. Sunday. North Haven Gardens, 7700 Northaven Road, Dallas. Free. gntos.org.

WILDFLOWER WALK: Join the Indian Trail Chapter of the Texas Master Naturalist Program for a wildflower and bird walk. Participants should bring drinking water and binoculars for the half-mile walk. Mockingbird Nature Park, 1361 Onward Road, Midlothian. Free. txmn.org/indiantrail.

DIY DRIP IRRIGATION: Learn about the efficient method of drip irrigation that promotes healthy plants and is inexpensive and easy to install. 10 a.m. to 11:30 a.m. Wednesday. Environmental Education Center, 4116 W. Plano Parkway, Plano. Free, but advance registration required. livegreeninplano.obsres.com.

LANDSCAPE COURSE: Learn landscape practices that save valuable resources. 7 to 9 p.m. Mondays and Wednesdays, June 3-12. Collin College Courtyard Center, 4800 Preston Park Blvd., Plano. $59. Advance registration required. cccd.edu/ce.

Submit calendar information at least 14 days before the Thursday publication date to garden@ dallasnews.com.

Help design a unique experiential children’s garden

Sunshine Coast Council is developing an innovative and
exploratory children’s garden at Maroochy Regional Bushland
Botanic Garden (MRBBG) to engage the young and the young at heart
– and the community is invited to have a say on its
creation.

Community Programs Portfolio and Division 5 Councillor Jenny
McKay said council and Friends of Maroochy Regional Bushland
Botanic Gardens identified the need for the children’s
experiential gardens as part of the master planning of the
botanic gardens.

“The children’s experiential gardens will encourage, enhance and
inspire children’s learning and connection to the regional
landscape, native vegetation, local ecology and natural elements
through the creative arts,” Cr McKay said.

“Visitors to the children’s gardens will enjoy an innovative and
exploratory experience focusing on the unique ecosystems, flora,
fauna and habitats of the Whipbird Walk forest, where it will be
located.”  

Cr McKay said Friends of MRBBG, local groups, residents,
children, schools and visitors have an opportunity to inform the
design of the experiential gardens and provide feedback about
what they wish to see there.

“The Friends of MRBBG will attend a workshop to discuss the goals
and design objectives of the project,” Cr McKay said.

“The local community and interested residents and groups will
then have the opportunity to attend a “Meet us in the Gardens”
workshop on Sunday 9 June from 10am to 2pm at the Arts and
Ecology Centre, Maroochy Regional Bushland Botanical Gardens,
Tanawha.

“Come along and participate in the design process to create a
children’s garden that enhances the natural setting. The
children’s gardens could incorporate a number of options,
including interpretative signage, subtle complimentary artworks,
playful creative elements and rest points for observing,
listening and engaging with the landscape.

“The feedback and priorities identified by the community will be
used to influence the concept plan and staging of the
project.

“The children’s experiential gardens will link into the current
art workshops and creative programming of the Arts and Ecology
Centre. The children’s gardens will provide visual aid for
creative inspiration within the workshops and complement the
diverse experiences already on offer at the botanic
gardens.”

To attend the workshop, RSVP to
parkscapitalworks@sunshinecoast.qld.gov.au. For further
information about the project, visit council’s website.

Sunshine Coast Regional Council
29th of May 2013

Permanent Link: Help design a unique experiential children’s garden

Publish Date: 29 May 13

All articles submitted by third parties or written by My Sunshine Coast come under our Disclaimer / Terms of Service

Kid-friendly equals bug-friendly in the garden

Tanya Kucak/Special to the Town CrierPhoto Tanya Kucak/Special To The Town Crier

Native mock orange, right, attracts butterflies and other beneficial insects. In the spring, the large shrub is covered with fragrant flowers.

Bugs, insects, creepy crawlers, birds, butterflies – any living organism children can relate to – are among the easiest ways to engage children in the garden, according to garden designer Alrie Middlebrook.

“(Children) like getting their hands dirty and wet” in worm bins, compost, ponds and the vegetable garden, and they like seeing “what’s alive in the soil,” she said.

