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ecotemphva · 3 months

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Optimizing Comfort and Efficiency: Comprehensive HVAC Services in Lisle and Advanced Heating Solutio

Comprehensive HVAC Services in Lisle

Lisle, a charming village known for its serene landscapes and community-oriented lifestyle, requires dependable HVAC services to cope with its variable climate. Whether it's the chilly winters or the sweltering summers, having a well-maintained HVAC system is crucial for the residents of Lisle.

Installation and Replacement

One of the cornerstone services provided by HVAC professionals in Lisle is the installation and replacement of heating and cooling systems. Companies like Perfect Air and Four Seasons Heating & Air Conditioning offer a range of options from high-efficiency furnaces to state-of-the-art air conditioning units. They assess the unique needs of each home, considering factors such as size, layout, and existing infrastructure to recommend the most suitable systems. This personalized approach ensures that residents not only receive systems that provide optimal comfort but also maximize energy efficiency, resulting in lower utility bills.

Maintenance and Repairs

Regular maintenance is vital for the longevity and efficiency of HVAC systems. In Lisle, service providers like K&J Heating and Cooling and McNally's Heating and Cooling emphasize the importance of routine check-ups and servicing. These services include cleaning filters, checking for leaks, inspecting electrical connections, and ensuring that all components are functioning correctly. Regular maintenance helps prevent unexpected breakdowns, improves system efficiency, and extends the lifespan of HVAC units.

In the event of a malfunction, timely repairs are essential to restore comfort. Lisle HVAC Services technicians are equipped to handle a wide range of issues, from minor repairs to major component replacements. Their expertise ensures that any problems are diagnosed accurately and resolved quickly, minimizing disruption to residents' daily lives.

Indoor Air Quality Solutions

Beyond temperature control, maintaining indoor air quality is a crucial aspect of HVAC services in Lisle. Dust, allergens, and other pollutants can accumulate in HVAC systems, affecting the air quality inside homes. HVAC professionals offer solutions such as air purifiers, humidifiers, and duct cleaning services to ensure that residents breathe clean, healthy air. Companies like Green T Services provide comprehensive indoor air quality assessments and recommend tailored solutions to improve the overall air quality in homes.

Advanced Heating Solutions in Homer Glen

Homer Glen, with its picturesque landscapes and family-friendly atmosphere, experiences a range of weather conditions that necessitate effective Heating Solutions in Homer Glen. Whether it's the harsh winter months or cooler autumn evenings, having reliable heating is essential for maintaining a comfortable living environment.

High-Efficiency Heating Systems

Heating efficiency is a top priority for homeowners in Homer Glen. Service providers like Air-Rite Heating and Cooling and Comfort First Heating and Cooling offer a variety of high-efficiency heating systems, including furnaces, heat pumps, and radiant heating solutions. These systems are designed to provide consistent warmth while minimizing energy consumption. High-efficiency models not only reduce utility costs but also contribute to a smaller carbon footprint, aligning with the growing trend towards sustainability.

Smart Thermostat Integration

Integrating smart thermostats with heating systems is a popular option in Homer Glen. Companies such as Assurance Heating & Air Conditioning offer the installation of smart thermostats that allow homeowners to control their heating systems remotely via smartphones or tablets. These devices learn user preferences and adjust settings automatically, ensuring optimal comfort while maximizing energy savings. Features like scheduling and geofencing help reduce energy usage when the home is unoccupied, further enhancing efficiency.

Radiant Floor Heating

Radiant floor heating is gaining popularity in Homer Glen for its efficiency and comfort. Unlike traditional heating systems that rely on forced air, radiant floor heating warms up the floor and radiates heat upwards, creating a consistent and comfortable temperature throughout the room. This method is especially beneficial for homes with high ceilings or large open spaces, as it eliminates cold spots and drafts. Companies like King Heating, Cooling, and Plumbing specialize in installing and maintaining radiant floor heating systems, providing a luxurious and efficient heating solution.

Emergency Heating Services

Homer Glen residents can also benefit from 24/7 emergency heating services offered by local providers. When heating systems fail during extreme weather conditions, prompt repairs are crucial to maintain safety and comfort. HVAC companies such as Integrity Heating & Cooling and Johansen & Anderson Inc. provide emergency services to quickly restore heating systems to full functionality, ensuring that residents are not left in the cold.

