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    The Farmer Diaries

    Texas farmer shares seedless secret to growing summer veggies through winter

    Marshall Hinsley
    Marshall Hinsley
    Sep 13, 2015 | 9:00 am

    For years, I've grown greens right through the winter, long after cucumbers, squash, and okra have been killed by the first frost of the season. I've enjoyed the kale, collards, mustard greens, broccoli, and turnips that fill my dinner plate until the spring, even as I crave the meatier flavors of summer.

    I've tried to vary my wintertime harvest. Two years ago, I grew squash and cucumbers in a small greenhouse my father built back in the '80s. But I learned that, although I could grow a pretty plant, it bore no fruit. These crops require bees to pollinate them, and there were none to be found during the cold, rainy part of the year.

    I did net a few cucumbers, the result of my hand-pollination of female flowers by poking their male counterparts into their petals. But the process was time-consuming and relied on the right humidity, temperature, time of day, and age of the flower to fall into place. Mimicking nature's processes proved to be no easy task and hardly worth the effort.

    The benefits of seedless hybrids
    But then last fall, I stumbled onto the secret that professional growers use to grow summertime crops year-round: seedless hybrids, bred to need no insects for pollination. These are the source for the cucumbers and zucchini we see in grocery stores during the winter.

    These seedless hybrids are gynoecious, which means that they produce only female flowers. Female flowers have what look like tiny fruits already formed underneath them. In fact, that's kind of what they are — but to grow into something worth eating in standard varieties, these little fruits must contain fertilized seeds or they'll dry up and fall off. Not so with the hybrids.

    These hybrids have another trait that's been bred into them by trial and error: They're parthenocarpic, which means that their ovules don't need to be pollinated in order for the plant to grow a cucumber or squash large enough to pick. They grow on their own, and because they've not been pollinated, they are almost always seedless.

    I was resistant to buying hybrid seed. They're not genetically engineered; hybrids have been around for centuries and are produced through traditional breeding methods. I avoid them only because they don't produce seed that can be relied on to grow a new generation of crops, which is really no big deal. So, I dropped my hang-ups and made an allowance for these hybrids because the promise of picking summer vegetables in the dead of winter was too enticing to pass up.

    The trial with squash and cucumber
    For my first attempt at so-called controlled environment agriculture, I bought a pack each of Partenon squash and Corinto cucumbers from Johnny's Select Seed. The seeds are pricier than standard varieties. A mini pack costs about $5 or $6 for just 10 seeds, which is understandable because hybrids are labor intensive and can take decades of breeding to perfect.

    A mishap involving crickets left me with only three squash sprouts, a day or two after they popped up last January. In two-gallon plastic flower pots with coconut coir and perlite as the growing medium, they grew quickly into full-sized squash plants with broad, beautiful, green leaves and healthy stalks.

    By February, they bloomed with succulent flowers that blossomed longer than the standard varieties I've grown. They didn't drop off when the fruit began to put on mass, so I was able to pluck them off whole for an added treat of fried squash blossoms.

    About a week and a half after forming, the zucchini squash were ready to pick. In the kitchen, they sliced up nicely but were firmer than their standard cousins. Sauteed with onions, they were indistinguishable from the zucchini I pick in midsummer. There on my plate in the middle of winter was a side of squash, which I considered a success.

    More impressive were the seedless cucumbers I planted in one-gallon plastic pots using the same growing medium. Three weeks into their growth, I found it necessary to support their fast-growing vines up several strings of jute twine that I hooked onto the rafters of the greenhouse eight feet above ground. The vines grew up the twine and across the rafters and back down toward the ground so fast that I felt I could see their progress from hour to hour.

    Along each foot of their growth, a flower that needed no bees or butterflies for pollination bloomed and dropped off, leaving a shiny, dark green cucumber in its place. After about two weeks of growth, the cucumbers were ready to slice up and put in a salad.

    The squash was an acceptable substitute for the superior standard summertime varieties, but the cucumbers were better than the varieties I grow outdoors. They were long and slender with thin, smooth skin. Their flavor was mild without a hint of bitterness.

