Women play big role in garden design for Philadelphia Flower Show 2022

Packing big design in tiny homes

Writer Mike Goldys poses in front of Maryann O’Keeffe’s boathouse in Charlotte, N.C. It was the 11th property on his tiny home tour.

In the age of COVID-19, my goals of international adventures were being place on hold, but my escapes ended up not halted completely. I prepared harmless and socially distanced street visits, but with a twist: small journey.

In Oct 2020, I embarked on an ongoing “tiny home tour” all around the region and world. To date, my collection is composed of 25 domestic and one global stay.

As a self-proclaimed minimalist, I travel mild, even to far-flung locations. The plan of a smaller, effectively-prepared and economical residing house that a tiny home can offer just makes feeling.

But not all tiny homes are created and produced similarly. Some people today might suppose beautifying a miniscule property requires minimum amount hard work, but owners and inside designers would beg to vary. Listed here, a number of Airbnb superhosts (a label supplied to the best-rated and most skilled hosts) and property layout stylists share their feelings and inspiration for creating the most of a modest circumstance.

Design and style information

After sleeping in 26 of them, one particular thing is for sure: No two very small homes are designed alike. As a shorter-phrase renter, I get to working experience a new emotion influenced by the atmosphere designed by every single very small home host. Many elements ought to be taken into thing to consider, from construction elements to décor.

A road runs through it: Looking for solutions for wildlife along Highway 191 between Bozeman, Big Sky | Environment

When wildlife researcher Patricia Cramer takes a bird’s-eye view of a landscape, she likes to imagine a black bear moving across it, navigating both natural and man-made features. Where might that bear find food and water? What paths might it follow to meet potential mates? Where would it tuck in for a nap, or den for the winter?

The thought that follows is grimmer: “How in the world is that animal going to be able to do that tonight — or any night — and not get killed on the road?”

Cramer, a self-described “queen of wildlife crossings,” has been studying the intersection of transportation and ecology for the better part of two decades. During that time she’s come to think of roads as representative of the ways in which humans have dominated and fragmented the natural world.

A former professor of wildlife ecology at Montana State University and part-time resident of Gallatin Gateway, Cramer takes particular interest in U.S. 191, a serpentine two-lane highway that parallels the Gallatin River and bisects tens of thousands of acres of national forest that provide habitat for grizzly bears, black bears, elk, moose, deer, bighorn sheep, red foxes, wolverines and cutthroat trout. Set in a river corridor of the Greater Yellowstone Ecosystem thick with both humans and wildlife, Highway 191 hosts a steady stream of motorists traveling between Bozeman, one of the fastest-growing communities of its size in the country, and Big Sky, a resort town in the midst of a construction and tourism boom.

Between residents of Bozeman and Belgrade commuting south for work and vacationers bound for Big Sky or West Yellowstone, Highway 191 accommodates as many as 13,500 vehicles per day on a stretch of asphalt that in many places doesn’t meet federal and state highway standards for width, turn-outs, passing lanes and roadway curvature, according to a 2020 report on the 191 corridor between Four Corners and Beaver Creek (just south of the turnoff to Big Sky).

The report also reveals an increase of more than 130{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} in the number of vehicle crashes, from 64 in 2009 to 157 in 2018. One of the more dangerous stretches of 191 inside Gallatin Canyon saw as many as 39 crashes per mile during that same span, including seven fatal crashes and 27 that are suspected to have resulted in serious injuries.

The pressure on wildlife — particularly deer, elk, bighorn sheep and moose — is immense. Twenty-four percent of all crashes tallied in the report involved wildlife — more than any other type of accident studied. That’s more than twice the statewide rate of accidents involving wild and domestic animals, according to Montana Highway Patrol data from 2015.






elk cross road.jpeg

Elk cross the road in the early morning south of Bozeman.




A 2016 report based on animal carcass data found that a 10-mile stretch of U.S. 191 between Four Corners and the mouth of Gallatin Canyon is No. 2 in the state for wildlife carcasses reported per mile: 4.03 during the fall, when migration and breeding patterns spur ungulates to movement. The report, which was prepared by Bozeman-based nonprofit Center for Large Landscape Conservation, also included a tally of the total number of wildlife carcasses reported on Montana’s roadways between 2010 and 2015: 36,940, an average of 6,156 per year.

To help bring those numbers down, the report’s authors advise motorists to scan the roadside for wildlife, take special care in the dawn and dusk hours when animals are most active, slow down around blind corners, and use high-beam headlights in the absence of oncoming traffic.

But the most effective measures to reduce wildlife-vehicle crashes will require buy-in from transportation planners that oversee highway improvement projects. Cramer said wildlife crossings, which physically separate animals and motorists, are one of the best tools to reduce wildlife-vehicle collisions and support habitat connectivity, particularly at traffic volumes like those common on Highway 191. But Montana’s appetite for such measures appears to have waned in the past decade.