Conclusion

The diverse climate of Lisle and Homer Glen necessitates reliable and efficient HVAC and heating solutions. Whether it's through comprehensive HVAC services in Lisle or advanced heating solutions in Homer Glen, local service providers are dedicated to ensuring that residents enjoy optimal comfort and efficiency throughout the year. By investing in high-quality systems and regular maintenance, homeowners can not only improve their quality of life but also contribute to a more sustainable and energy-efficient future. As technology continues to advance, the integration of smart solutions and high-efficiency systems will further enhance the ability to create comfortable and environmentally friendly living spaces.

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studioahead · 7 months

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Artist Spotlight: Ted McCann

This month we spoke with artist and craftsman Ted McCann, whose musings on landscape and memory might be described as dreamy—but the sort of dream you have right before you wake to a startling moment of insight. Before moving to Petaluma from New York, McCann started a “California file of inspiration”—photos of regional trees, textiles, clayworks—to ease himself into his new surroundings. As much as we love this idea, we love even more the new surroundings themselves, with his home-studio at the center. We’re excited to share his wonderful journey, his reflections on art and Self, and his wise quips: “A home is a series of moments that you will encounter again and again and again.”

Studio AHEAD: I think we must start with your beautiful ranch in Petaluma, which you designed. Did working on your own home change the way you approach working on the homes of others?

Ted McCann: This house was such a great transitional vehicle for me, coming from the East Coast. In New York, I worked primarily on prewar apartments and townhouses, tuning into that period and finding ways to merge the old with the new. Similarly, our goal for the Petaluma house was to honor its original bones while giving it new life with more light, more openness, and unexpected materials and choices that all the same felt organic and inevitable.

So, my design approach has remained consistent, but working on a midcentury house required me to learn a whole new design vocabulary. Fortunately, I had plenty of time, as we bought the house and rented it out for two years before moving to Petaluma.

During that time, I started a California file of inspiration. I gathered images that spoke to how I wanted to live—everything from trees and plants, to textiles and rugs, to tiles and wood. They got me dreaming about the future and excited to make the move. One image in particular that I remember was of interior work by Charles de Lisle at the William Wurster Ranch, which like mine had lots of mahogany and painted brick. Realizing I would need to be drawing from an entirely new vocabulary, I pretty much threw out all my go-to New York Prewar sample materials and started over.

When we arrived in Petaluma, the first thing I did was rip out the old shag wall-to-wall carpet, brass chandeliers, and over the calico brick fireplace. By stripping out all of those things, I could see the future. It didn’t feel that far off. But it was. The house hadn’t been touched since 1955, and there was an overwhelming amount of work for one person. Still these images kept me excited for what was to come and helped guide me through the entire two-year renovation.

The whole experience taught me the importance of a guiding vision. Now, when I’m approached for a commission I always like to start the conversation through images. I encourage people to

share whatever it is that they love, whether it’s architecture, design, art, or cinema, music, or whatever! This conversation continues until we find a vision that we’re both excited about.

Another thing I learned from working on my own house is to push people to expect more. A home is a series of moments that you will encounter again and again and again. Why not make the most of those moments? Expect more from your kitchen or study or especially, for God’s sake, your powder room!

My favorite place is my shower. It’s the heated floor, the combination of color, light and materials. It’s a real sensory experience that surprises me again and again, every day. In my woodworking, I try to make things with the same potential to please. Sometimes it’s the smallest of details that can do this—a tweak on typical proportions, an evocative color, or a satisfying handle. Working on my home deepened my belief in better living though art and thoughtful design. I like to think that through my work I can share that with others.

Studio AHEAD: With that answer you are also a poet. I’m curious if there is a line between your furniture design and your art—if you think before you start this is going to be art or this is going to be furniture or you start one but realize it might be better as the other, and what might trigger that response.

Ted McCann: I’ll start by saying, Yes, I do always know at the outset whether I’m going to create a functional piece of furniture or cabinetry, or a sculpture. With my woodworking commissions there is a clear intention from the outset; I know I’m building a table or a bench. But my approach to art is super intuitive; the work tends to reveal what it wants to be as I go along. Either way, the line between art and design is often at play in my work.

I lived in New York City for twenty years before moving west. And in those years, I lived a compartmentalized existence. I had a studio where I made art, and a woodshop where I built cabinetry for the spaces I was renovating through my boutique contracting business. At that time, my professional work was focused on execution. Often, I wasn’t artistically invested in the projects. I didn’t know how to merge my two identities as woodworker and sculptor.

I think living this bifurcated existence, and never having enough time to focus on my personal work made me unhappier than I realized, and that came out in the art I was making during these years. I didn’t see it then, but what I was making for myself in the studio at that time really reflected the friction and discontent that can come to a practical, responsible, but unfulfilled person.