    Seedless success
    By the beginning of March, when one last snowfall blanketed the ground outside the greenhouse, my five indoor plants were growing three to five cucumbers each. Fruit hung down all the way up the vines and down from the rafters overhead.

    By spring, aphids overtook my squash plants, but I fended them off the cucumbers with a daily application of plant wash. The cucumbers continued to produce until June, when I directed my labor back to outdoor growing. They could have lived on and yielded plenty more, but I didn't have the time to tend these monster vines.

    As I prepare my greenhouse for this winter, I've begun to plan on other seedless hybrids I'll try out. They'll grow with the greens I produce hydroponically. I only need to keep the temperature above 50 for everything to stay safe.

    If I had no access to a greenhouse, I'd still grow a couple of pots of each in the sunlight of a south-facing patio door, maybe with a little supplemental light from an LED grow light. I can also see these doing well on an apartment balcony, as long as they're brought in any night when frost is likely. The cukes would have to be pruned, of course. A sunroom might even be a better place than a greenhouse as the warmer temperatures are preferable.

    Both the squash and the cucumbers were heavy feeders; I watered them with a stout solution of hydroponic nutrients. This gave them the moisture and the food they needed in one easy task.

    When it was cold and cloudy, they needed this treatment only twice a day. By May, when the sun was shining and the days were long, I watered and fed them about five times each day. I'll automate this work with pumps and timers this year.

    Seedless hybrids have opened my mind up to a whole new approach to keeping my pickings coming in year-round. For now, I plan to use these to add variety to my wintertime fare. As I hope to one day move up from being just a hobby farmer to a full-time commercial grower, I'm sure I'll rely on these hybrids for a steady harvest to take to the market.

    One of the advantages to growing hybrid squash indoors during the winter is a plentiful supply of delicious squash blossoms.

    Photo of plate full of sqaush blossoms
    Photo by Marshall Hinsley
    One of the advantages to growing hybrid squash indoors during the winter is a plentiful supply of delicious squash blossoms.
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    news/home-design

    dive in

    Houston designer dishes on Tulum-inspired look of chic Montrose cocktail lounge

    Emily Cotton
    Jun 12, 2026 | 12:00 pm
    1111 cocktail lounge interior
    Photo by Par Bengtsson
    Tulum's cenotes inspired the monolithic central bar.

    Globally-recognized luxury design firm Nina Magon Studio’s continued foray into the realm of hospitality has wowed Houstonians once again. The Architectural Digest, Elle Decor, and Forbes favorite introduces an immersive experience unlike anything else in the city. Unlike Magon’s previous, ultra-glamorous hospitality projects 5115 Saks Fifth Avenue and Cocody, her latest concept is unlike anything yet seen from the designer. Organic in nature, pared down, and entirely unpretentious, the new 1111 cocktail lounge in Montrose is a masterpiece of escapism.

    1111 (read as “eleven-eleven”) is the latest concept by nightlife impresarios Army Sadeghi and Brandon Duliakas (Clarkwood and Melrose). Featuring cocktails created by bartenders who worked at Mexico City’s world-renowned Handshake Speakeasy and cuisine by chef Emmanuel Chavez of Houston’s Michelin-starred Tatemó, it’s only fitting for the interior spaces to be helmed by an elite designer as well. The result is a brilliant trifecta of offerings poised to satiate the most sophisticated tastes.

    While food and cocktail menus look squarely to Mexico City for their source material, Magon chose to venture the path less traveled. Stepping away from her signature polished and glamorous aesthetic, the interiors of 1111 are decidedly earthy, naturalistic, and even primal. Inspired by the cavernous sunken swimming holes, known as cenotes, outside of Tulum, earthy greens, warm taupes, terracotta hues, oxidized tones, and muted stone textures evoke the raw beauty of Mexico’s landscapes.