Cramer said there’s been a “precipitous drop-off” in the number of crossings MDT has installed in the past 15 years, which is consistent with the observation of Western Transportation Institute road ecologist Marcel Huijser, who recently told Montana Free Press that Montana has become “stagnant” developing crossings in the past decade. Rob Ament, Huijser’s colleague at WTI, notes that Highway 191’s route through Montana is one of the only highway segments in the Greater Yellowstone Ecosystem lacking a wildlife crossing or a completed study that could inform future crossings.

“Although mitigation measures may require large initial investment and maintenance expenses, the threshold collision rate at which these measures become cost effective is surprisingly low in some cases,” the CLLC report notes. “For example, the benefits of installing fencing with the underpasses and jump-outs outweigh the costs over a 75-year period [the approximate lifetime of a wildlife overpass] for sections of highway with at least 3.2 deer-vehicle collisions per kilometer per year.” For comparison, the carcass-per-kilometer rate in the section of 191 referenced in the report is nearly twice that: 6.7. And that includes only fatally injured animals — it doesn’t take into account those that were struck by vehicles but made their way off the roadway.

DEVELOPMENT, ZONING, AND THE “BARRIER EFFECT”

The fix isn’t as straightforward as securing funding and installing the infrastructure — itself a considerable ask, given that overpasses cost between $1 and $7 million, and the price tag for underpasses ranges from $250,000 to $600,000. Rob Sisson, a conservationist with decades of experience as an elected officeholder in southern Michigan, knows this well.

Sisson is a resident of Gallatin Gateway, a rural community of 884 people about halfway between Four Corners’ commercial sprawl and the mouth of Gallatin Canyon. He has a front-row seat to the carnage on Highway 191. The highway itself is just part of the picture, he said.

Sisson said he’s become increasingly frustrated watching some of the best agricultural land and wildlife forage in the valley transformed, parcel by parcel, into a commercial strip. He said development and traffic are cutting off one of the last viable highway crossings for elk traveling between the Spanish Peaks and the foothills of the Gallatin Range. To the south, the canyon pinches in — its tall granite walls are popular with rock climbers — and there’s scant open space on either side of the highway. Commercial development to the north hampers wildlife movement, he said.






Wild, Elk

A small herd of elk get up after bedding down in a field near Gallatin Gateway on Thursday, Jan. 6, 2021.



“There’s just no place for the elk to go,” Sisson said. He tends to center the blame on Gallatin County government. “The county’s allowing it to be developed with no care for wildlife,” he said. He acknowledged that Gallatin County recently adopted a new growth plan directing commissioners and county staffers to take wildlife impacts into account, but said he’s underwhelmed by the document.

“Great — you’re too late,” he told MTFP in early November. “It has no teeth in it. It’s a suggestion.”

He said he’s looking for something stronger: zoning regulations to “put the horse in front of the cart” and prevent the Gallatin valley from succumbing to “runaway, out-of-control, unplanned, destructive development.”

Huijser echoes Sisson’s concern, saying that for a crossing to work well, transportation planners need assurance that the area surrounding it isn’t destined to be transformed from good wildlife habitat to poor habitat by virtue of development or changes in land use. Both Sisson and Huijser also acknowledge that zoning can be a tough sell in much of Montana, and in the American West more broadly.

“We have a lot of habitat loss [and] species loss over time. Natural resources, including space, are not endless,” Huijser said. “Once we acknowledge [they] are finite, then the logical step is to do landscape planning, spatial planning.” Huijser said he finds such efforts to be an important exercise for communities to prioritize what they value. Acting as if natural resources are infinite won’t end well, he said. “Our natural ecosystems [and] the species living in them will unravel.”

Last year, Sisson hit a roadblock in his attempt to launch a Gallatin Gateway zoning effort. He and his neighbors gathered signatures for a citizen zoning initiative but were deterred by the cost to hire a lawyer to prepare draft regulations, a new requirement implemented by the state Legislature last spring.

With his concerns escalating, Sisson went so far as to find $1 million of tentative funding for a wildlife overpass himself. But he hasn’t secured undeveloped land to build it on, and he worries that his window for finding such property is closing.

In the past couple of months, heavy machinery has been preparing what appears to be new commercial development in the immediate vicinity of his property. He wonders what will happen to the elk herd he’s enjoyed watching on a near-daily basis in an area he’s dubbed “the last 100 acres.”

Sisson’s urgency and frustration with the Gallatin County Commission is palpable in his writing about the issue, but commissioner Zach Brown said the commission is constrained in what it can legally do. “State law is very pro-development,” Brown said. “[It] really defines what we can and can’t do in terms of development review.”

