Mr Deck Showpiece Decks and Arbors

Arbors and the California Revolution

Click on any picture to go directly to the pictured project page.

Please review the Copyright Notice and Rewards Program
for copyright-infringement reporting at the bottom of this page.


The arbors and pergolas shown in this website were all built in California's Silicon Valley. The whole world knows about this area because right here in many garages were spawned a number of technological revolutions that have changed the entire globe. Now another revolution is taking place. This time it's in the valley's backyards and it's architectural !!



For decades, homeowners erected rectangular shade arbors that looked pretty plain-Jane mundane.   Now new materials, construction tools and fabrication methods are making it feasible to build open-air structures with arches, vaulted canopies and curved beams as major components of the design.

Why an architectural revolution now?  It's a confluence of many things. One of the key factors is the appreciation in the price of the area's housing. With the median priced home selling for over $700,000 dollars in Silicon Valley, owners want attached and adjacent structures to have an appearance comparable  to their well-appointed homes. They are particularly concerned about durability and minimum maintenance. Gone are those cheese-cake untreated wooden trellises and decks of earlier times. Owners want things that will appreciate right along with their house value.            

Other factors lie in the construction industry itself.
To name a few :

There are the new Dacronite self-tapping wood screws, narrow as a nail, up to 6" long.

And the powerful hand-held battery-powered clutch-chuck screw drivers that puts these screws in as fast as nails without stripping the heads.


Then there are the new 2-part cross-linking polymer waterproof glues and the paintable polyureathane strongly-adhesive waterproof caulks.

And there are the fast-set paintable epoxies for filling large voids made when bolts are recessed and covered-over.


There are a whole host of plastics:

For the canopies there is hollow PVC (poly-vinyl-chloride plastic) rectangular and round tubing with built-in UV (ultraviolet) protection.


There is 3-D plastic lattice (made like the wooden lattice with crossing lath strips).

There is the double- and triple-walled pliable polycarbonate plastic sheeting for water deflection and light diffusion.

There's the new ultra-white polyethylene solid-plastic boards like PrimoPlank which can be used for curved beams and arches and never need painting, ever!

And for wooden canopies, the wood can be capped with PVC plastic.

 

Any outdoor structure is constantly exposed to the elements. Of all the hazards in Silicon Valley, the sun is the most damaging. It parches the wooden elements, curling and warping the canopy's top-most pieces. It blisters and cracks the paint. To permanently protect the skyward side of the canopy from the elements, all of my new wooden arbors now have PVC plastic caps over every wooden piece -- even the curved pieces.

Now that these problematic weaknesses in materials have been overcome, many residents in the valley are opting for more architectural outdoor structures -- the increased longevity and low maintenance justifies the added expenditure.

Plastic needs no
maintenance -- it makes great material for the thinner linear elements such as the lath atop the canopy. This makes possible some of the more elaborate arched and round canopies shown here, because by reducing the canopy's weight more emphasis can be placed on the design elements over engineering ones.


After all the wooden elements of the structures are finish-painted with a brilliant-white semi-gloss latex paint, the distinction between what's wood and what's plastic becomes almost imperceptible! Moreover, after a few years of weathering, the PVC plastic elements can be spray painted, so repainting the entire structure poses no problems in the future.

Painting wooden elements also has its own science. Have you ever tried to clean a used paint brush left out overnight? Well, to hold the paint on wooden surfaces, timber needs to be fuzzied-up first. That's called resawing. Then painting the resawn timbers with 1 coat of primer and 2 coats of premium latex, you won't have to paint them again for another 10 years. However a precautionary touch-up coat is needed after the first full year to catch any stress points, omissions or breaches in the original paint membrane.

Many considerations go into one of these designer arbors. The primary one is safety. Some of those suspended arches are over 150 lbs.! Those wooden arches must by code support 10 lbs/sq ft of canopy -- sometimes that adds up to a half ton or more itself. Bracing, heavy-duty bolts and safety cables, often hidden internally, must guard against components becoming detached in an earthquake of any magnitude.