    “It was very fun, because we were able to get to be very creative and create something that is different from our portfolio to show the extent of where design can go and how we can bring authenticity from other cities into our hometown of Houston,” explains Magon. “You feel like you’re in a space that doesn’t necessarily feel like you’re in the glamour of Houston; we wanted something more authentic to Mexico.”

    Anchored by a monolithic central bar, the open-concept space utilizes seating and tables of various materials and scale to accommodate any of the lounge’s many functions. Textural Venetian plaster in shades of the deepest greens drench the walls and ceilings, lending a cavernous quality to the overall atmosphere. Along one wall, a dramatically-curved overhang draws the eye back to the central bar, where a recessed ceiling gives way to a cascade of backlit flora and fauna, harkening to the idea that guests are gazing up through a void in the earth.

    “When you’re in a cenote, you have rays of sunlight coming through from the foliage, and so that’s what we’re emulating. Everything is done with that thought in mind,” says Magon. “It feels like this underground — not in Houston — feel that we were going for. The design is unexpected, and with the unique, big play on lighting, it’s very unlike Houston.”

    The heavy use of drapery, extensive architectural curvature, and cinematic lighting throughout continue the idea that the space is deep underground, with light merely sneaking in through cracks and voids. To soften the space, warm wooden panels are strategically positioned to provide both form and function. Laser-cut patterns were inspired by a design Magon admired in Mexico City. Though originally cast in stone, Magon’s backlit interpretation is equally striking.

    In residential settings, the use of decor and accessories helps define a space and set the desired tone. Restricted by the realities of 1111, where a DJ starts spinning at 9 pm, and patrons move more freely, Magon parlayed this limitation into a grand opportunity. Along the eastern wall, 18 custom, backlit niches create an illuminated gallery of vintage Mexican pottery — each piece chosen by Magon and her team.

    “It’s all vintage pieces, and the pots really bring in that originality of Mexico,” explains Magon. “We only used natural materials. Anything that’s glamorous, you’re not going to see here.” This naturalistic theme continues with the organic yarn wall hangings, and eagle-eyed patrons will notice the subtle mountain landscape — and other clever shadow-play — dyed into the wall-hung works.

    To keep the low lit, earthy vibes from becoming too monotonous, Magon chose a bright terracotta and bone color palette for the restrooms. All too aware that mirror selfies are highly de rigueur, the hallway is a colonnade of recessed full length mirrors leading up to the burst of color waiting beyond the doors. Bright terracotta plaster, oversized mirrors in organic, fluid shapes, stone vessel sinks, draped foliage, and fire-baked floor tiles in playful patterns beckon patrons to take advantage of the flattering rosy lighting.

    “We always want, in everything we do, a photo moment, a place where everyone takes photos,” explains Magon. “I didn’t want green everywhere. I wanted it to be a different experience, because everything in this space is an experience. From the moment you walk in, to when you’re seated, to the cave portion of the cenote, it’s all a different experience and different view point of this lounge. So, in the bathrooms, we wanted to make sure we weren’t missing any moments. Terracotta is very prevalent in Mexico City, and that’s why we wanted to bring in that terracotta color to the hallways and bathrooms — everything is fresh.”

    The entire interior concept was conceived of the instinctive desire to escape the everyday. From its sculptural architecture to its richly layered materiality, 1111 stands as one of Nina Magon Studio’s most immersive hospitality projects to date, an environment where bold design vision and cultural authenticity converge in a deeply sensory experience.

    “I’ve been wanting to do something like this for the last three years, just based off of my travels,” 1111 co-owner Army Sadeghi tells CultureMap. “I felt that Nina, with her strong residential portfolio, would be a unique opportunity for everybody to collaborate on a big stage — being hospitality — and I think she delivered. We worked very closely with her team, and they did a great job throughout the process — I think they nailed it. They created a space that’s a unique, sculptural, architectural sort of luxe space that hasn’t been seen in the country.

    1111 cocktail lounge interior

    Photo by Par Bengtsson

    Tulum's cenotes inspired the monolithic central bar.

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