It's crazy looking back how that discontent was right on the surface of my work. I did a series of self-portrait paintings that just showed my eyes, peering out from a cutout in a discarded refrigerator box. They were self-portraits that I think reflected how I felt somewhat invisible and also trapped in an urban landscape. In the same period, I made a series of “personal survival units” that seemed fitting for use on the Antarctic or the moon. One sculpture you wore on your back; it contained a personal surrender flag to be deployed as needed. Another was a portable tripod beacon that sent out a flashing light and the sub base notes of a Keith Sweat song, luring a stranger to the source, where they would find an always warm cup of coffee. Another series of paintings were monochrome panels in bright autobody lacquer, with the dits and dahs of morse code extruded across the surface. These paintings also tapped into a romantic, existential longing. The code spelled out wistful phrases like “remember me” from Henry Purcell’s Dido and Aeneas and “perfect summer,” a headline from a fashion magazine editorial. These personal works were completely at odds with the impersonal jobs I was executing in my woodshop.

Happily, I’ve come to understand the importance of approaching commissioned projects from a more sculptural or artistic sensibility than I did in the past. These days, I still make my living building for others, but everything that leaves my studio—from paintings and sculptures to entirely functional furniture and cabinetry—reflects my sensibility in some way. My studio goes though waves of time focused on a kitchen or library commission and back to more personal art projects. But often, the commissioned works are in strong dialogue with my artwork and are better for it. In the end, all of my work ends up feeling like mine because it employs the same level of finish and craftsmanship.

This is only possible because I’m more selective about the jobs I take on than I once was. It can be scary to pass up paid work, but I’ve realized that by saying no to jobs that don’t speak to my soul, I’m opening myself and my time up to projects that do.

I know you didn’t ask for that backstory, but there it is.

Studio AHEAD: No, we love a backstory. There is always a backstory to every object, design, taste. We want to give voice to that. Actually, tell us more of your backstory. You grew up in New York and Barcelona, or what we might call the Far East and the Further East. How did you make it out West?

Ted McCann: I always thought I’d get back to Spain to live with my family one day, but never did. Still, I’m writing to you on a plane to Madrid. It seems all my stories about my teenage years in Barcelona planted a seed with my son, who is now spending a high school year abroad in Zaragoza.

Some people are forever New Yorkers. As much as I love that city, turns out I wasn’t. Every weekend, my wife and I would schlep our two young sons and all of their stuff from our Brooklyn apartment to the North Fork of Long Island, where we had a cottage. We lived out of tote bags and were eternally packing and unpacking groceries. Between my studio in Queens, jobs all over Manhattan, and the Brooklyn to Long Island commute, it was all so hectic. Not to mention that half my brain was always trying to remember where I’d parked the car.

One day I was with my family on vacation and we stopped in Petaluma for a delicious sandwich at a downtown spot called Della Fattoria. I loved the Wild West downtown combined with the somewhat gritty industrial grain silos and the fact that every road led to beautiful rolling gold hills. And I don’t know if other asthmatics are like me, but I love breathing in hot, dry air. We left thinking, Maybe Petaluma? With help from my father-in-law, who lives in nearby Glen Ellen, we eventually found and bought a Petaluma midcentury house. This place, where we could live, work, and be in nature all at once, seemed like the antidote to our scattered New York life. But we weren’t yet ready to leave the city, so we rented out the house, knowing it was there for us when the time felt right.

Two years later, I left my work and all my clients behind and started my career from scratch. My wife, Genevieve Field, is a writer, so her career was much more portable, thankfully. This afforded me time to renovate our home and build our dream studios on our property. This project was the slow transition I needed to process a life-changing move.

Studio AHEAD: Now that you are here, what role do ideas of place have in what you create? In your approach to craft?

Ted McCann: I never thought about my living space in such poetic terms as I do now. I’m sure my contemplative state has something to do with middle age, but this beautiful and quiet place also plays its part. Sonoma County and the Marin coast are so dramatic, it’s hard not to be affected. Every time I go to San Francisco, I look forward to the drive back over the Big Red Bridge and—poof!—I’m passing Mt. Tamalpias.

There’s such a fluid conversation between humans and nature, indoors and outdoors, in California that never really stops. Our mild winters mean nature is accessible and comfortable year-round. I love the rolling green hills in winter, and the hot summer days eased by the cool nights. The climate still feels foreign to me, but in a good way, like listening to a poem that you don’t really understand but it doesn’t matter because the words and rhythms just sound good.

