A few Sunday morning Ikebana arrangements.
When a man like Bob invites you to his 60th birthday, the only sensible way to accept the invitation is with vigor. The destination was Machu Picchu by way of The Classic Inca Trail. My decision to go required little thinking.
Our crew would be motley, comprised of friends and relations from varying eras of Bob’s life. Not all of us knew one another from the outset so our trip would serve as a rallying point for new friendship and camaraderie. Our methods were to lean into experience, to eat a lot, and to tell as many stories as we could (probably louder than we needed to).
There are many overlapping trails that lead to Machu Picchu. The Classic Inca Trail, the most popular route and the one we took, starts 82 kilometers from Cuzco along the famed railway line at about 9,186 ft - 2,800 m in altitude. It winds high into the Andes mountains, passing uncountable Incan ruins along the way. In four days it only covers about 27 mi - 45 km, but is the toughest trail I've backpacked to date (and I’ve backpacked a lot). The idea was to arrive at Machu Picchu at sunrise on the fourth day, entering through the Sun Gate, descending into the famous citadel before the crowds submerge it completely.
Obviously there is greater commentary I could offer for the range of topics that emerge in this write up of our trip, but if you’ve got the interest, go do some reading. There are many great books on The Inca and Peru. If you have the means, this trip is an unforgettable experience and I highly recommend doing it. Drop me a line if you have any specific questions and I’ll be happy to answer.
Bumming Around Cusco
An Exercise In Acclimatizing
From the moment Zac (you may remember him from this post) and I left the ground in Austin, the views were unbelievable. We had sunset on a plane from Austin to wake up at sunrise on our second plane into Lima. From there, we hopped our third leg plane and were swept up and over the beginning of the Andes toward the first stop on our trip - Cusco.
Cusco is an incredible town. It's way the hell up there, sitting at 3,400m/11,200ft. As it was the historic capital of the Inca Empire from the 13th until the 16th-century Spanish conquest, the Constitution of Peru designates it as the Historical Capital of Peru and in 1983 the city was declared a World Heritage Site by UNESCO. Visiting this place alone would have been worth the journey. We needed a couple of days at altitude to acclimatize our lungs for the hike ahead. Cusco has more cuisine, architecture, and history than you can experience in months so our short time there was busy exploring.
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As our all-too-quick stay in Cusco drew to a close, we packed our bags and prepared for our journey onward. We would soon walk deeper into the Andes among the ruins of a civilization toppled by the Spanish, yet persistent and strong in the culture, language, and food of the people who would take us there.
From Kilometer 82 Onward
The Beginning Of Our Hike On The Inca Trail
Walking Distance: 14 km - 8.7 miles
Camp Site Elevation: 3,300 meters - 10,827 feet
Peruvian law requires groups to hire outfitters with porters to complete the Classic Inca Trail. We went with Alpaca Expeditions, who were excellent at every single turn. Our guide and new friend, Reynaldo, is an impressive man who speaks Quechua, Spanish, and English and has a deep understanding of the archaeology, history, and culture of this land. His pride for his people and homeland is infectious.
He began his work as we drove to the trail head at KM 82, the scenery a mere taste of what was to come. When we arrived at the trailhead, our chef prepared breakfast and we sorted out our tickets and passports to enter the national park.
Seriously, if you’re looking for a great outfitter for The Inca Trail who take their work seriously, provide real value, and treat their staff from top to bottom with dignity and respect - Alpaca Expeditions is the way to go. They invest in the lives, education, and families of their porters. They are invested in social programs to empower women and children in indigenous Andean communities. And they’re very good at what they do. It’s not even a question - they’re a solid company and worth your consideration.
For about two and a half hours into the hike, the terrain was flat-ish until we arrived at the Inca site of Llactapata. This is where Reynaldo began the first of many excellent history lessons - teaching us about the Peru and the Inca of past and present. Shortly after, we took lunch and realized the feasts we were in for each meal. It's not an exaggeration to say we were spoiled and fed like kings.
Reynaldo pointed out loads of great finds on the trial - from wild tobacco to cochineal bugs used for making dye. I couldn’t resist squishing a few and smearing them on my face because raw it looks a lot like blood. I didn’t smoke any wild tobacco. Didn’t want to repeat that wild experience on this particular hike.
While the distances we hiked were not all that remarkable, what makes The Inca Trail so challenging are the factors of altitude and the utter lack of switchbacks. It’s ancient stone steps straight up and straight down. Even with relatively easy terrain, this trail typology made our first day challenging. As we continued on our journey, all adjusting to exerting at high altitude, we finally reached our camp at Ayapata where we ate, knowing the next day’s hike would be our biggest challenge - climbing up from the Pacific side of the country, over Dead Woman’s Pass and down into the Amazon basin.