Middlebrook heads the California Native Garden Foundation, which offers garden-based classes for children in grades 2-8 at its outdoor learning laboratory in San Jose’s Willow Glen neighborhood through its Environmental Laboratory for Sustainability and Ecological Education (ELSEE) project.

The goals and hands-on approach of ELSEE are similar to those of the Los Altos School District’s Living Classroom Program, said Living Classroom founder Vicki Moore.

Both ELSEE and the Living Classroom teach about plants not as individual, interchangeable entities, but as part of an ecosystem and in relation to the animals that depend on it.

To teach pollinator relationships, for example, ELSEE starts with a butterfly. Following its life cycle, the children learn about the butterfly’s host plants during its larval phase (caterpillar). They then explore that same butterfly’s nectar plants in its adult phase.

“The butterfly wouldn’t be there without the plant,” Middlebrook said, so a discussion of pollination leads back to the importance of plants in the ecosystem.

Students learn about the parallel evolution of the butterfly and those critical host and nectar plants.

For those planting a butterfly garden, it’s important to realize that caterpillars eat host plants. If you want butterflies, expect plants to get munched.

To design kid-friendly gardens, Middlebrook focuses on protecting ecosystem services before choosing specific plants. Healthy ecosystems provide such services as pollination, nutrient cycling, water purification and climate regulation. A good garden design allows the natural cycles and processes to operate. In practical terms, the design challenge is to avoid disrupting the natural systems, Middlebrook added.

Following are some design elements that help preserve ecosystem services.

• Don’t use impervious surfaces. Instead, choose pervious concrete or decomposed granite where a hard, uniform surface is needed. Or use stepping stones, gravel or some other surface that allows water to be absorbed into the soil rather than running off.

• Keep rainfall on site. Rain barrels and cisterns can hold a small percentage of annual rainfall, but a small pond, a dry well, grading or other techniques may also be needed to divert water from storm drains.

• Use locally native plants to attract native pollinators. Choose plants that occur together in the wild to more closely approximate a native ecosystem.

• Use local materials. It takes a large amount of energy to transport materials long distances. This energy is a factor in the “embedded cost” of the materials.

• Avoid pesticides and herbicides. Instead, encourage more life in the garden. Attract the bugs that prey on plant-eating bugs by planting native insectary plants from the appropriate ecosystem. Plants such as yarrow and globe gilia have tiny flowers that attract a wide range of pollinators and other beneficial insects. Let your population of aphids grow enough to attract the beneficial insects that eat them.

Tanya Kucak gardens organically. Email her at
This e-mail address is being protected from spam bots, you need JavaScript enabled to view it

Captcha ImageRegenerate code when it's unreadable

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Post

We reserve the right to use comments submitted on our site in whole or in part. We will not publish comments that contain inappropriate content, advertising or website links to inappropriate content.

Kid-friendly equals bug-friendly in the garden

Tanya Kucak/Special to the Town CrierPhoto Tanya Kucak/Special To The Town Crier

Native mock orange, right, attracts butterflies and other beneficial insects. In the spring, the large shrub is covered with fragrant flowers.

Bugs, insects, creepy crawlers, birds, butterflies – any living organism children can relate to – are among the easiest ways to engage children in the garden, according to garden designer Alrie Middlebrook.

“(Children) like getting their hands dirty and wet” in worm bins, compost, ponds and the vegetable garden, and they like seeing “what’s alive in the soil,” she said.

Middlebrook heads the California Native Garden Foundation, which offers garden-based classes for children in grades 2-8 at its outdoor learning laboratory in San Jose’s Willow Glen neighborhood through its Environmental Laboratory for Sustainability and Ecological Education (ELSEE) project.

The goals and hands-on approach of ELSEE are similar to those of the Los Altos School District’s Living Classroom Program, said Living Classroom founder Vicki Moore.

Both ELSEE and the Living Classroom teach about plants not as individual, interchangeable entities, but as part of an ecosystem and in relation to the animals that depend on it.

To teach pollinator relationships, for example, ELSEE starts with a butterfly. Following its life cycle, the children learn about the butterfly’s host plants during its larval phase (caterpillar). They then explore that same butterfly’s nectar plants in its adult phase.

