![]() Slugs and cabbage moth caterpillars can occasionally make an appearance, although this really is a very low maintenance perennial. Propagate sea kale by seed or root cuttings. I had a dozen specimens of Crambe maritima thrive for over 20 years in the same locations. Full sun is preferred although very light shade is also acceptable. Held in dense panicles above the foliage, the flowering show is not insignificant and is “baby’s breath-like” in appearance.īest grown in rich, sandy to gravelly soils with medium moisture, sea kale also prefers good drainage and ideally a neutral to alkaline pH. ![]() The profuse, small, four-petaled white flowers are about ½ inch wide and are slightly fragrant. Thomas Jefferson also grew sea kale at Monticello in the 1820s. Young leaves and flower buds can also be eaten raw. Early shoots are commonly cut in spring, blanched and steamed. Sea kale is high in vitamin C and contains calcium and other nutrients. Since the turn of the 18th century, sea kale has been a popular vegetable in some parts of Europe (particularly England and France) with leaves, stems, flowers and roots entirely edible. Growing natively along coastal seashore areas of mainland Europe and the British Isles, this plant is also considered a halophyte which indicates its high salt tolerance. I repeated specimens of sea kale throughout a sunny garden scheme to create a pastel blue “color echo” that really worked well with this durable plant. It’s a shame that this perennial is not used more often for its lengthy and significant ornamental contributions (and edibility). The fact that sea kale is in the cabbage family (Brassicaceae) is not surprising and the foliage is frequently described as “collard-like” in appearance. The foliage quickly reached over 30 inches in height on mature specimens with showy white flower coverage in summer. The foliage was a contributor from early spring as it emerged heavily ruffled from a basal mound with hints of purple and filled out to a prominent blue-green cast. Ever.I first grew sea kale in the late 1990s and was immediately smitten by the glaucous blue, thick, wavy-edged leaves. You will get full access to divisare archive and you will help us keep the lights on.ĭivisare subscription is free for teachers & students No Ads. If you like what we’re doing, please Subscribe. No click - like - tweet - share, no advertising, banners, pop-ups. This is why Divisare is a place to perceive architecture slowly, without distractions. Instead of hastily perused information, we prefer knowledge calmly absorbed. Instead of a quick, distracted web, we want a slow, attentive one. Patient work, done with care, image after image, project after project, to offer you the ideal tool with which to organize your knowledge of contemporary architecture. Join us in taking a stand against the short attention architecture media.ĭivisare is the result of an effort of selection and classification of contemporary architecture conducted for over twenty years. It is a different idea of the web, which we might call slow web. banners, pop-ups or other distracting noise. No "click me," "tweet me, "share me,” "like me." No advertising. Behind all this there is the certainty that we can do better than the fast, distracted web we know today, where the prevailing business model is: "you make money only if you manage to distract your readers from the contents of your own site." With divisare we want to offer the possibility, instead, of perceiving content without distractions. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. So we began to build divisare not vertically, but horizontally. May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the "cover story," "the focus."Ĭontent that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2.
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