Before we retired for the night, we had a ceremonious introduction between our group and the porters we hired to run the show. These people are unbelievable - many from the small city of Lares - they carried our gear, set up and tore down camp, cooked, cleaned, and even took care of bathroom facilities. None complained. None had a negative thing to say. All were friendly and kind and helpful at every turn of our journey. My new life goal is to be 1/10th as badass as they are.
It was easier to sleep knowing that they’d be there to get us over the summits the next day.
Day 1 Photos
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The Eternal Ascension
Spend Your Whole Day Above 12,000ft
Walking Distance: 16 km - 10 miles
Dead Woman Pass Elevation: 4,215 meters - 13,828 feet
Runcurucay Pass Elevation: 4,000 meters - 13,123 feet
Campsite Elevation: 3,600 meters - 11,811 feet
Day 2 was intense. Our wakeup call was at 4:30AM and we were on the trail by 5. It was about this time that the group realized how badass our porters were. They woke up earlier than us, left later than us, and passed us all on the way up with little trouble so that when we arrived to camp that night, all would be set up and ready. It was insane. They’re the real MVPs here.
The trail on Day 2 is essentially straight up and down the mountain passes so the challenges were not in the distance so much as the altitude, our mental acuity, and leg stamina. My heart rate was consistently in zone 5 for the majority of the uphill climbs, which meant a lot of stop and go to allow recovery. I’d trained quite a lot for the trail so my recovery times were quick, but I hadn’t experienced this kind of altitude since I was about 17 doing some climbing in Scouts. It was difficult.
After our lunch between the two passes, we were able to see two Inca sites - Runku Raccay and Sayacmarka. As Reynaldo explained Sayacmarka was used as an astronomical observatory where elder Inca knowledge-holders would have lived out the end of their lives keeping astronomical records for use in agriculture and religion.
We finished the day exhausted and ready for sleep at our campsite called Chaquicocha. But not before we got the chance to sit together drinking coca mate, telling stories, and taking in a pretty remarkable and rare Andean autumn sunset. When you’re that high up, the sun hides early and quickly. We got lucky.
Day 2 Photos
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Mellowing Out After All That Climbing
Excuse Me, Have You Seen My Hulking Legs?
Walking Distance: 10 km - 6.2 miles
Camp Elevation: 2,600 meters - 8,530 feet
Day 3 was pretty mellow compared to the adjusting and climbing of the two prior. We had the good fortune of sunny weather and a leisurely pace to our final camp. After breakfast, it was a two hour hike to the last pass of Phuyupatamarca, which is at 3,680 m - 12,073 ft. The views of of the Vilcabamba mountain range and Salkantay mountain were remarkable. About three hours in total walking to the final campsite, we stopped and observed a ton of flora, received some great lessons from Reynaldo, and visited two Inca sites, Phuyupatamarca (Village above Clouds) and Intipata (Terraces of the Sun), finishing with my favorite site, Wiñay Wayna (forever young).
Reynaldo talked about his family’s history and his connection in heritage to the Inca sites we were experiencing. He did not refer to Peru as his country, but rather as "nuestra casa” - our home. And his love for his people and for the immense land in which we found ourselves enveloped was brilliant. He played songs for us on his flute and taught us how the Inca made suspension bridges with Ichu grass to connect pieces of trail that would otherwise be un-traversable.
Wiñay Wayna was my favorite site we visited. I’m not sure if it was just the sense of finality I felt when we were there, knowing that the next day we would no longer be away from society, or whether there was some other sense of agricultural connection given my family history. But I could imagine living and growing things there.
Reynaldo explained to us a few of the techniques used to create the 2000+ varietals of potato that the Inca developed with the simplicity of pollination. The Inca would intentionally plant two varietals of potatoes they wanted to breed on adjacent terraces and when the plants bloomed, the bees and hummingbirds took care of the work to produce new varietals. It’s simple and genius. For a society to have such a sophisticated understanding of agriculture at a scale like that made a deep impression on me. It’s probably my indoctrinated white, American arrogance at work.
Surrounding the terraces were beautiful peaks, waterfalls diverted and channelled by Inca aqueducts, and a sense of stillness I haven’t felt in a long time.
That evening we had our final ceremony with our new friends and porters. We exchanged words and gifts with one another (they baked us a cake!). I felt sad to be winding up our trip. I’d done my best to learn some Quechua and speak with our porter friends as often as I could. They worked so hard and entirely for the benefit and ease of our hike. I felt grateful and wrote some words that I read to the group that evening.
I will not forget their kindness and diligence. I hope to see them again when I return to Peru.