“The butterfly wouldn’t be there without the plant,” Middlebrook said, so a discussion of pollination leads back to the importance of plants in the ecosystem.

Students learn about the parallel evolution of the butterfly and those critical host and nectar plants.

For those planting a butterfly garden, it’s important to realize that caterpillars eat host plants. If you want butterflies, expect plants to get munched.

To design kid-friendly gardens, Middlebrook focuses on protecting ecosystem services before choosing specific plants. Healthy ecosystems provide such services as pollination, nutrient cycling, water purification and climate regulation. A good garden design allows the natural cycles and processes to operate. In practical terms, the design challenge is to avoid disrupting the natural systems, Middlebrook added.

Following are some design elements that help preserve ecosystem services.

• Don’t use impervious surfaces. Instead, choose pervious concrete or decomposed granite where a hard, uniform surface is needed. Or use stepping stones, gravel or some other surface that allows water to be absorbed into the soil rather than running off.

• Keep rainfall on site. Rain barrels and cisterns can hold a small percentage of annual rainfall, but a small pond, a dry well, grading or other techniques may also be needed to divert water from storm drains.

• Use locally native plants to attract native pollinators. Choose plants that occur together in the wild to more closely approximate a native ecosystem.

• Use local materials. It takes a large amount of energy to transport materials long distances. This energy is a factor in the “embedded cost” of the materials.

• Avoid pesticides and herbicides. Instead, encourage more life in the garden. Attract the bugs that prey on plant-eating bugs by planting native insectary plants from the appropriate ecosystem. Plants such as yarrow and globe gilia have tiny flowers that attract a wide range of pollinators and other beneficial insects. Let your population of aphids grow enough to attract the beneficial insects that eat them.

Tanya Kucak gardens organically. Email her at
This e-mail address is being protected from spam bots, you need JavaScript enabled to view it

Captcha ImageRegenerate code when it's unreadable

Post
Post

We reserve the right to use comments submitted on our site in whole or in part. We will not publish comments that contain inappropriate content, advertising or website links to inappropriate content.

Sculpture studio shapes up as industry leader

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Small business

Date

May 27, 2013

  • (0)


Lump owners Chris Vassallo and Timothea Jewell

Lump owners Chris Vassallo and Timothea Jewell Photo: LITTLE RED PHOTOGRAPHY

For the first time in 100 years, an Australian entry won Best in Show at the prestigious Chelsea Flower Show, described by some as the “Oscars of horticulture” and “Ashes of gardening”. But the Melbourne husband-and-wife whose custom-designed sculptures formed an integral part of the winning garden design weren’t there to toast victory or witness the Queen’s praise.

Instead, Chris Vassallo and Timothea Jewell were at home working at their Lump Sculpture Studio in Fairfield, Victoria, and caring for their young children – truly epitomising the small business way of life.

Since 2001 Lump has quietly established itself as Australia’s leading urban art, design and sculpture studio.

Lump staircase designed and manufactured in their studio.

Lump staircase designed and manufactured in the Lump studio.

Jewell described Lump’s contribution to the winning Trailfinders Australian Garden presented by Fleming’s Nurseries as a “dream come true”. The $2 million exhibit featured a Phillip Johnson-designed naturally occurring Australian eco-system. Custom-designed sculptures by Lump are an integral element of the design, including ten intricate wood stack-patterned screens and a sculptural staircase, all made from laser-cut rusted corten steel.

Despite Vassallo and Jewell’s reputation as industry trendsetters, they are unassuming and simply grateful for their involvement at Chelsea.

“The interactive design was the perfect showcase for our work, and to have it recognised at the world’s most prestigious horticultural show is beyond words – it’s simply the best,” Jewell says.

Having their work displayed on the world stage is big leap from Lump’s first exhibit; Vassallo’s first sculpture still has pride of place in his parents’ garden. They were his first client, and the money he made from that job helped fund the start-up.

Back then Vassallo had worked as a graphic designer for more than a decade and Jewell was restoring antiques. (The couple went to school together, but didn’t meet up again until years later by chance.)

“I was in a suit-and-tie job in town and I was being shipped around from corporate office to corporate office designing corporate websites for the big banks, and I just got lost,” Vassallo says.