I’ve always thought sculpture and poetry shared a language—both use shape and texture to elicit feeling. My father-in-law, John Field, is a poet. He writes beautifully about getting older, and while I don’t always understand his poems, I know how they make me feel. The language of

aging is also present in the drama of the coast—the wind-whipped eucalyptuses and shifting cliffs.... Living here, I’ve become more attuned to the sensory elements of living spaces. This is something I think Studio AHEAD is really good at: creating poetic, sculptural, atmospheric places.

I’ve always found inspiration in found objects. Living in New York, I used to photograph and collect things I encountered on the streets. These days, I have to go to the Pick n Pull salvage yard and pay for my inspiring junk. At the beach, I’m always looking for and collecting flotsam and jetsam, which are also scarcer here. Bruno Munari made The Sea as Craftsman, a small book of writings and pictures of bits of rope and things that he found washed up. I love his concept of the sea as carpenter: manmade objects that make their way into the sea are reshaped, polished, and returned abstracted from what they once were. I have an ongoing series of sculptures where I enlarge the scale of plastic objects I find on the beach, carve them out of wood, and paint them black. On one hand, these pieces are simply shapes that move me, but I think they’re really about the transformative power of nature over all things.

Studio AHEAD: What are some of your favorite places here? And what is one place you miss in New York?

Ted McCann: I’ve run hundreds of miles in the rolling hills of Helen Putnam Park, and it feels like church most every time.

The Marin coast is something else. Just driving there is good therapy: Bodega Avenue is stunning all the way to the coast.

Another driving moment: there’s a section of Stage Gulch Road between Petaluma and Sonoma that gets me every time. Especially when the yellow mustard fields are in bloom. I feel so lucky to be able to enjoy these “spaces in between.”

And if I can mention one more, I’m super excited about the Petaluma River Park, where I’m a volunteer. It’s a new 24-acre space that’s just getting its start. A Mark di Suvero sculpture installed in October has really created a sense of place.

Every time I go back to New York, I worry it will break my heart to leave again. But the city is constantly changing and I have a hard time connecting with the place where I spent my twenties and thirties. I still love it though. I always pop my head into the bar where I met my wife, Sweet and Vicious on Spring Street near the Bowery. It was the exact location where my life changed.

Another place that I love and few people seem to know about is the Nevelson Chapel in Midtown Manhattan, created by the late artist Louise Nevelson. Stepping out of the chaos of

Midtown into the quiet and often empty room in Saint Peter’s Church feels like going to the source of it all.

But the place I miss most is a series of places. I often ran at night when I lived in New York. From Clinton Hill, Brooklyn, I’d run across the Brooklyn Bridge, past the Supreme Court Building, up through Chinatown and the Lower East Side, then back home via the Williamsburg Bridge. The streets would finally be quiet and the buildings lit up. It was a rare time when New York was at rest and I felt I had it all to myself.

Photos by Ekaterina Izmestieva

#studioahead #northern california #art #bayarea #artistspotlight

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feliciagarrivan · 1 year

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People use art to help their well-being but also to draw attention to societal changes and issues. The combination of art and nature allows people to explore the natural world, create more profound meaning for themselves, and connect people through understanding and viewing their artwork. This article will discuss the importance of integrating art and nature and how various artists used nature to inspire them.

Throughout time, artists have used nature as a muse or motivation for creating different forms of art. Nature can provide endless forms of inspiration, and it can be a critical theme in many forms of artwork. Henry Matisse said, “An artist must possess nature. He must identify himself with her rhythm, by efforts that will prepare the mastery which will later enable him to express himself in his own language.” Artists use nature to express themselves but also to understand their work and themselves on a deeper level. To do this, artists may even use nature within their creations, such as wood, clay, water, and graphite, which are all-natural mediums.

There has also been some research done on the importance of art and nature to the well-being of others. Thomson et al. (2020) found that creative green prescription programs, which combine arts- and nature-based activities, can significantly impact the psychosocial well-being of adult mental health service clients. They recommended that museums with parks and gardens blend programs to incorporate nature, art, and well-being. Kang et al. (2021) found that nature-cased group art therapy positively affects siblings of children with disabilities. This type of art therapy increased their resistance to disease and their self-esteem while alleviating stress.