Day 3 Photos
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Machu Picchu In The Rain
How The Rainforest Got Its Name
Our wakeup call on the last day was around 3:45AM so we could get to the control checkpoint before entering the Machu Picchu park. Being first in line essentially secures that you and your group don’t get stuck in the long line on the trail to enter Machu Picchu via the Sun Gate at sunrise.
Unfortunately for us, we were first and it was pouring rain. A brilliant sunrise didn’t look likely. We took our breakfast by headlamp under a small shelter, telling stories and playing games, waiting for 5AM to come and the gate to open.
But we pressed on regardless, arriving at the Sun Gate after a steep climb up a section of the trail called the “Gringo Killer.” But even without the famed view, we walked quietly in the rain with the knowledge that on the other side of the fog and clouds was an immense space where an ancient citadel lived below.
As we descended, the rain increased and there was a sense that we might miss the view entirely. But we had our moment, which I think was enhanced by our missing the “typical” moment of reveal, when the clouds finally parted and we were able to see the citadel below.
For a brief history if you’re unaware, Machu Picchu is a 15th-century Inca citadel. Most archaeologists believe that Machu Picchu was designed as a retreat-like estate for the Inca emperor, Pachacuti (1438–1472). The Inca built the site around 1450, taking about 100 years in total, but abandoned it a century later at the time of the Spanish conquest. They wanted to prevent the Spanish from accessing their sacred places. Even today, it remains a sacred place to the 5,972,606 indigenous Quechuas in Peru.
Although known to locals, it was not known to the Spanish during the colonial period - thank god. As our friend and guide, Reynaldo, showed us, the site remained hidden by design. After the conquistadores killed Atahualpa, the last Inca king, efforts to create landslides and hide sacred sites were wide spread. Machu Picchu thus remained unknown to the outside world until American historian Hiram Bingham brought it to international attention in 1911.
I am selfishly glad Bingham did find it, but there was a certain sadness I felt seeing so many people foreign to the land, myself included, wandering around with the impossible task of comprehending the breadth of this empire and the plight of its people for centuries to follow. I hope someday the Quechuas return to their seat of political power and that Machu Picchu may see its second renaissance.
Visiting Machu Picchu is every bit as magical an experience as you’ve heard about. If you have the ability to go, plan a trip and do it. I may have been cold and wet, but I wouldn’t trade the experience for the world.
Machu Picchu Photos
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To Return Home
A Joy. A Shame.
We took the train and a few busses back to Cusco. There aren’t enough words to describe how incredible the trip was. I’d do it again in a heartbeat. Peru is a fascinating place full of kind people, immense mountains and rivers, delicious and rich food, and a history as complicated and nuanced as any. I left a piece of my heart in Peru. I hope to come retrieve it someday.
I write this now feeling exhausted and without much mental clarity. I’m sure I’ll look back and want to refine what I’ve said, but for now it’s a pretty honest reflection of what I can muster and what hiking a trail like The Inca can do to a person. It will simultaneously drain and refresh you. I did not know what exactly to expect when we took off from Austin, but I certainly did not expect what we found.
I am eternally grateful to Bob for the invitation, to our new friends in Peru for making it possible, and to this grand planet on which we are so fortunate to live. Please continue taking care of it so that our children may also experience this place.
Moments in time.
I spent a great many sweltered and swollen summer days on the land with my grandfather. The house was an old Air Force barracks moved to the farm from the nearby base. Our work consisted of watering and tending to the cattle, maintaining equipment, and keeping the land healthy. In the mornings before the heat set in, we’d gather from the fields our cantaloupe, watermelon, black eyed peas, plums, tomatoes, squash, and corn to sell to local markets and from the bed of the truck beneath the abandoned gas station awning in town. I negotiated a twenty percent take of what we made from the groceries and passersby, storing the bills in an old Prince Albert pipe tobacco container where I saved up enough paper to buy my first pair of Nikes (Cortez).
After the chores were done, my grandfather would sometimes take soap down to a cattle trough fed by our well and bathe there. I was free to run wild. I’d head up the mountain with my pellet gun, following after the dogs, Ace and Duce, to dodge sunning rattlesnakes and try to find a skunk we could harass. When we could only turn up grasshoppers in lieu of vermin, the dogs and I would run together down the mountain, across the sand pit, through the shelter belt, and down to the sandy salt fork of the Red River that wound its way through our place where I could swim naked in the red and muddy brine. I once made the mistake of wearing white underwear into that slow river to the consequence of permanent stain, like rusted steel. The nude was the better alternative.