Julie Cunningham, a biologist who does aerial ungulate counts for Montana Fish, Wildlife and Parks, said building a wildlife overpass isn’t a decision to take lightly. She said it doesn’t make sense to build a crossing that animals won’t use, whether because it’s poorly aligned with wildlife movements or because land use in the area is still in flux. A multimillion-dollar overpass adjacent to a parcel destined to become a brightly lit strip mall or densely populated subdivision won’t work well. Road ecologists call such structures “bridges to nowhere.”

Rapid growth throughout Gallatin County, which grew by 33{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} between 2010 and 2020, presents real concerns about finding durable solutions to habitat loss and traffic impacts, Cunningham said. She thinks it makes more sense to focus on conservation efforts to protect wildlife habitat in perpetuity.






elk crosses road.jpeg

Elk cross the road in the early morning in Gallatin Gateway.




She also said that the ways animals use a landscape and interact with human presence are complex. When she looks at the movements of Gallatin Valley’s elk herds, she sees something different from Sisson. Whereas Sisson describes an “elk highway” — a highly trafficked game trail cleaved by US 191 — Cunningham said her data shows something different.

She put radio collars on elk on the west side of the highway to get a better sense for their movements and found that they “did not routinely cross 191.” She said Sisson might see lots of elk near the highway, and he may even see elk occasionally cross it, but the highway doesn’t appear to be inhibiting a migration corridor. What she sees is two distinct herds, one to the west of 191 that she calls the Spanish Peaks herd and another to the east she calls the South Bozeman herd. She said the two herds tend not to spend much time on each other’s turf.

But wildlife advocates say the existence of a migration corridor is not the only consideration that should come into play. First, crash and carcass data indicate that a significant number of animals are getting hit by cars on 191 south of Gallatin Gateway. It’s mostly deer — as many as 66 per half-mile during the 10-year study period — but also elk.

Second, after a certain threshold wildlife strikes tend to go down as traffic increases. As traffic on a route intensifies, animals start avoiding it altogether, Cunningham said, contributing to what road ecologists call the “barrier effect” of highways.

While that might be good for motorists spared dangerous and expensive collisions, the picture is more complicated for wildlife. Animals might be less likely to die on the highway, but their movements to find food, mates and refuge from wildfire or drought are more restricted.

One study examining elk movement in Arizona found that when traffic volumes exceed 100 vehicles per hour, elk are rarely found within 100 meters of the road. By the time traffic volume reaches 500 to 600 vehicles per hour, elk routinely stay more than 100 meters away. Rush-hour traffic south of Gallatin Gateway commonly exceeds 1,000 vehicles per hour during summer weekday evenings, and shoulder season weekend traffic peaks still top 600 vehicles per hour.

A similar effect is at work with grizzly bears, which are even more road-shy than elk. A 2015 study examining the movement of northwestern Montana grizzlies fitted with GPS collars found that “crossing frequency was strongly and negatively correlated with traffic volume, reaching zero when traffic volume exceeded 100 vehicles per hour.” More recent radio collar data analyzed by FWP research biologist Cecily Costello supports the conclusion.






Lingenpolter

FWP biologist Cecily Costello used GPS data from a collared grizzly bear to better understand how Interstate 90 influenced the bear’s movements. Costello estimates the subadult grizzly dubbed “Lingenpolter” tried to cross the interstate 46 times between the fall of 2020 and the spring of 2021.




Costello used data from a collared subadult grizzly dubbed “Lingenpolter” to understand how Interstate 90 near Drummond impacted his movements. On the map above, Costello used red Xs to mark when Lingenpolter’s GPS collar indicated he was within 500 meters of the interstate. She estimates the bear made at least 46 attempts to get to the south side of the interstate between fall 2020 and spring 2021. He finally crossed successfully last May, apparently by walking beneath interstate and railroad bridges that span the Clark Fork river.

A PATH FORWARD

Supporting wildlife movements is the north star of the Center for Large Landscape Conservation, the nonprofit that prepared the report analyzing carcass hot spots on Montana highways. CLLC’s office also happens to be located just 7 miles east of the section of highway referenced in its carcass report.

After trying to fund projects that support wildlife movements across U.S. 191 for several years, CLLC is positioned to give the highway with the state’s second-highest wildlife carcass rate — and one of the only highways in the Greater Yellowstone Ecosystem without a wildlife ecology treatment — a closer look. The organization received a $50,000 allocation from the Big Sky Resort Tax Board last year and has teamed up with Western Transportation Institute to tailor a smartphone app called Roadkill Observation and Data System, or ROaDs, to gather information about conflict zones and wildlife movements on Highway 191 using citizen scientists, i.e., everyday motorists traveling the highway.