The Jan Van Eyck Academy in the Netherlands has opened a lab for artists to do their own nature research. They created a facility to support woodworking, printmaking, photography, video, and metalwork while allowing artists to explore their work and relationship with nature. This lab gives the artists a chance to consider nature in various ways, including its relation to ecological and landscape development issues to begin to bridge a gap between humankind, nature, and art. There needs to be more scientific research on the importance of nature and art; however, we see that artists are already beginning to research how nature affects their work and overall mindset.

How have artists used nature in their work?

Renowned artist Vincent van Gogh, was able to bring aspects of nature to life in his paintings. His work has allowed people to understand nature in different forms and bring people together. A recent exhibit of his work brought people together for a visual and thrilling experience.

Photos taken at the Immersive Van Gogh Exhibit Chicago from Sam Iwinski 2021

Nature also inspires modern artists, such as Mary Iverson, who draws inspiration from the natural beauty around her. Her paintings offer a contemporary spin on traditional landscape art, and she uses monuments, national parks, and societal issues (like climate change) as inspiration. She began addressing climate change in her art because she wanted to combine her environmental activism and painting interests.

Another modern artist, Miranda Lloyd, creates contemporary abstract nature art, such as trees, birds, and other naturalistic nature scenes. She uses inspiration from her own backyard and paints many scenes that are inspired by the sea. Miranda is an excellent example of how you can be inspired by nature within and outside of your home.

Additionally, items from nature can be used to create new forms of art. Renowned artist Daniel Poppercreates larger-than-life sculptures, and many of them are designed with forms of nature. He currently has an outdoor exhibit at the Morton Arboretum in Lisle, IL, called “Human+Nature.” This exhibit connects people and trees through sculptures and other forms of art. As stated on the Morton Arboretum’s website, “People rely on trees for clean air to breathe, shade to cool, and beauty that can bring joy and relaxation, among many other benefits. In turn, trees need people to care for them to thrive and share their benefits, especially in a changing climate.” Individuals can begin to reimagine their relationships with trees as they explore these large-scale artworks. Below are a few pictures from his exhibit!

Photos taken at the Morton Arboretum from Sam Iwinski 2021

#research #art research #articles #nature

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xtruss · 3 years

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Questions About Tree Care? You’re Not Alone.

Many people find trees a little enigmatic. But there is help for the asking. (And it’s free.)

— The New York Times | By Margaret Roach | August 4, 2021

The mission of the 1,700-acre Morton Arboretum, in Lisle, Ill., is to act as “a champion of trees.” Five massive sculptures by Daniel Popper, part of an installation called “Human+Nature,” join more than 222,000 plant specimens on the arboretum’s grounds. Credit...The Morton Arboretum

The biggest plants in our gardens often get the smallest share of our attention. And it’s not because trees don’t need or want attention — or because we intend to neglect them.

Maybe it’s because they look so strong, holding most of their foliage overhead and not making their needs known near ground level, where we are busy paying attention to everyone else. Or maybe we just don’t have much tree-care confidence.

At The Morton Arboretum in Lisle, Ill., Julie Janoski and her Plant Clinic colleagues respond to gardeners’ and green-industry professionals’ questions — about 17,000 a year. And many of those questions are about trees.

From that sampling, the team can infer that people find trees a little enigmatic.

In 2020, they received calls, emails and visits from residents of 48 states, requesting help with plant and pest identification and treatment, pruning, arborist referrals and more. The questions are answered free of charge by two full-time staff members and about 45 volunteers, many of them master gardeners who receive 30 hours of training at the arboretum, which is about a half-hour west of Chicago and welcomes more than a million visitors a year.

The Morton’s mission is to act as “a champion of trees.” The 1,700-acre institution, preparing to mark its centennial in 2022, is a research center, conservation and educational organization — besides being an arboretum and public garden with more than 222,000 plant specimens representing some 4,650 species and varieties.

Ms. Janoski, a former landscape designer, has been the Plant Clinic manager for three years, working under the mandate she learned as a volunteer for five years before that: “To teach gardeners the best practices in plant care, based on the latest science,” she said, “unbiased and research-backed.”

The larvae of native bagworm moths feed on tree foliage, including Thuja, junipers and deciduous trees, combining their silk with the foliage to make bags resembling tiny pine cones, which they eventually pupate inside. Credit...The Morton Arboretum

The Very Hungry Caterpillars

Some questioners arrive in person, bearing exhibits with evidence of the crime.

The other day, a man walked into the clinic with photos of a five-gallon bucket of bagworm bags he had handpicked off a besieged arborvitae. The larvae of these native moths in the genus Thyridopteryx feed on tree foliage, including his Thuja, junipers and even deciduous trees, combining their silk with the foliage to make bags that resemble tiny pine cones. When the larvae mature, they hang the bags from branches and pupate inside.