The nights on that land were so dark, you couldn’t see your hand in front of your face when the moon waned. I remember when my great-grandfather passed into death in the front bedroom (where I typically slept when I was there) and all the cows sauntered up to the house as if they knew their friend had left for a party they couldn’t attend. That night was particularly dark as the taxidermy bobcat in the living room stared back in wild surprise at us in mourning and in misunderstanding.
Cherished and even difficult memories always feel softer as the patina of time shows its patterning.
The land of enchantment, indeed.
The moon appeared without sound
in slow lament,
from behind wan clouds,
disappearing soon again into
waves across rippled mud.
A monk asked Joshu why Bodhidharma came to China.
Joshu said: "An oak tree in the garden."
Mumon's comment: If one sees Joshu's answer clearly, there is no Shakyamuni Buddha before him and no future Buddha after him.
Words cannot describe everything.
The heart's message cannot be delivered in words.
If one receives words literally, he will be lost,
If he tries to explain with words, he will not attain enlightenment in this life.
After I arranged Ikebana for my sister’s wedding in the spring, my roommates and dearest friends Zac and Monica asked me to do about 28 table centerpiece arrangements for the reception after their wedding. With some added confidence and stress-reducing-techniques after my last endeavor at this scale, I gladly accepted.
Zac Catanzaro is an entrepreneur and musician and producer who most notably does many things for the band Walker Lukens And The Sidearms. If you’ve not yet heard about their Song Confessional project, check it out. Monica Marcano is a coffee connoisseur, witchy lady, and house plant guru. I honestly couldn’t imagine a more deserving pair of human beings to whom I’d give a gift like this - they’re both creative, loving, generous, kind, and (best of all) sassy. It’s a joy to know them and a privilege to call them my closest friends.
If you’ve not yet read about my arrangements for my sister’s wedding, you should definitely read that before you dive in any further here; it provides very useful context for what you’re about to get into.
For those who don’t know, I've been a practitioner of Ikebana (生け花, "living flowers") for several years now. It's a Japanese art form of contemplative floral arrangement that has become one of my favorite art forms to practice. It is also known as Kadō (華道, "way of flowers") and is considered one of the three classical Japanese arts of refinement.
The form has been practiced for more than 600 years. It has evolved during this long period from what were originally Buddhist offerings that were placed on the altar of temples into a developed art form free of its religious origins that are displayed in the home. Practitioners use flowers, branches, and leaves to create living pieces of art. There are many schools of Ikebana, but I have been taught in the Sogetsu School and have studied under artists who venture into the unknown territory of free form arranging and personally have been moving into the more abstract expressionist practices with respectful nods toward the old styles.
Ikebana is an art form that is deeply meditative. Creating an arrangement is typically done in silence to allow the artist to observe and meditate on the beauty of nature so that insight into the infinite and fundamentally sound nature of existence can arise. Seasoned designers realize not only the importance of silence, but also the importance of space, which is not always meant to be filled, but created and preserved through the arrangements. This ties into other principles of Ikebana including minimalism, shape and line, form, humanity, aesthetics, and balance.
It is also imbued with “hidden” meaning. Meaning has been attributed to flowers for thousands of years across the planet, but particularly in Japan. The concept of hanakotoba (花言葉) is the Japanese form of the language of flowers. It is sometimes called floriography, and is a kind of cryptological communication through flowers themselves. While I have been practicing Ikebana for a number of years, I have only just begun my education of hanakotoba. In the work I did for this wedding, I explored the aspects of hanakotoba to the degree I understand it within the relationship between the viewer and the arrangement. In hanakotoba, the emotional connection and poetic communication in flowers occurs directly between the recipient or viewer without needing the use of words.
To become a masterful artist that can express hanakotoba with elegance (something I have not yet fully accomplished) requires a patient commitment to the art and discipline to see it through. The discipline cultivated when arranging flowers in this way creates a situation wherein the artist may experience a deep level of connectivity to the land, seasons, and plants. This art form opens up the possibility of a more nuanced understanding of context of the surrounding ecology and forces the artist to engage with an intense degree of focus and presence. The physicality of arranging forces the artist to open up to the fundamental concepts of space, harmony, and asymmetry.
In order to practice Ikebana deeply, an artist needs to see clearly - to perceive the full picture of context, texture, color, and form. The fundamental obstacle to clear perception is the anxiety of our narratives, the bullshit stories we tell ourselves that clutter our minds. When we convince ourselves that any part of the world is fixed and solid, we lose the ability to really relate with ourselves or to the world outside ourselves. I like to ascribe that anxiety the quality and feeling of heat. When anxiety arises in any moment, it feels like entering a hot and stuffy room where it’s easy to feel claustrophobic without fresh air. That claustrophobia leads us to contract our sense perceptions. We can’t smell, we can’t taste, we can’t hear, we can’t feel. Our sense perceptions are numbed, which is a fundamental obstacle to creating a work of art that expresses genuineness and elegance.