The project launched late last summer. Its goal is to bring more detail to the conversation about where animals are hit and where they’re spotted while increasing motorist awareness of wildlife along the highway.

CLLC hopes to pair agency data like aerial wildlife counts and GPS collar data with live and dead animal sightings provided by app users. Later project goals include prioritizing sites for wildlife accommodations by evaluating their crash frequency and value for habitat connectivity as well as land-use considerations and engineering feasibility. Other objectives include providing more detail about smaller-bodied and rare species not considered in other data sets (there’s not much carcass data for, say, racoons or foxes in MDT’s counts since they’re less likely to obstruct the roadway).

At the state government level, Montana is starting to get more creative with funding sources, which could help biologically centered wildlife accommodation projects get off the ground. In 2018, MDT, FWP and Montanans for Safe Wildlife Passage formed the Wildlife and Transportation Steering Committee. Part of its goal is to identify opportunities to bring private funding for crossing structures to the table. The committee initially met quarterly, but has recently started meeting monthly, according to MDT Environmental Services Bureau Chief Tom Martin.

Martin added that the group has identified two candidate areas for crossing structures: one on Interstate 90 in the Nine Mile area west of Missoula, and another on Highway 89 north of the Gardiner entrance to Yellowstone National Park.

The conversation about one of the busiest highways cutting through the GYE is happening against a national backdrop of historic new funding for wildlife crossing initiatives. The $1.2 trillion infrastructure bill passed by Congress in November includes $350 million for such projects.

CLLC road ecologist Elizabeth Fairbank said she hopes the national momentum for crossing initiatives will be thoughtfully directed, and that Montana’s approach to crossings will be systematic, data-informed and carefully prioritized.

Ben Goldfarb, a Spokane, Washington-based environmental journalist who’s writing a book about road ecology, said the new federal pilot program has been years in the making.

“This was definitely a long-standing dream of environmental advocates and road ecologists,” he said. “There’s [now] a dedicated pot of money to move the field forward in interesting and progressive [ways].”

To see what else is happening in Gallatin County subscribe to the online paper.

OMA’s first big Los Angeles project: daring but overwrought

Is there a compound word that describes the feeling of alienation induced by really wanting to embrace a new piece of architecture but being viscerally unable to do so? A disarchpointment? A designchantment? A stuporstructure? Because I could really use a word to describe my feelings toward the first major building in Los Angeles by the international design studio Office for Metropolitan Architecture (OMA).

The building in question is the new Audrey Irmas Pavilion, a leaning and gleaming 55,000-square-foot event space for Koreatown’s Wilshire Boulevard Temple — which, had the COVID-19 Omicron variant not touched down with such sticky ferocity, would have held its official opening last week. (That event has been delayed until further notice.)

OMA was founded by Rem Koolhaas, but the Pritzker Prize-winning Dutch architect was only minimally involved in this project. The pavilion’s design was instead led by Shohei Shigematsu, a partner in the firm’s New York office — with Koolhaas contributing the design of the mezuzas affixed to key doorposts in the pavilion. On board as executive architect was the L.A. firm Gruen Associates.

One of Shigematsu’s preferred ways of describing the building — a three-story parallelogram draped in a honeycomb pattern that angles into an architecturally significant stretch of Wilshire — is as “a machine for gatherings.”

“Machine” is a fair description. But since this is L.A., the rules require me to employ showbiz similes. I will therefore note that the building’s profile, from certain angles, bears a striking resemblance to the irregularly angled Jawa transports from “Star Wars.” (Sorry, architects. These are the rules.)

The Audrey Irmas pavilion is seen from overhead at dusk, with its angled windows illuminated from within.

A view of OMA’s Audrey Irmas Pavilion, the 55,000-square-foot event space for the Wilshire Boulevard Temple.

(Jason O’Rear)

Before diving into the nitty gritty, I want to commend Rabbi Steve Leder and the congregation at the Wilshire Boulevard Temple for aspiring to something daring. The path of least resistance would have been to put up a derivative event space that vaguely resembled the Byzantine-style architecture of the existing temple in some bland, new-ish way. That would have been a building that neither pleased nor offended; the sort you walk past and never think about again. And that would have been a bummer, since the temple is such an important part of Southern California history.