“Because they use so many needles, between eating and making bags, they can defoliate a tree,” Ms. Janoski said. With evergreens, which don’t regenerate their foliage as often as deciduous trees, this is especially taxing.

Fall webworm on a twig dogwood shrub. The larvae of a native moth, fall webworm are appearing now, forming large, gauzy enclosures on the ends of branches of a wide range of plants. The advice: Any harm will be cosmetic, so view them as bird food, and don’t panic. Credit...Margaret Roach

Fall webworms (the larvae of another native moth, Hyphantria cunea) are appearing now as well, forming large, gauzy enclosures on the ends of branches of a wide range of plants. The advice: Any harm caused will be cosmetic, so view them as bird food, and don’t panic.

No such reassurance, sadly, is offered in response to inquiries about the invasive, destructive gypsy moth (Lymantria dispar). Arboretum researchers conduct trapping each year to identify where populations are, and how serious the risk.

At the clinic, callers seek guidance in spring about spraying the biological insecticide Bacillus thuringiensis var. kurstaki (Btk), but it’s too late for that now. From summer throughout fall, the advice is to scout for the tan-colored egg masses on tree trunks, branches, firewood piles and even buildings. Using a putty knife or similar instrument — not your hands — scrape the eggs into hot, soapy water.

“The more that we destroy now,” said a recent issue of the clinic’s popular Plant Health Care Report newsletter, published weekly during the growing season, “the smaller the population for next year.”

Plant Clinic callers seek guidance in spring about using biological insecticide to fight gypsy moths, but it’s too late for that now. Instead, look for the moths’ tan-colored egg masses on tree trunks, branches, firewood piles and buildings, and using a putty knife or similar instrument, scrape them into hot, soapy water. Credit...The Morton Arboretum

Choosing the Right Trees

Those seeking advice on choosing plants, including trees, are urged to do on-site observation and plant research before shopping. The Morton Arboretum’s online plant search includes detailed profiles of about 265 tree possibilities.

Do an honest evaluation of the long-term space you can offer a tree, said Ms. Janoski, who often hears from people wanting to retrofit a tree that has grown too big alongside the house, using some miracle of pruning that just doesn’t exist.

“People think about height, but forget to ask about the mature width of trees,” she said. “That river birch they’re considering may be 30 feet wide at maturity; siting it eight feet from the house won’t work.”

Ask what you want from a tree, and what will it ask from you. Besides matching your soil moisture and type, light conditions and space, think about its intended role.

Questions about trees that will block an unwanted view are common, and most of those asking assume that an evergreen wall is the solution. Ms. Janoski encourages them to consider other possibilities. Deciduous shrubs and small ornamental trees will do the job of screening, say, a patio that you don’t use in winter from a neighbor’s. “You don’t need 20 arborvitae,” she said.

Where you may need an evergreen or two is to hide something like the neighbor’s trash cans. But the rest of the screen could be more dynamic, alive with plants of various shapes and sizes.

And there are other reasons to consider diversity: “Planting another maple in an area full of maples is not the best plan; look at other options,” Ms. Janoski said. In a changing climate, a diverse palette can help minimize potential wholesale losses.

Younger, container-grown trees will settle in and start growing faster than field-dug specimens that may take three to five years to reestablish root systems and resume growth. Credit...The Morton Arboretum

Do I Need to Buy a Big, Expensive Tree?

Trees can require a major investment in time and money, but the clinic has good news, based on research.

Younger, container-grown trees, up to two-inch caliper (the trunk diameter measured six inches to a foot above ground), settle in and start growing faster than field-dug specimens that may take three to five years to reestablish root systems and resume growth.

Whatever size you transplant, are you thinking that fertilizing when you plant will speed things up? Don’t do it, the experts say.

With a transplant, promoting root growth, not canopy growth, is the immediate goal. Until the root system has time to reestablish itself, that fertilization will be ineffective.

Be Kind to Surface Roots

Most of a tree’s roots are in the top two feet of soil, where they can access water and air. Clinic clients often express frustration that some trees develop prominent surface roots, which can be a tripping hazard and make it difficult to mow the lawn; the roots, in turn, can be injured during mowing.

“They may be annoying, but you need to protect them,” Ms. Janoski said. Cutting a surface root damages a tree’s ability to take up water and nutrients, and may open wounds that provide entry for disease.