Some cling to neurotic artistic fury, as though they could not become good or honest artists without it. I understand the tortured artist perspective to a degree, but it really lacks openness. It cuts off potentiality and limits the artist’s work to a brand of aching and pain rather than a more robust expression of our human nature. It’s a view of art opposite to a sense of peace and coolness, which our insane world could use more of. It undermines the possibility of intrinsic ordinary beauty where even the mundane becomes powerful and visceral.
Fundamentally, Ikebana is the expression of the kind of beauty that is unconditional and doesn’t require forcefulness or artificial conditions. From that unconditional beauty, which is peaceful and cool, arises the possibility of relaxing, and thereby perceiving the phenomenal world and one’s own senses properly. Ikebana is, at its core, a form of art that allows the artist to get out of the way of the world around us and simply expressing what is. That is hanakotoba, my aspiration for these arrangements.
Given this premise, the work ahead of me would be framed by two simple questions:
How do flowers offer freshness, a sense of cool and spaciousness?
How do I tell a real story without words?
A New But Familiar Context
Much like the approach I took on with my sister’s wedding, the notion of using what the land could provide was again attractive to me. It’s such a unique opportunity in time and space to take what the land can offer in that season, in that moment, and to create a temporary work of art from those materials. Ikebana is brilliant in that way. This time the context wouldn’t be the Texas High Plains, but right in the heart of the river woven hills of Central Texas.
The Texas Hill Country is located in the Edwards Plateau at the crossroads of West Texas, Central Texas, and South Texas. Given its location, climate, terrain, and vegetation, the Hill Country can be considered the border between the American Southwest and Southeast. Obviously I wanted to dig into the native vegetation of the region for the foraging efforts that would these arrangements to life. Lucky for me the region is rich with various yucca, prickly pear cactus, desert spoon, and wildflowers, while the predominant trees in the region are ashe juniper, yaupon holly, Texas live oak, and of course, the infamous and conflicting epiphyte ball moss that grows from their brilliant spindly branches. There would no doubt be a rich palette of colors and textures to work with. And these materials have a sense of depth and story.
In Pre-European America, what we now call the Texas Hill Country was more or less a grassland savannah formed largely by grazing habits of bison and antelope (not dissimilar from the grassland plains whence I come). The land supported a rich diversity of forbs and grasses, while the ashe juniper was restricted to overgrazed areas along rivers and streams where the cloven animals would gather for water, and in areas of shallow soils and steep canyons where wild fires did not occur frequently. You might be surprised to know that the white-tailed deer that are so overpopulated here now were rarely found in the grasslands back in those days. But enter the Europeans (of course, right?).
With European settlement came fences, cows, sheep, goats, and controlled fire practices. Livestock were continuously grazed in fenced pastures which disrupted the natural movement patterns of grazing animals. The plants weren’t able to recover from new heavy grazing patterns. By the turn of the 20th century, continuous overgrazing and control of fire had taken its toll and changed the fundamental quality of the landscape as it began to change from a grassland to the brushland we know today. Many of the woody brush species were readily grazed by sheep, goats, cattle, and an increasing regional wild deer herd. Domesticated cloven animals have selective eating habits, rapidly consuming the more desirable plants first and leave the less desirable plants for last.
By the 1940's, many of the good quality plant species were highly depleted and not readily found on most ranges. Our precious Hill Country was completely dominated by poor quality browse, forb, and grass plants. Ashe juniper (commonly called cedar by allergy sufferers) is a highly undesirable forage plant, avoided by both domestic livestock and wild deer. In much of the Hill Country, cedar became the dominant plant species, causing a once diverse and healthy landscape to become a virtual "cedar break" with very little plant diversity or vigor. All would seem lost were it not for the mighty Live Oaks’ perseverance and in such a Texan has a way, these trees have remained.
Now the economic activity in the Texas Hill Country is one of the fastest growing in the country. And as population explodes alongside this growth, the region is faced with its own critical requirement to balance that growth with the preservation of precious natural resources like water, the remaining ecological systems, and the culture of preservation that have long supported life here. The consequences of unbridled sprawl are irrevocable. If rainwater can’t find its way into the aquifers and springs, our vital drinking water supplies are endangered. Land fragmentation imperils the contiguous native habitat that our iconic Texas wildlife needs to survive. Unchecked expansion can also limit our access to the beautiful public lands which are so important to our recreational well being. This narrative is what makes Zac and Monica’s choice of venue such a compelling context in which to frame the work of arranging flowers that are meant to tell a story of landscape and movement.