The Wilshire Boulevard Temple is the third home of the Congregation of B’nai B’rith, the oldest Jewish congregation in Los Angeles, which was founded in 1862 — just a dozen years after California became a U.S. state and 14 years before the transcontinental railroad arrived in the city. In the 1920s, the congregation acquired a property at Wilshire and Hobart boulevards, in what was then a tony, residential part of L.A. — the “Fifth Avenue of the West,” as described by the era’s eager boosters. There, architects S. Tilden Norton, A.M. Edelman and David C. Allison designed a temple sanctuary, completed in 1929, that bears Byzantine and Romanesque flourishes with a dramatic dome that spans 100 feet. There are, naturally, some resplendent touches: black marble columns, a brilliant rose window and bronze chandeliers.

The building also bears some of the visual sleights of hand borrowed from the industry that helped build it. Among the temple’s most important benefactors were Hollywood film moguls Louis B. Mayer, Irving Thalberg, Carl Laemmle and Sid Grauman. This accounts for some of the architecture’s cinematic touches: sanctuary seating arranged like a movie theater and architectural elements that employ illusion — such as interior stone walls that aren’t stone but a much lighter composite (just knock on them), and a dome whose cerulean oculus comes courtesy of skillfully deployed colored lights. It is a building that carries early Hollywood in its bones. And it’s looking spiffy, having received a meticulous $47.5-million renovation in 2013.

A view of the honeycomb pattern in the ceiling of the Wilshire Boulevard Temple's dome. A blue oculus is at center.

A view of the dome inside of the Wilshire Boulevard Temple, which was completed in 1929. The hexagonal pattern inspired the facade of the new event space.

(Christina House / Los Angeles Times)

Plunking some tedious event hall next door would, therefore, have been a disappointment — more so given that the temple’s neighbor to the east is the starkly beautiful St. Basil’s Catholic Church, a soaring Brutalist structure, dedicated in 1969, that was designed by the firms of A.C. Martin and Emmett L. Wemple and that features stunning three-dimensional stained glass panels by the late L.A. artist Claire Falkenstein.

The history and location are why I wanted to love — love — the new Audrey Irmas Pavilion (which bears the name of the patron who gave the lead gift on the $95-million project). But OMA has delivered a building that is hard to love.

That is not surprising, coming from a firm known for its brash designs. OMA designed the pronged headquarters of China Central Television (CCTV) in Beijing (completed in 2012) as well as the Seattle Central Library in Washington state (2004), a critically well-received structure whose staggered forms appear to want to burst from a cage-like skin.

The three-story Audrey Irmas Pavilion makes deferential nods to the Wilshire Boulevard Temple. The honeycomb pattern inside the temple’s dome inspired the honeycomb pattern on the new pavilion’s exterior. The dome’s sweeping arch influenced the form of the pavilion’s ground-floor event space, an extruded arched space that checks in at nearly 14,000 square feet. The pavilion’s second story contains a glassy indoor-outdoor chapel and event terrace that respectfully frames views of the temple’s dome and stained glass windows. In addition, the pavilion leans away from the temple to create a sense of openness between the buildings and so that the interstitial outdoor spaces might feel less like alleyways and more like courtyards.

A view of the hexagonal honeycomb facade of the new Audry Irmas Pavilion.

The hexagonal pattern of the Audrey Irmas Pavilion is composed of hexagon panels made from glass fiber reinforced concrete.

(Christina House / Los Angeles Times)

But what sounds good on paper doesn’t always congeal in real life.

The building’s deferential lean can feel like a recoil at certain angles. And there’s the skin. To give the building its honeycomb pattern, Shigematsu and his team encrusted the facade with 1,230 hexagonal panels made from glass fiber-reinforced concrete. Each panel is set at a unique angle, and each contains a window that is set at a unique angle. The panels are all the same buff-colored concrete, but they are ridged, and depending on the angle of the sun, the plays on texture and light can make it seem as if they are different shades. It’s relentless pattern-making — and, when combined with the building’s unusual angles, provides few, if any, spaces for the eye to rest. Coco Chanel once famously said, “Before you leave the house, look in the mirror and take one thing off.” OMA’s pavilion puts it all on.

A sunken garden surrounded by concrete glazed a bright shade of blue is seen through a window.

A view of the sunken garden, visible from GenSpace, a new space for seniors.

(Christina House / Los Angeles Times)

Other design elements, likewise, lack subtlety. As you ascend the building’s three stories and approach the sky, different colors are introduced. The ground-level event space is dressed in a palette of earth tones: Red terrazzo tile on the floor is paired with the warm Sassandra wood veneers of the arched ceiling. Climb a level, and you’ll find yourself in the glassy indoor-outdoor chapel and event terrace, which is encased in an electric shade of emerald green glass. Keep climbing to the third floor and you’ll encounter a sunken garden (with a landscape design by Mia Lehrer of Studio-MLA) that is surrounded by walls painted an azure blue.

OMA is known for its radical color treatments, such as the fiery red hall inside the Seattle library. But here, in what is purportedly an event space for a religious organization, the site of weddings and family reunions, the palette comes off as Dr. Seuss meets Miami Beach.