Some trees, including various maples, are prone to developing surface roots, which are more common in hardpan clay soil, or when erosion occurs because trees are on sloping sites. Frost heaving caused by bouts of alternating freeze and thaw can also expose roots.

“I’ll just add soil on top,” people say, “and then grow grass right over them.” But piling additional topsoil over roots can harm the tree, Ms. Janoski cautioned.

Instead, apply two inches of compost or coarse-textured mulch, which are more porous than topsoil. Important: Don’t risk root damage by digging up the turf first. Just top-dress it with the compost or mulch, which will need replenishing as it breaks down.

The dreaded “volcano mulch” is damaging, trapping moisture against a tree’s bark and inviting pests, disease and decay. Use a medium-textured mulch, three or four inches deep, and keep it four or five inches away from the trunk. Credit...The Morton Arboretum

Mulch Madness

Do we really need to repeat this? Apparently so. Never pile mulch against the trunks of trees.

The dreaded “volcano mulch” so often seen is damaging, Ms. Janoski said, trapping moisture against the bark and inviting pests, disease and decay.

Keep mulch about four or five inches away from the trunk. You want to see the root flare — the spot where the base broadens, just above the soil line. A maximum of three or four inches depth, using a medium-textured mulch, is recommended.

A living mulch layer — rather than rings of lifeless, bagged stuff — adds diversity to a garden, but digging beneath an established tree is tricky and potentially damaging, Ms. Janoski said. When you’re attempting to add ground cover, stick to small herbaceous plants (like landscape plugs or very small divisions) and use a trowel or soil knife, not a shovel. Planting shrubs beneath established trees is not recommended.

Trees Need Watering, Too

We water the tomatoes, and the pots on the patio, but when was the last time we watered our trees?

The northern Midwest had a 12-week drought this spring, and the clinic staff worked to spread an urgent message: “We remind people constantly that when it’s hot and dry for 10 days or so, even mature trees need water,” Ms. Janoski said. “Your lawn will come back, but trees may have long-term damage.”

She can’t give customers a precise prescription for how long to water, because water pressure varies, but except with small trees (or abundant patience), this is not a job for a hand-held wand. Instead, she suggested, set out sprinklers in the root zone, and use rain gauges or makeshift tools — repurposed tuna or coffee cans will do, as will any flat-bottomed pan — to measure rainfall. Your goal should be to provide the tree with at least one inch of water a week, unless nature does it for you.

— More plant questions? Ms. Janoski and the Plant Clinic staff welcome them at [email protected] or 630-719-2424. — Margaret Roach is the creator of the website and podcast A Way to Garden, and a book of the same name.

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yachtingboat · 4 years

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The Boat Works: Visionary Superyacht Yard Opens

Since opening in February 2020, the state-of-the-art expansion works of the Superyacht Yard at Gold Coast-based The Boat Works has attracted several of the region’s standout superyachts. A A$100m investment has primed the shipyard to welcome vessels of up to 50m in the 25 acre site (catering for 50 x Superyachts throughout the Marina, Hardstand and Superyacht Refit Sheds), and the bespoke, luxury service has already earned glowing testimonies from clients

It has not taken long for the facility’s 300- tonne Travelift to be put to good use, hauling out superyachts including Settlement, Vegas and De Lisle III. Such a successful beginning to the shipyard’s new era is certainly praiseworthy, but not at all surprising.

Starting such a project from a blank canvas has enabled the shipyard to create something that feels more in tune with a luxury resort than an industrial shipyard. It is clear from visiting that great care and attention to detail has been taken in every detail of the new facility. Each superyacht shed has been fitted with high bay LED lighting and dedicated air-conditioned work rooms with ensuite facilities, providing ideal working conditions for long projects. Lawns, palms and citrus trees make up the beautiful landscape to create the feel of an oasis throughout. Every aspect of The Boat Works has been designed to offer an experience.

That experience is most evident in the bespoke-built VIP Captain’s Club Lounge. The two-story VIP reception and lounge greets Owners and Captains directly from their superyacht, welcoming them into an opulent resting space with panoramic views of the superyacht marina. The Lounge boasts an interior décor that would not look out of place on most superyachts, which along with the Courtesy Cars will ensure that the transition from sea to land is seamless. Owners, Captains and crew are treated to an indulgent lifestyle while peacefully knowing that the 50,000m2 of hardstand and refit sheds has everything covered for the technical needs of a superyacht.