The Harper Ranch in Bulverde, TX is a boot strap tract, built by people who started with little and truly worked the land in the tradition of Texas ranches to create an environment focused on conservation. These days it’s an active horse and exotic species ranch, as has been the trend in the Hill Country the last decade or so, featuring animals from the Middle East and the African plains. It’s a beautiful hill country parcel full of beauty, both in flora and fauna. Without places like this, the Texas Hill country would look like a ubiquitous, never-ending suburb. And wouldn’t you know it - it’s absolutely covered in brilliant Live Oak trees. I couldn’t have asked for a better place to do this work.
The ranch owner worked with and was a dear friend to the late Richard Catanzaro, Zac’s father, back when they were building the famous and beloved HEB grocery company into the Texan empire we know it as today. I came to learn that the land was the very first place Zac had come to “experience” Texas when their family was considering a move from New Jersey. Mr. Harper was endeavoring to convince the Catanzaros to set up camp in Texas and become part of the HEB family. As they toured the ranch, Zac (who was 9 years old at the time) was given permission to drive one of the golf carts in a virtually empty pasture save one single oak tree in the distance. Much to his mother’s chagrin, he took off with big eyes and a wide smile and everything seemed to be fine until he somehow managed to send that cart sailing directly into the lone tree, crashing and terrifying everyone for a moment. Of course, they all laughed it off.
As I surveyed the space where the wedding would be held, beneath a beautiful grove of live oak and red oak trees, contemplating this story of young Zac that Mrs. Harper told the night before the wedding, it became very apparent that Live Oak would be the perfect and obvious central theme for all the flower arrangements. Live Oaks were Zac’s first experience of Texas. Live Oaks would gently canopy the wedding guests as Monica’s father presented her to Zac to be married. Live Oaks were the historic heart of this land and would become the heart of the story these flower arrangements would tell.
Commonly known as escarpment Live Oak or Plateau Live Oak, Quercus fusiformis is an evergreen oak tree that is emblematic of the Texas Hill Country. Its native range includes the Quartz Mountains and Wichita Mountains in southwestern Oklahoma (where my grandfather grew up and where he taught me the ways of working the land), through the Texas Hill Country (where I migrated from the High Plains and have made my home my entire adult life), to the Mexican states of Coahuila, Tamaulipas, and Nuevo León (where I have spent time enjoying the many offerings of the Mexican desert). It is a magnificent and stately tree with unparalleled longevity, which has endeared it to generations of hill country dwellers.
As I explored the metaphor of the Live Oak, I was struck by how well it represented Zac and Monica’s relationship. These trees have been considered symbols of strength for centuries and if you’ve spent any time around these trees, it’s quite apparent why. They are hearty, strong, and firmly rooted, often growing for hundreds of years. What’s so remarkable about such a lifespan is that they begin as a tiny acorn in a very thin layer of soil atop limestone bedrock. Their root systems can often far supersede the height of the tree, such growth being triggered by the violent storms that bring with them torrential rains and wind.
Live Oaks are often up against considerable existential threat - heat, drought, flood, malnourished and alkaline soil, idiotic humans, etc. Yet they persist in providing immense shade, as well as supporting an abundance of life in their canopies. Epiphytes, lichens, birds, bees, lizards, squirrels, and even the occasional climbing hill country goat. In fact, when Live Oak branches encounter an obstacle, they do not break or bludgeon their way through, but rather they begin to bend and grow alongside whatever hardship lay in their path. What we consider beautiful and sinuous trunks and branch systems are actually a brilliant stroke of evolutionary luck that has created an iconic tree.
The metaphor was so rich and beautiful. It would be absurd not to use Live Oak as the central theme. They are remarkable and beautiful trees, cherished and beloved for their enduring qualities. Just as they have been steady in holding the land together here in Central Texas, so too would they represent the steadiness and sustaining qualities in Zac and Monica’s marriage as they bend and dance elegantly alongside any obstacles in their collective path.
Monica gave me some wonderful and interesting ideas to explore, in both the materials with which I would be working (many of which she had dried to blend in with the living flowers for a weathered effect) and the containers purchased for the event, which varied in size and shape and color. The palette of colors would be autumnal and the textures diverse and rich.
I began to do some simple design exercises to get acquainted with the themes and forms that might emerge. Ikebana is a practice of trusting your instincts so I took pen to paper to see what would come to life when I imagined what forms could take shape. I knew I had my work cut out for me given how many arrangements needed to be done (it was a big wedding with lots of tables to fill), so the better I could familiarize myself with some ideas beforehand, the more fluid the work of arranging would be. For an extra measure of fun, I did all of these sketches with my left (non-dominant) hand to really lean into the idea of trusting my intuition.