A view of an open air terrace rendered in shades of electric green and framed by a hexagonal window.

A view of the Audrey Irmas Pavilion’s second-story chapel and outdoor terrace — rendered in electric shades of emerald green.

(Jason O’Rear)

Also on the third floor of the pavilion is GenSpace, a new organization established and funded by L.A. philanthropist Wallis Annenberg to serve as a wellness and cultural center for neighborhood seniors. I can’t think of an architecture more ill-suited to this purpose. The building’s angled rooms of gleaming white are the sort of spaces that seem designed to harbor a tech company or a graphic design firm, not a senior center that will host messy gardening and art-making classes. Installed within one of these pristine rooms is a garden hose, an addition that no doubt sent a chill down the spine of the architects (not to mention anyone who works in maintenance).

And, of course, there are the Koolhaas-designed mezuzas, the small cases attached to doorways that carry a piece of inscribed parchment scroll — an object that serves as a reminder of faith. Koolhaas rendered these as rectangular stone prisms that vary in color depending on the floor. Given the lightness of some of the interiors and that many of the mezuzas are attached to glass doorways, the material feels heavy. But the design could make starchitect-designed mezuzas a thing.

A view of a classroom area with gardening tools under a slanted walls with irregularly angled windows.

A view of one of the classroom areas inside GenSpace, a senior wellness and cultural space inside the Audrey Irmas Pavilion.

(Christina House / Los Angeles Times)

None of this means that the Audrey Irmas Pavilion doesn’t have inspired moments.

Out-of-town architects, often seduced by visions of L.A. car culture, have a knack for creating buildings that are great to drive past. Think of Rafael Moneo’s cathedral and Coop Himmelblau’s performing arts high school, which so dramatically frame the 101 Freeway downtown. The Audrey Irmas Pavilion is no exception. Travel along Wilshire Boulevard in either direction and there is a moment in which you’ll catch sight of OMA’s building leaning out into the road, like some otherworldly neolithic presence. In the afternoon light, the windows sparkle — dappling the temple sanctuary with reflected light, but also creating a confetti pattern inside the pavilion. During that magic hour, the lobby area of the event space transforms into a dazzling light show.

A lobby area features slanted walls punctured by windows at irregular angles

When the afternoon sun hits the pavilion’s Western side, light dapples the temple.

(Christina House / Los Angeles Times)

Also seductive are the views from the emerald chapel and terrace on the second floor. On the floor of the terrace is a glass cutout that serves as a skylight to the main event space below. This creates a horizontal pool of glass that has the effect of perfectly capturing the reflection of the temple dome next door. It’s a flawless alignment of materials and framing.

The building also smartly takes advantage of the roof, which has a landscaped terrace that encircles the sunken garden and that from above looks like a pool. The views, which reach to the Hollywood Hills in the distance, are fantastic. Pandemic or no pandemic, this breezy setting will be the space to party.

A Byzantine-style dome is reflected in a glass skylight

The temple’s dome is reflected in the glass of the second-story outdoor terrace of the Audrey Irmas Pavilion.

(Christina House / Los Angeles Times)

But ultimately, OMA’s building leaves me wanting. On their own, many of the ideas contained within the pavilion are compelling. Piled together, they form a jumble — one in need of careful editing and even more careful synthesis. It’s a building that gets stuck inside its own head. And that’s the sort of building that’s hard to love.

The Garden planning for big changes |

The Western Kentucky Botanical Garden will see massive modifications in 2022, beginning with its handle — from 25 Carter Street to 2731 W. Second St.

Laurna Strehl, the garden’s govt director, reported soon visitors “will generate up the lengthy driveway to the historic WeatherBerry Dwelling and park just the remaining of the residence in a new parking good deal.”

She said then website visitors “will make their way to the entrance doorway of the house and be greeted and led by the grand hallway and out the back doorway.”

“From the back again door,” Strehl claimed, “they will come upon a freshly set up pathway that leads them to the primary 8.5-acre botanical garden. As they make their way to The Back garden, they will see brightly coloured artwork and new landscaping.”

She mentioned, “Once they get there to unique yard, they will be greeted by a amazing and sizable butterfly sculpture.”

Charles & Mary Ann Medley have donated $150,000 to build a “Path of Hope Healing” that involves the butterfly in The Garden

“The challenge is meant to be uplifting and have all of us who have been impacted by cancer knowledge the therapeutic powers of mother nature,” Strehl reported. “The venture will exclusively recognize the prime 12 cancers identified in Kentucky in 2021.”

Shades affiliated with those cancers are being applied along a route and integrated into the colours of the wings of a “substantial butterfly sculpture,” she said.