What makes these new arbors, porches, patio-covers, gazebos and other open-air structures interesting are the myriad design details. They are architecturally varied to enhance the space rather than just fill it. For a structure to keep from becoming boring with familiarity, it requires an integrated complex of forms compatible with functions. And like a complex melody, the forms need to be compatible with each other, otherwise you get something equivalent to a sour note like those seen in my
"Renditions of the Arbordiculous" .  

You can search the internet the world over and you won't find a comparable collection of completed arbor and patio-cover projects like those found here in this site. Try clicking on the pictures and investigate these arbors in more detail. Find out all the considerations that were addressed in these various situations -- they may hold some important points that you could use in addressing yours. 


Arbors made from stained cedar or redwood

Here are five designer arbors constructed with stained natural wood. Plastic has been used in two of the structures; for the yellow decorative elements in the bridge arbor and as the blue-gray roof-sheeting in the arbor with the gabled roof.

Click on the photo to go to the related project.

 



New Designs on the drawing board

Here are a few new arbor designs, not yet built, still looking for a home.
 

 
 

Your assurance of quality

Obviously, the structures that I design and fabricate are more involved than the things that custom deck-builders and landscape contractors do.  These designer structures cannot be built from scratch on site from tools that are carried around in a pickup truck. But because they have been precut, predrilled and prepainted, they can be readily assembled and erected on site.

One of the most important aspects of a designer structure is
the absence of the site of fasteners. A designer structure should not exhibit brackets, bolts, nails or screws, contrary to the way local builders like to exhibit their handiwork. This takes attention to detail and ingenuity to accomplish.

Another important issue is the grade of materials used. These designer structures require the driest, straightest and clearest timbers possible. This grade of material is just not available at your local building-materials supplier. I have built solid relationships with key primary suppliers over two decades and I know what is obtainable and who can provide it to my specifications. These suppliers also take pride in the projects that I build with their materials.

Yet another issue is prepping the heavier timbers. I use only kiln-dried timbers selected for appearance grade. This includes the large 6x12,  24-feet long radial rafters that you see in many projects here.

Other contractors use green timbers with wet interiors.  Within a few weeks of delivery they will begin to crack open along the grain, especially if the sun gets on them. Local builders will build with these wet timbers out in the open, wait until the painter is available and then apply the paint with a sprayer to the completed structure. Within a few weeks the beams and rafters will begin to crack open and allow moisture and termites to enter.

I immediately seal my timbers upon delivery
with heavy coats of primer paint right after they are carved. Then I seal any cracks with a stiff but flexible polyurethane caulking because these cracks in the bigger timbers will expand in the summer and contract in the winter, year after year. Any hard filler in these cracks will eventually fall out. And any latex caulk will eventually wash out. Any other caulk is non-paintable. So polyurethane caulk is the only viable solution. Other contractors won't even touch this stuff because it takes a minimum of 3 days to cure before the timbers can be handled and that just puts a drag on their hustle to slap it all together.

Further,  when one's dealing with hefty timbers, there can be many small to medium sized knots or at best a few big ones, in every single piece. If these timbers were left to dry naturally, those knots will crack open in a star pattern. Not only that, but exposed knots, even little ones, appear to grow over the years during which time the dimensions of the timbers shrink as they continue to dry. So I router-out all the knots to a given depth, shoot them with galvanized staples and then fill them with a sandable, paintable epoxy -- and that involves a lot of extra work.

Another preparatory step I take is to have the timbers resawn before painting. That is,  the surface grain is fuzzied-up first  so the the paint has something to grip onto. If damp smooth-surfaced timbers are just painted without doing this, the paint will crack and peel within the year. And I roll-on the paint, both primer and finish coats, to get a a deeply penetrating primary coat and a thick finish coat.  Even the notches get painted.

Moreover, all the wood-to-wood contact points and notches are caulked with gooey polyurethane caulk before the pieces are fastened together and then troweled flush. This results in seamless joints and corners. Further, this polyurethane caulk takes 3 days to cure before it can be painted too -- and all of this takes a lot of extra time.

All the landscape and deck contractors that I've seen building arbors locally paint only their finished work and they do it by merely spray-painting. This leaves the contact points unpainted and applies only a watered-down thin coating of paint to the exposed surfaces. With Mr. Deck's arbors, your timbers come presealed and prepainted. Then  they get touched up with finish coat after erection by again using only brushes and rollers.