“It was lots of fun and I met a lot of amazing people, but it was a little stifling. So I bought a welder and started making stuff in my garage.”

Vassallo says the real turning point for the start-up was when Jewell made a miniature version of what would later become a signature Lump piece; light boxes with hand-cut trees carved into large rectangular panels.

“I was looking at [Jewell’s work] and said, ‘That’s a great idea, let’s do that but on steroids, and make them two metres tall,” he says.

“So we made the very first set of light boxes ever and we took them to a flower show…and then all of a sudden the industry turned around and went, ‘Wow, that’s kind of different, we’ve never seen this before.’

“[Celebrity landscape designer] Jamie Durie came straight up to the stand and brought the crowds and his camera…People were just amazed, saying, ‘What is that?’ and ‘How did you make these?’

“From there, more and more people came to us for inspiration and ideas.”

Vassallo says their work is constantly evolving to meet industry demand for something different.

“We’re always trying to find new materials to work with and also just trying to push the boundaries,” he says.

“We’re now moving into three-dimensional screens, where you can pull them out and push them in, and people can actually interact with their sculpture.”

Lump has a diverse client base, with jobs of varying scales. Homeowners fly in from around country looking for the “wow factor”, Vassallo says.

“It’s amazing how many commissions we get for sculptures priced from $3000 to $15,000 to go into a private home.”

They promote Lump via their website and social media, enter exhibitions and tender for public projects. But a lot of ideas are initiated in-house to satisfy their creative curiosities and demand by industry peers who are “usually gagging for something new”, Vassallo says.

One of their biggest challenges has been policing cheaper reproductions of Lump designs made overseas. Research and development of ideas is time-consuming and costly; an expense the copyists don’t have.

“It’s been happening a lot and it’s getting even more prevalent with the internet. We’re constantly fighting battles in China, where we’re trying to stop reproductions of our work,” Vassallo says.

“It used to bring us to tears, because it was such a personal investment.”

Even locals have been ripping off their work.

“There have even been quite a few small start-ups here in Melbourne, believe it or not, and we do have to engage lawyers in the end.

“It does make us think we must be going in the right direction if everyone keeps copying us.”

Lump now has 10 employees from industrial engineering/design, metal fabrication and fine art backgrounds.

Vassallo adds: “We never thought that we were going to have staff – it was always going to be just Tim and I mucking around.

“It took at least a good five or six years until we were drawing a proper wage. Whatever we did make, we would put back in. People just keep coming to us for more ideas, so we just keep creating.”


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Kid-friendly equals bug-friendly in the garden

Tanya Kucak/Special to the Town CrierPhoto Tanya Kucak/Special To The Town Crier

Native mock orange, right, attracts butterflies and other beneficial insects. In the spring, the large shrub is covered with fragrant flowers.

Bugs, insects, creepy crawlers, birds, butterflies – any living organism children can relate to – are among the easiest ways to engage children in the garden, according to garden designer Alrie Middlebrook.

“(Children) like getting their hands dirty and wet” in worm bins, compost, ponds and the vegetable garden, and they like seeing “what’s alive in the soil,” she said.

Middlebrook heads the California Native Garden Foundation, which offers garden-based classes for children in grades 2-8 at its outdoor learning laboratory in San Jose’s Willow Glen neighborhood through its Environmental Laboratory for Sustainability and Ecological Education (ELSEE) project.

The goals and hands-on approach of ELSEE are similar to those of the Los Altos School District’s Living Classroom Program, said Living Classroom founder Vicki Moore.

Both ELSEE and the Living Classroom teach about plants not as individual, interchangeable entities, but as part of an ecosystem and in relation to the animals that depend on it.

To teach pollinator relationships, for example, ELSEE starts with a butterfly. Following its life cycle, the children learn about the butterfly’s host plants during its larval phase (caterpillar). They then explore that same butterfly’s nectar plants in its adult phase.

“The butterfly wouldn’t be there without the plant,” Middlebrook said, so a discussion of pollination leads back to the importance of plants in the ecosystem.

Students learn about the parallel evolution of the butterfly and those critical host and nectar plants.

