Furthering a passing fascination with translucent acrylic rod and the arc of a rising or setting sun. A confluence of wood, tinted epoxy, acrylic rod, and teak grids make for the Postmodern garden gate design #201 that’s all about form.

Morgan Hill, CA

The contemporary, postmodern lines of gate #201 shown in Morgan Hill, CA.

Morgan Hill, CA

SShown from within the property.

Morgan Hill, CA

Morgan Hill, CA

Curious pups.

Morgan Hill, CA

Charles shown in the old Sebastopol shop, where for 30 years enjoyed a 2-minute commute to work. Where Ben began his apprenticeship at 3 or 4 years old and ultimately went off to Boston’s North Bennet Street School of Fine Woodworking for two years. Upon his return, they bid adieu to the old shop for larger digs.
Shown with the #201 on the bench.

Morgan Hill, CA

The postmodern garden gate design #201 facing a setting sun, with the angle of the sun changing over the course of 45 minutes, and the resulting rods diffusing from those on the left of the gate to those on the right side of the gate. An identical effect with the sunrise.

* Shown below with a series of small acrylic plates within the teak gridwork. .

Charles using a hand scraper in lieu of a final sanding.

In-Progress

We lay a few cross-rails in place to see how it looks and it looks like a ladder. A wide ladder. Or an over sized wall vent. But it’s a good start to a clean unfettered design born from a block-and-tackle vision of 90-degree angles and flush-joined intersections.

We can expect a secondary reward to these rods when exposed to the direct sunlight. Depending on a southern exposure and the progressing arc of the sun, the rods will illuminate, or back-light, in a succession to the sun’s trajectory. The time it takes to pass from the rods on the right of the gate to those on the left should be about 15 minutes, and something of a conversational piece in itself. The same timetable between those rods in the upper half of this postmodern garden gate design, and those in the lower, with the upper illuminating for sunsets and the lower illuminating first for sunrises.

The dry assembly of a tight grid, illustrating the interlocking weave that mirrors the larger interlocking weave of the gate itself. But more, the purpose of the grid is to center the eye and create a disparity between the larger, more open grids and this tighter layout that will eventually be grounded by the gate latch.

The finish grid, punctuated by four beveled ebony corner pins.
The grid interlocks, or weaves in the same pattern as the primary grid dividers of the gate itself. One course under and the next, over.

West Systems Epoxy, tinted with epoxy coloring agents.

Carefully working the epoxy to avoid any air bubbles.