Another design exercise I did was a contemplation of texture and form. One of the most basic principles in the Sogetsu school of Ikebana is the expression of heaven (Shin), earth (Tai), and humanity (Soe) within an arrangement by establishing a hierarchy of the elements themselves in the arrangement. This principle comes from the Chinese tradition and was developed further in Japan, where it has been connected with the tradition of ikebana for centuries. The principle of heaven, earth, and humanity also applies to calligraphy, painting, interior decoration, building a city, designing an airplane or an ocean liner, organizing dishwashing by choosing which dish to wash first, or vacuuming the floor. All of those works of art are included completely in the principle of heaven (Shin), earth (Tai), and humanity (Soe).
To explore how Live Oak might lend itself to the expression of heaven, earth, and humanity, I spent an afternoon about a week before the wedding walking around with a plucked branch. I wanted to hold it, become familiar with it, and let it make an impression. By using our sense of sight and touch in Ikebana, each flower or branch can connect us to something beyond our body. Our existence can’t be without the support of the Earth just as much as we need the open sky, sunlight, and the solar system for our existence. The connection isn’t just symbolic, it is a literal interpretation of how we are interconnected to everything that surrounds us.
It’s difficult to put into words how one internalizes the qualities of a plant. At some level, we all become intimate with the various aspects of our daily life. Farmers know every inch of their fields. Programmers remember lines of code. I came to know this plant. I had a sense for its story and now had the task of communicating with others what I’d experienced through the arrangements.
Arranging Ikebana in the chaos of setting up a wedding requires calm focus, genuine expression, and gentleness. Otherwise, there is no way to work with the universe at all. I felt that I had a tremendous responsibility: the first to myself, to stay gentle and genuine; the second was to do this work for others in the same manner. I worked for the guests so they might experience the spaciousness that the flowers invite us to feel when they’re arranged in Ikebana practice. I think it is very important to realize how powerful all of us are in this way. What we are doing may seem insignificant, but the ways we move in the world have a profound impact on those around us. My job was not just to provide pretty flowers for a wedding, but to create an experiential landscape that tied together the brilliant live oak trees and the elegant scene where guests would eat, drink, and celebrate Zac and Monica’s love for one another.
When we begin to perceive the world with that sense of space, peace, and appreciation for simple and minimalistic beauty, conflict begins to subside and we start to perceive our world clearly and thoroughly. There are no questions, no obstacles, just as the Live Oak experiences no obstacles. In Ikebana practice, the general anxiety of life can subside as the artist’s sense perceptions become tuned to the work at hand. Through this practice of meditation, we can relate with our thoughts, our mind, and our breath and begin to discover the clarity of our sense perceptions and our thinking process. This is where a deep artistic expression occurs in the flowers.
This is the joining of of heaven (Shin), earth (Tai), and humanity (Soe).
When we begin to realize these principles at work, the heat of neurosis is cooled and a more pure insight has space to emerge. Because restfulness exists beyond the neurosis, we can feel confident in our hands’ ability to place flowers and branches where they need to go. Such trust in ourselves comes from realizing that we do not have to sacrifice ourselves to neurosis. And relaxation can happen because such trust has become a part of our existence. Therefore, we feel we can afford to open our eyes and all our sense perceptions fully.
That kind of trust is what held the space for textural Live Oak branches to sit in contrast to the elegance of calla lilies and carnations without pretense. It wasn’t my mind trying to create a situation that wasn’t there - it was simply observing the qualities of the materials in front of me and trusting myself to create without inhibition. Of course the “rules” of traditional Ikebana guided the decision making, but they didn’t create the arrangement. The arrangement was a genuine expression of its own making.
Earth and heaven are not separate from us. The vast, spacious autumn sky opens above us all of the time, just as it did in Bulverde that beautiful day. But still we forget that we ourselves have the ability to turn the door knob in each moment of life to connect to something spacious, beyond our seemingly limited self. In the same way that a Live Oak’s roots connect to their surroundings, far beyond what we see of them.
Whether or not these arrangements communicated this story well, I can’t say. However, it is my great hope that these arrangements touched the hearts of Zac and Monica on the day they committed to one another, giving them even the briefest breath of fresh air in the midst of the hustle and bustle. And it is my great hope that their guests found delight in the forms as they wandered through the nuptial grounds, taking in a new petal, branch, or detail with each passing glance, the effect so subtle that it nearly passed unnoticed.