For those planting a butterfly garden, it’s important to realize that caterpillars eat host plants. If you want butterflies, expect plants to get munched.

To design kid-friendly gardens, Middlebrook focuses on protecting ecosystem services before choosing specific plants. Healthy ecosystems provide such services as pollination, nutrient cycling, water purification and climate regulation. A good garden design allows the natural cycles and processes to operate. In practical terms, the design challenge is to avoid disrupting the natural systems, Middlebrook added.

Following are some design elements that help preserve ecosystem services.

• Don’t use impervious surfaces. Instead, choose pervious concrete or decomposed granite where a hard, uniform surface is needed. Or use stepping stones, gravel or some other surface that allows water to be absorbed into the soil rather than running off.

• Keep rainfall on site. Rain barrels and cisterns can hold a small percentage of annual rainfall, but a small pond, a dry well, grading or other techniques may also be needed to divert water from storm drains.

• Use locally native plants to attract native pollinators. Choose plants that occur together in the wild to more closely approximate a native ecosystem.

• Use local materials. It takes a large amount of energy to transport materials long distances. This energy is a factor in the “embedded cost” of the materials.

• Avoid pesticides and herbicides. Instead, encourage more life in the garden. Attract the bugs that prey on plant-eating bugs by planting native insectary plants from the appropriate ecosystem. Plants such as yarrow and globe gilia have tiny flowers that attract a wide range of pollinators and other beneficial insects. Let your population of aphids grow enough to attract the beneficial insects that eat them.

Tanya Kucak gardens organically. Email her at
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Sculpture studio shapes up as industry leader

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Small business

Date

May 27, 2013

  • (0)


Lump owners Chris Vassallo and Timothea Jewell

Lump owners Chris Vassallo and Timothea Jewell Photo: LITTLE RED PHOTOGRAPHY

For the first time in 100 years, an Australian entry won Best in Show at the prestigious Chelsea Flower Show, described by some as the “Oscars of horticulture” and “Ashes of gardening”. But the Melbourne husband-and-wife whose custom-designed sculptures formed an integral part of the winning garden design weren’t there to toast victory or witness the Queen’s praise.

Instead, Chris Vassallo and Timothea Jewell were at home working at their Lump Sculpture Studio in Fairfield, Victoria, and caring for their young children – truly epitomising the small business way of life.

Since 2001 Lump has quietly established itself as Australia’s leading urban art, design and sculpture studio.

Lump staircase designed and manufactured in their studio.

Lump staircase designed and manufactured in the Lump studio.

Jewell described Lump’s contribution to the winning Trailfinders Australian Garden presented by Fleming’s Nurseries as a “dream come true”. The $2 million exhibit featured a Phillip Johnson-designed naturally occurring Australian eco-system. Custom-designed sculptures by Lump are an integral element of the design, including ten intricate wood stack-patterned screens and a sculptural staircase, all made from laser-cut rusted corten steel.

Despite Vassallo and Jewell’s reputation as industry trendsetters, they are unassuming and simply grateful for their involvement at Chelsea.

“The interactive design was the perfect showcase for our work, and to have it recognised at the world’s most prestigious horticultural show is beyond words – it’s simply the best,” Jewell says.

Having their work displayed on the world stage is big leap from Lump’s first exhibit; Vassallo’s first sculpture still has pride of place in his parents’ garden. They were his first client, and the money he made from that job helped fund the start-up.

Back then Vassallo had worked as a graphic designer for more than a decade and Jewell was restoring antiques. (The couple went to school together, but didn’t meet up again until years later by chance.)

“I was in a suit-and-tie job in town and I was being shipped around from corporate office to corporate office designing corporate websites for the big banks, and I just got lost,” Vassallo says.

“It was lots of fun and I met a lot of amazing people, but it was a little stifling. So I bought a welder and started making stuff in my garage.”

Vassallo says the real turning point for the start-up was when Jewell made a miniature version of what would later become a signature Lump piece; light boxes with hand-cut trees carved into large rectangular panels.

“I was looking at [Jewell’s work] and said, ‘That’s a great idea, let’s do that but on steroids, and make them two metres tall,” he says.