“This task includes a 320-foot paved pathway which has been installed by Ward Pedley Jr.,” Strehl mentioned. “Along the pathway, the visitor will face 12 glass ribbons designed by Daviess County native Brook White. Every ribbon will be a various coloration to signify the top 12 cancers.”

She reported, “The butterfly sculpture will be designed by neighborhood glass artist Scott Poynter and community metallic worker, Chris Schartung.”

Strehl claimed ideas for the 21-foot tall butterfly have been submitted to Significant River Rubber & Gasket so staff there can get started the water jet cutting of the steel wings.

She explained, “The device store will build the steel parts of the butterfly applying their large-tech products. Landscaping, lights and signage are other elements.”

Strehl explained she hopes to have the task finished in time for Mother’s Day.

A metallic gate will be mounted at the Second Street entrance.

“This is a essential characteristic to remove right after-hours targeted traffic on our residence,” Strehl reported. “The gate is getting constructed so that it will not interfere with the landscape style.”

She claimed Schartung from Yellowbanks Ironworks will construct the steel gate, which will have a solar-run running process.

“The gate will be electrical and can be operated by getting on a timer or from an application on a smartphone,” Strehl explained.

She reported The Yard options to add 30 parking spaces upcoming year to deliver the full to 44.

Strehl said the growth is a substantial precedence mainly because of the expected boost of website visitors and situations in 2022.

Landscaping preparedShe explained The Garden will landscape the new most important entrance.

“Our structure committee has permitted the using the services of of renowned landscape architect Dallas Foster,” Strehl said. “The layout is to consist of a considerable indication for WKBG as nicely as dramatic landscaping to catch the visitor’s eye while driving down Second Street.”

She mentioned the landscaping ought to be a “WOW” element and “set the phase for the new visitor practical experience at WKBG.”

Strehl explained, “We are awaiting a layout prepare and a bid from Foster. This is a substantial-priority task and we hope to start out in early 2022 as weather conditions permits.”

The Yard is also setting up a new activities centre.

Strehl mentioned the prolonged-variety preparing committee “has agreed to a structure way, has determined all the recognised achievable employs of the event heart and is prepared to work with an architect.”

She mentioned The Yard desires to get its dreams prepared to current to construction providers so it can identify the value of the situations heart.

Strehl stated, “To get begun, we have achieved with Hafer Styles and RBS Layout Group. We will compare the two possibilities and make a selection on which architectural company to go with.”

A great deal of special activities are also currently being prepared for 2022, she stated.

Keith Lawrence, 270-691-7301, klawrence@messenger-inquirer.com

Preserving Humphry Repton’s Big Reveal

 

Repton was a distinguished 19th-century English landscape gardener who took an revolutionary tactic to illustrating design and style proposals for his clients’ gardens, many of which are compiled in an elaborate gold-tooled leather-based volume titled Fragments on the Principle and Follow of Landscape Gardening (1816).

Humphry Repton, published 1839

 

 

I first encountered Fragments when the copy from the museum’s Ryerson and Burnham Libraries arrived at the e book conservation lab. I was questioned to get the job done on the broken go over and quite a few detached foldout illustrations, with the purpose of restoring perform even though retaining the initial supplies, new technology.

In this quantity, Repton’s unique watercolor backyard garden layouts are reproduced as hand-tinted aquatints, with movable paper flaps that are lifted by the reader to expose Repton’s design proposals, creating a impressive visual illustration of the landscape equally prior to and immediately after his proposed interventions.

Here’s how they do the job.

The estate of Robert Andrew, Harlestone Park, Northamptonshire, about 1808, as depicted by Repton

 

From Fragment Seven. The residence was wrecked in 1939.

 

In the higher than style, the foldout of Harlestone Park reveals that the entrance was improved, the stables have been eradicated, and a bridge-like construction (at the proper facet) was extra to the highway to make the pool show up as a river. In addition, trees were being removed not by Repton’s workers, but when a “furious storm of wind tore up by the roots eighty-seven of the greatest Elms, and only a person Oak creating accurately the outcome of enhancement which I experienced predicted, but experienced not dared to advise.”

All around 1814, Repton proposed to alter the grounds of the Beaudesert estate (beneath) by building courtyards, hothouses, and terraces to different its gardens from the encompassing forest. The most extraordinary alteration would have been eliminating big trees from a ravine and damming adjacent streams to generate a modest lake, as exposed below by lifting the flap. Even while Repton did dare propose getting rid of trees this time, the style was hardly ever executed.

The estate of the To start with Earl of Uxbridge, Beaudesert, Staffordshire, about 1813, first presented in Repton’s proposal of 1814

 

From Fragment Eleven. This style was not executed and the residence was afterwards demolished.