And here's the final step: I leave no flat wooden surface that's exposed to the sky uncovered. All such pieces are capped with a separate 1/8-inch thick PVC plastic cap which overlaps the top corners.

A clearly visible example is shown here to the left.

Other builders  just paint their plated bolts and brackets and within a year rust marks appear through the paint. I see this shortcut all over my area of operation. They just don't do any of the kind of prep and prevention work that I do as my standard fare.

And they don't build designer arbors either. Their stuff is all straight timbers piled atop one another. It doesn't take long before their work shows their limitations and shortcuts. By the time you discover their negligence, they've disappeared from your area with your money already spent -- and they aren't coming back, no matter what -- it's your problem now.

I'm not trying to compete with these local deck and landscape contractors working out of their pickup trucks building economy arbors.  I don't do that economy work. I do designer arbors and want my creations to last and to even outlast me. Some of my arbors will probably get built just once in my lifetime and with this realization I do the best that I know how at the time, every time. Most of these arbors were done for the first and last time. Do you see any duplications anywhere in this site?


Because of all this preparatory work, the top grade materials that I use, the numerous architectural details and all the engineering that I incorporate into a designer structure, there is obviously a premium to be paid. And that premium is your insurance for a durable showpiece result.

Click the link below this section for a list of my architectural structure copyrights. These copyrights supersede any other kind of design copyright because they are only granted for structures that are actually built. That is, they go way beyond the conceptual blueprint stage. If you can find another designer with that kind of accomplishment, by all means go work with them.

If you contract with me to do your design, here's my advice: avoid laying the "poor is me" trip on me. I'll detect that attitude in short order; so if you have a limited budget, please spare me from the opportunity to design something that will never get built the way it was designed.

At 67 years old and 24 years in this business, I'm fed up with all the manipulative demeanors I've encountered over those years. At this stage in my life, I'm not going to tolerate anyone's condescending demeanor, vacuous promises or insincere behavior at any time during the project. And I'll not tolerate being treated like a second class citizen.

If you are honest, forthright and of good moral character, we'll get along. And that's the only kind of customer I will deal with.


   
 Click here to see a number of unique monumental arbors still on the drawing board.

Active Links

Click here for the list of registered Architectural-Structure copyrights of Mr. Deck 

Reporting Copyright Infringement -- Reward Offered

Mr. Deck has an established REWARDS Program. It applies only to arbors and patio-covers. This program compensates anyone who first notifies me of a suspected copying of any one of my designer structures and provides the specific location. 

The reward is $100 immediate payment upon verification of the informant's claim, plus 10% of the judgment amount. If you see a structure in your neighborhood that resembles one of the arbors pictured on my Projects pages, contact me asap.

Some people have the mistaken notion that if they make some minor changes to the original design, they are circumventing infringement. A derivative work is defined as any distinct structure which incorporates any one of the unique design features of the original structure.

The copyright holder is the only person with the right to construct a derivative work. This right is protected for a period from the date of first public publication through 75 years after the death of the artist.

Some people make the mistake that I won't find out about their infringement if they're in another state or build it in a secluded location. Don't count on it -- I have been alerted to structures in the most hidden and remote areas by savvy observers or visitors. Many times it's a jealous or vindictive neighbor who has viewed this very page. Sometimes it 's been a competitor of the contractor who built the structure. Other times it's been someone in the neighborhood who had no affiliation with the infringer but had a sense of what an unfair advantage the theft of intellectual property bestowed upon someone else who didn't pay the fair price.

I have successfully prosecuted several infringers to date and will continue to do so. Because of the punitive damages awarded in these cases, there's more money in my prosecuting an infringement case than in building the original structure, so be forewarned. Not only that, but the infringer will also be ordered to demolish their copy structure.

The minimum litigation cost to the infringer these days for his defense in Federal Court is $60,000. It doesn't cost me much since I litigate my own cases and reside within a few miles of the Federal Court.  So you might think twice about copying any architectural element in any structure you see here.

Work with me and I'll bend over backwards to help you. But if you are the cheap or sneaky type, you're going to collide with a freight train coming at you -- and that's me.

My advice is to work with me from the start and avoid a big problem later: see the Copyright notice for preliminary costs involved for my participation.


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