“So we made the very first set of light boxes ever and we took them to a flower show…and then all of a sudden the industry turned around and went, ‘Wow, that’s kind of different, we’ve never seen this before.’

“[Celebrity landscape designer] Jamie Durie came straight up to the stand and brought the crowds and his camera…People were just amazed, saying, ‘What is that?’ and ‘How did you make these?’

“From there, more and more people came to us for inspiration and ideas.”

Vassallo says their work is constantly evolving to meet industry demand for something different.

“We’re always trying to find new materials to work with and also just trying to push the boundaries,” he says.

“We’re now moving into three-dimensional screens, where you can pull them out and push them in, and people can actually interact with their sculpture.”

Lump has a diverse client base, with jobs of varying scales. Homeowners fly in from around country looking for the “wow factor”, Vassallo says.

“It’s amazing how many commissions we get for sculptures priced from $3000 to $15,000 to go into a private home.”

They promote Lump via their website and social media, enter exhibitions and tender for public projects. But a lot of ideas are initiated in-house to satisfy their creative curiosities and demand by industry peers who are “usually gagging for something new”, Vassallo says.

One of their biggest challenges has been policing cheaper reproductions of Lump designs made overseas. Research and development of ideas is time-consuming and costly; an expense the copyists don’t have.

“It’s been happening a lot and it’s getting even more prevalent with the internet. We’re constantly fighting battles in China, where we’re trying to stop reproductions of our work,” Vassallo says.

“It used to bring us to tears, because it was such a personal investment.”

Even locals have been ripping off their work.

“There have even been quite a few small start-ups here in Melbourne, believe it or not, and we do have to engage lawyers in the end.

“It does make us think we must be going in the right direction if everyone keeps copying us.”

Lump now has 10 employees from industrial engineering/design, metal fabrication and fine art backgrounds.

Vassallo adds: “We never thought that we were going to have staff – it was always going to be just Tim and I mucking around.

“It took at least a good five or six years until we were drawing a proper wage. Whatever we did make, we would put back in. People just keep coming to us for more ideas, so we just keep creating.”


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Sculpture studio shapes up as industry leader

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Small business

Date

May 27, 2013

  • (0)


Lump owners Chris Vassallo and Timothea Jewell

Lump owners Chris Vassallo and Timothea Jewell Photo: LITTLE RED PHOTOGRAPHY

For the first time in 100 years, an Australian entry won Best in Show at the prestigious Chelsea Flower Show, described by some as the “Oscars of horticulture” and “Ashes of gardening”. But the Melbourne husband-and-wife whose custom-designed sculptures formed an integral part of the winning garden design weren’t there to toast victory or witness the Queen’s praise.

Instead, Chris Vassallo and Timothea Jewell were at home working at their Lump Sculpture Studio in Fairfield, Victoria, and caring for their young children – truly epitomising the small business way of life.

Since 2001 Lump has quietly established itself as Australia’s leading urban art, design and sculpture studio.

Lump staircase designed and manufactured in their studio.

Lump staircase designed and manufactured in the Lump studio.

Jewell described Lump’s contribution to the winning Trailfinders Australian Garden presented by Fleming’s Nurseries as a “dream come true”. The $2 million exhibit featured a Phillip Johnson-designed naturally occurring Australian eco-system. Custom-designed sculptures by Lump are an integral element of the design, including ten intricate wood stack-patterned screens and a sculptural staircase, all made from laser-cut rusted corten steel.

Despite Vassallo and Jewell’s reputation as industry trendsetters, they are unassuming and simply grateful for their involvement at Chelsea.

“The interactive design was the perfect showcase for our work, and to have it recognised at the world’s most prestigious horticultural show is beyond words – it’s simply the best,” Jewell says.

Having their work displayed on the world stage is big leap from Lump’s first exhibit; Vassallo’s first sculpture still has pride of place in his parents’ garden. They were his first client, and the money he made from that job helped fund the start-up.

Back then Vassallo had worked as a graphic designer for more than a decade and Jewell was restoring antiques. (The couple went to school together, but didn’t meet up again until years later by chance.)