 

other interesting characteristics

Tint Manual

Treating this quantity, like any item, nurtures an personal knowing of the get the job done, and with Fragments I had the option to notice the extreme total of labor that went into its creation. For occasion, Repton provides the fashionable reader the unusual gift of explicitly outlining his coloring system in the e book alone. In Fragment Twelve, titled “Concerning Colours,” Repton discusses his experiments of colour theory and features specific directions for the artisans who coloured the aquatints in Fragments by hand. In his phrases:

“As the Plates in my previous do the job used a wonderful range of females and young children in colouring them, I expect to render the system substantially far more simple in this present do the job, by the next recommendations given to the printer and colourer.”

Hand-tinted colour chart exhibiting Repton’s ideas on coloration idea

 

 

Repton continues: “The Plates to be printed in a bluish-gray ink (this is the neutral tint for the light-weight and shade of the Landscape) the colourer to clean in the sky with blue or violet, &c. in accordance to every single sketch also going about the distances with the exact same color then clean the foregrounds and center distances with crimson, orange, or yellow, copying the drawings and when dry, wash about with blue, to create the greens in the center distances: this being finished as a lifeless colouring a handful of touches with the hand of the grasp and a harmonizing tint to soften the total, will develop all the result envisioned from a colored print.”

The guidebook underneath delivers a variation on the ahead of and immediately after concept, with directions on coloring a landscape soon after the sun has risen (left) and at early morning twilight in advance of the solar rises (appropriate). As Repton explains, the two landscapes “represent the exact scene in advance of and right after sunlight-rise that is, just before and right after the all-natural procedure of colouring takes area.”

 

Typesetting and the Printing Method

In several countries prior to the late 19th century, style for printing was designed by means of a laborious method wherein one character was carved by hand out of steel, then pressed into a mildew known as a matrix. Specific pieces of kind have been then cast from the matrix using an alloy of lead, tin, and antimony (an ingredient located in minerals and alloyed with other metals to enhance their hardness and energy). This method was repeated to make a comprehensive set of letters and related characters—a font.

 

The metallic people have been established, piece by piece, into terms, traces, paragraphs, and web pages. Groups of pages have been then put onto the bed of a printing press, inked up, and printed by hand. Delicate clues that position to typesetting and printing processes are scattered throughout Fragments, as noticed down below.

 

Procedure

As a conservation technician, I concentrate on the planning and mounting of textbooks, periodicals, and archival elements for exhibitions, as nicely as the preservation and stabilization of our collections, such as harmless housing and negligible cure to stabilize weakened objects. Contrary to some performs of art, books are meant to be managed and manipulated, and this inherent excellent normally contributes to their disrepair. Problems to a binding not only influences its visual appeal, but its perform.

To stabilize and implement the weak areas of the go over of Fragments, skinny levels of Japanese kozo paper, a materials acknowledged for its strength and balance, ended up used with paste. The resulting paper fills displayed their very own healing mother nature, resembling bandages or casts, just before being toned with thinned acrylic paints to match the leather-based.

 

Though a thoroughly functioning binding is a very important component of any book, addressing the damaged foldouts was similarly critical for the reason that of their importance to Repton’s practice. Kozo paper was employed on the interior joints and on the sensitive hinges of the illustrated foldouts, restoring their vary of motion and purpose.

 

parting feelings

Performing closely with Fragments has not only uncovered to me its relevance to both equally the record of landscape layout and book output, it has deepened my appreciation of typography, printing history, the materiality of publications, and the comprehending that textbooks can be functions of artwork. It also provides residence to me how artists and designers like Repton employed accessible technological know-how to existing and market their operate the exact same way we use digital technological innovation to promote our personal work now. His meticulous and revolutionary scientific studies of light-weight and coloration captured moments in time, true and imagined, that we can keep on to admire nowadays.

—Pamela Olson, conservation technician, guides, Conservation and Science

 

A single past look by the window at Barningham

 

 

Fragments on the Principle and Practice of Landscape Gardening, housed among the prosperous collections of publications on art, architecture, and layout at the Ryerson and Burnham Libraries, was previous exhibited at the Art Institute in 2015 for A Picturesque Ideal: The Art of Landscape and Backyard garden Structure. Repton’s reserve also serves as a valued useful resource for the University of the Art Institute’s background of architecture courses.

 

Quotation

Repton, Humphry, and Repton, J. Adey. Fragments on the Concept and Apply of Landscape Gardening. London: Printed by T. Bensely and Son, Bolt Court docket, Fleet Road for J. Taylor, at the Architectural Library, Superior Holborn, 1816.

Visit : https://stpetewaterfrontrentals.com/

 

Matters

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