A huge thanks to Laura Brennand for her creative spirit, helpful eye, and for taking so many of the arrangement photos in this essay while I was diligently arranging in the midst of wedding madness. She is a fellow flower freak and besides being business partners with Monica in their Hoja project, she’s someone you should certainly look to for flower and plant needs in Austin via her project “La Otra Flora”.
Nobody out here.
Canoed about 20 miles from Lajitas to the Santa Elena Canyon trailhead in Big Bend National Park last weekend. What a ride!
As the dog sniffs out wild onions,
dew collects upon her feather coat &
our dank mornings weigh down
all that is cotton. Though some sense of
lightness feels near, but on hold,
the cold hiding out in lonely valleys
far off, singing low, carried on wings up
windward mountain slopes. We know it
without words. In these bellied hills
we can still drink sweated glasses of iced
tea with sugar sweet & wear white - toe to
head well past Labor Day, though we dream
of memories; cooler nights & fireside.
Over the course of the last 4 months or so the task of slowly redesigning The Building Science Podcast’s logo has drifted on and off my desk. It’s needed to happen for a while (as you’ll see and I’ll explain). So I finally had enough time between fire drills the last couple of weeks to let my mind drift long enough to arrive at that liminal space between inspiration and pragmatism. So here I am to tell you all about this wonderful new logo and aren’t you so proud of me and yes I love you too. :)
The original logo was clunky, phallic, and busy, but it managed to get across the following ideas:
This is a podcast’s logo
This podcast is mostly about engineering and science as it pertains to buildings
The maker of this logo didn’t know exactly what they were doing or what this logo was supposed to communicate (pssst… it was me, I’m the one who didn’t know any of that)
The big problem with those points is that the important ones (1. and 2.) are only really communicated with the text in the logo, which is a pretty low bar. The point that I would have rather avoided all together (3.) is well expressed in the actual imagery, which when I began to analyze, made very little sense to what the show is about. To be frank, when I asked myself what that imagery actually communicated, I was at a loss. But like all work, when we realize something can be improved, we should endeavor to improve it. In this case, I wanted to find a way to make a simpler, expressive logo that visually communicated what The Building Science Podcast is about.
The show is about human society as it is expressed in buildings, evaluated with the lens of scientific inquiry and critical thinking.
Through time the show has become more nuanced in its approach, refined in its production quality, and sharply focused on a much larger mission than the less serious tone we had in our early days, back when we were just nerding out about building physics with a microphone. We still have some of that, but we’ve pivoted to embrace a much larger and more important topic - that our homes have a profound impact on human health at both the microbiomic level and the macro-ecological level. It’s actually insane how little attention homes get in the big picture of human life on the planet, but so much of the human experience intersects in our species housing of itself.
I thought this shift in tone warranted a new look to express how the show has changed, especially as we approach our 5th yearly season in 2019. With new seasons come change. And we really do look at our show as but one way of accomplishing the mission of pointing architecture and construction practices toward a more human centered era. The whole show is based on change and potentiality. The more attractive and “normal” we can communicate that idea, the better.
So I played with a few ideas here and there during the process that didn’t really stick, as one does when finding imagery worth keeping and using. After several months of haphazard effort, I finally landed on a simple concept that played off the original logo, made a clear statement about the show, and served as a more elegant visual representation of the problem the show is meant to address.
The message is simple - our homes are complex experiments and we’re living inside them all the while. That’s literally what we talk about in some nuanced form or another each and every episode of the show.
I want to think that I almost got there with the original logo, but the message got lost in the clutter; the unnecessary gear wheel protruding from the edge of the round-bottom-flask with a spout far too long, and the clumsy representation of earth inside it. It’s trying too hard and still relying on the text to communicate anything meaningful. The message needed to stand on its own more simply. It needed to rely less on connecting complicated intellectual dots. It needed to look less like an engineering podcast right out of the gate. You don’t just tell someone you’re an engineer on the first date!
Logistically, it was a straight forward design. There were only a few elements. I endeavored to play with contrast between the circular flask-shape and bubbles against the angular corners of the building inside. I stuck with our company colors because I think they’re beautiful together and it otherwise wouldn’t have been as easily identifiable in our audience’s transition in familiarity. You have to ease into a new look, just like a haircut. I also really enjoyed that I didn’t have to deal with any typography because it simplified so much of the decision pathway. I did a fair bit of research on the podcasting app to see what stands out well, as well as informal focus grouping with architects and graphic designers I know and trust enough to be honest with me when they see something bad. None complained.
I really think the new logo finds a more understated, less busy way to communicate the idea of a home as an experiment that needs to be understood. And it doesn’t hurt that it looks great in Apple Podcasts.
Another silly little art project to keep the mind sharp (or cloudy, if that’s what you’re into).