“I was in a suit-and-tie job in town and I was being shipped around from corporate office to corporate office designing corporate websites for the big banks, and I just got lost,” Vassallo says.

“It was lots of fun and I met a lot of amazing people, but it was a little stifling. So I bought a welder and started making stuff in my garage.”

Vassallo says the real turning point for the start-up was when Jewell made a miniature version of what would later become a signature Lump piece; light boxes with hand-cut trees carved into large rectangular panels.

“I was looking at [Jewell’s work] and said, ‘That’s a great idea, let’s do that but on steroids, and make them two metres tall,” he says.

“So we made the very first set of light boxes ever and we took them to a flower show…and then all of a sudden the industry turned around and went, ‘Wow, that’s kind of different, we’ve never seen this before.’

“[Celebrity landscape designer] Jamie Durie came straight up to the stand and brought the crowds and his camera…People were just amazed, saying, ‘What is that?’ and ‘How did you make these?’

“From there, more and more people came to us for inspiration and ideas.”

Vassallo says their work is constantly evolving to meet industry demand for something different.

“We’re always trying to find new materials to work with and also just trying to push the boundaries,” he says.

“We’re now moving into three-dimensional screens, where you can pull them out and push them in, and people can actually interact with their sculpture.”

Lump has a diverse client base, with jobs of varying scales. Homeowners fly in from around country looking for the “wow factor”, Vassallo says.

“It’s amazing how many commissions we get for sculptures priced from $3000 to $15,000 to go into a private home.”

They promote Lump via their website and social media, enter exhibitions and tender for public projects. But a lot of ideas are initiated in-house to satisfy their creative curiosities and demand by industry peers who are “usually gagging for something new”, Vassallo says.

One of their biggest challenges has been policing cheaper reproductions of Lump designs made overseas. Research and development of ideas is time-consuming and costly; an expense the copyists don’t have.

“It’s been happening a lot and it’s getting even more prevalent with the internet. We’re constantly fighting battles in China, where we’re trying to stop reproductions of our work,” Vassallo says.

“It used to bring us to tears, because it was such a personal investment.”

Even locals have been ripping off their work.

“There have even been quite a few small start-ups here in Melbourne, believe it or not, and we do have to engage lawyers in the end.

“It does make us think we must be going in the right direction if everyone keeps copying us.”

Lump now has 10 employees from industrial engineering/design, metal fabrication and fine art backgrounds.

Vassallo adds: “We never thought that we were going to have staff – it was always going to be just Tim and I mucking around.

“It took at least a good five or six years until we were drawing a proper wage. Whatever we did make, we would put back in. People just keep coming to us for more ideas, so we just keep creating.”


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For new mobile postpaid customers, available on selected plans. Offer Ends 30/06/13.

Optus

 

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8,000 bonus Qantas Frequent Flyer points Optus Upgrade Offer

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For existing mobile postpaid customers, available on selected plans. Offer Ends 30/06/13.

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Bonus wireless charger, available via redemption with Optus and Nokia. Offer ends 31/5/2013

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Now $0 on $59 Big Plan

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Samsung Galaxy S3 4G, $0 on the $59 Big Plan
Min. total cost $1,152
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Tony Featherstone - The Venture

When was the last time you heard a member of parliament use … 

Workers of the world unite!

James Adonis  - Work In Progress

Should workers own a slice of the business they toil for? 

Working with bloggers to …

Valerie Khoo - Enterprise

It’s a brave new blogging world out there and your business … 

Featured advertisers

Editor’s picks

Angel

Angel investors at the table

This is what happened when ten top start-ups competed to take their pitch to cashed-up investors.


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Sculpture studio shapes up as industry leader

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Small business

Date

May 27, 2013

  • (0)


Lump owners Chris Vassallo and Timothea Jewell

Lump owners Chris Vassallo and Timothea Jewell Photo: LITTLE RED PHOTOGRAPHY

For the first time in 100 years, an Australian entry won Best in Show at the prestigious Chelsea Flower Show, described by some as the “Oscars of horticulture” and “Ashes of gardening”. But the Melbourne husband-and-wife whose custom-designed sculptures formed an integral part of the winning garden design weren’t there to toast victory or witness the Queen’s praise.

Instead, Chris Vassallo and Timothea Jewell were at home working at their Lump Sculpture Studio in Fairfield, Victoria, and caring for their young children – truly epitomising the small business way of life.

Since 2001 Lump has quietly established itself as Australia’s leading urban art, design and sculpture studio.

Lump staircase designed and manufactured in their studio.

Lump staircase designed and manufactured in the Lump studio.

Jewell described Lump’s contribution to the winning Trailfinders Australian Garden presented by Fleming’s Nurseries as a “dream come true”. The $2 million exhibit featured a Phillip Johnson-designed naturally occurring Australian eco-system. Custom-designed sculptures by Lump are an integral element of the design, including ten intricate wood stack-patterned screens and a sculptural staircase, all made from laser-cut rusted corten steel.

Despite Vassallo and Jewell’s reputation as industry trendsetters, they are unassuming and simply grateful for their involvement at Chelsea.

“The interactive design was the perfect showcase for our work, and to have it recognised at the world’s most prestigious horticultural show is beyond words – it’s simply the best,” Jewell says.

Having their work displayed on the world stage is big leap from Lump’s first exhibit; Vassallo’s first sculpture still has pride of place in his parents’ garden. They were his first client, and the money he made from that job helped fund the start-up.

Back then Vassallo had worked as a graphic designer for more than a decade and Jewell was restoring antiques. (The couple went to school together, but didn’t meet up again until years later by chance.)

“I was in a suit-and-tie job in town and I was being shipped around from corporate office to corporate office designing corporate websites for the big banks, and I just got lost,” Vassallo says.

“It was lots of fun and I met a lot of amazing people, but it was a little stifling. So I bought a welder and started making stuff in my garage.”

Vassallo says the real turning point for the start-up was when Jewell made a miniature version of what would later become a signature Lump piece; light boxes with hand-cut trees carved into large rectangular panels.

“I was looking at [Jewell’s work] and said, ‘That’s a great idea, let’s do that but on steroids, and make them two metres tall,” he says.

“So we made the very first set of light boxes ever and we took them to a flower show…and then all of a sudden the industry turned around and went, ‘Wow, that’s kind of different, we’ve never seen this before.’

“[Celebrity landscape designer] Jamie Durie came straight up to the stand and brought the crowds and his camera…People were just amazed, saying, ‘What is that?’ and ‘How did you make these?’

“From there, more and more people came to us for inspiration and ideas.”

Vassallo says their work is constantly evolving to meet industry demand for something different.

“We’re always trying to find new materials to work with and also just trying to push the boundaries,” he says.

“We’re now moving into three-dimensional screens, where you can pull them out and push them in, and people can actually interact with their sculpture.”

Lump has a diverse client base, with jobs of varying scales. Homeowners fly in from around country looking for the “wow factor”, Vassallo says.

“It’s amazing how many commissions we get for sculptures priced from $3000 to $15,000 to go into a private home.”

They promote Lump via their website and social media, enter exhibitions and tender for public projects. But a lot of ideas are initiated in-house to satisfy their creative curiosities and demand by industry peers who are “usually gagging for something new”, Vassallo says.

One of their biggest challenges has been policing cheaper reproductions of Lump designs made overseas. Research and development of ideas is time-consuming and costly; an expense the copyists don’t have.

“It’s been happening a lot and it’s getting even more prevalent with the internet. We’re constantly fighting battles in China, where we’re trying to stop reproductions of our work,” Vassallo says.

“It used to bring us to tears, because it was such a personal investment.”

Even locals have been ripping off their work.

“There have even been quite a few small start-ups here in Melbourne, believe it or not, and we do have to engage lawyers in the end.

“It does make us think we must be going in the right direction if everyone keeps copying us.”

Lump now has 10 employees from industrial engineering/design, metal fabrication and fine art backgrounds.

Vassallo adds: “We never thought that we were going to have staff – it was always going to be just Tim and I mucking around.

“It took at least a good five or six years until we were drawing a proper wage. Whatever we did make, we would put back in. People just keep coming to us for more ideas, so we just keep creating.”


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