The unique vision behind this innovative project can be credited to the shipyard’s owner, Australian motorsport legend Tony Longhurst. The Longhurst family has never been far from thrills. In 1981 the family was responsible for building Australia’s first theme park and since 2012 Tony’s brother, Rodney, has owned luxury motor yacht builder Riviera Yachts. Some of Tony’s passions and triumphant past are visible in Espresso Twenty5, a car museum and café named aptly in honour of Tony’s racing number. The man himself, however, is more focused on the future and on providing a service to both the superyacht industry and wider community.

“More boats mean more jobs,” says Tony Longhurst. “Not just in the marine and boating industries but in hospitality, tourism, provisioning – all the things visitors to our region want to see and experience, as well as works they carry out on their boats.” The development at The Boat Works has seen the inclusion of the very best of local specialised trades, including Superior Jetties and underwater marine lighting firm Aqualuma. Both companies were included in the build of the facility and are among the 60 strong catalogue of on-site marine businesses.

Superyacht Captains have already left glowing reviews of their experience at the new facility. Captain of 35m Sunseeker, M/Y Settlement, has lauded the standards of The Boat Works as one of the best in the world: “This is next level! Compared to the rest of the world, there is nothing close to it here or overseas. I’ve been to most yards in the world and this is unique. The attention to detail throughout the facility is unlike any other. The staff here have bent over backwards for us. We will be return customers for sure.”

In terms of functionality, all possible bases have been covered in the marine ecosystem at The Boat Works. Additional berthing of up to 70-metres adds to the 15 superyacht berths at the marina, while there is the opportunity for crew to use their time on land productively to renew and upskill commercial licensing with internationally recognised training at Paradigm Maritime.

With the superyacht industry exploring ways to become more sustainable, The Boat Works will delight environmentally conscious Owners. The shipyard has aimed to “set a new benchmark” for green marinas in its design, and is committed to becoming a fully self-sufficient facility with the introduction of a second solar array to add to the 100kw solar panel system at the southern yard. The environmental and economic stimulus given to the region is a great source of pride.

“We’ve had a cast of thousands working on the development and it is already delivering economic flow on for businesses in south-east Queensland,” says Tony Longhurst. “Raising the standard has always been the motivation at The Boat Works, and the superyacht yard is testament to the Longhurst family’s dedication to eco-development and sustainability.”

There are no signs of progress slowing down at The Boat Works anytime soon. On Friday, 35m superyacht Sahana will become the latest to be hauled out at the new facility, and incredibly there is still a stage 2 of the development to be completed. Plans are in place for a stunning contemporary ‘Lifestyle Precinct’ to be built along the waterside. The Lifestyle Precinct will include marine retail, brokerage, cafes and restaurants as well as providing function rooms and some accommodation. Considering the success that the shipyard has already enjoyed in its first few months of full operations, we look forward to following future developments at The Boat Work

It has not taken long for the facility’s 300- tonne Marine Travelift to be put to good use, hauling out 7 30m+ superyachts including; Pinnacle, Settlement, Hope, Vegas and De Lisle III, MY Sahana and Motoryacht AU. Such a successful beginning to the shipyard’s new era is certainly praiseworthy, but not at all surprising.

The unique vision behind this innovative project can be credited to the shipyard’s owner, Australian motorsport legend Tony Longhurst. The Longhurst family has never been far from thrills. In 1981 the family was responsible for building Australia’s first theme park and since 2012 Tony’s brother, Rodney, has owned luxury motor yacht builder Riviera Yachts. Some of Tony’s passions and triumphant past are visible in Espresso Twenty5, a car museum and café located onsite and named aptly in honour of Tony’s racing number. The man himself, however, is more focused on the future and on providing a service to both the superyacht industry and wider yachting community.

“More boats mean more jobs,” Longhurst adds. “Not just in the marine and boating industries but in hospitality, tourism, provisioning – all the things visitors to our region want to see and experience, as well as works they carry out on their boats.” The development at The Boat Works has seen the inclusion of the very best of local specialised trades, including Superior Jetties, M-Tec Marine Technologies and underwater marine lighting firm Aqualuma.

With the superyacht industry exploring ways to become more sustainable, The Boat Works will delight environmentally conscious Owners. The shipyard has aimed to “set a new benchmark” for green marinas in its design, and is committed to becoming a fully self-sufficient facility. Featuring extensive Bio gardens throughout the perimeter of the yard, Fox Environmental filtration systems separate & treat trade waste through the onsite first flush interceptors so all waste is suspended before disbursement. All water is harvested with up to 300,000 litres of stored rainwater.

The environmental and economic stimulus given to the region is a great source of pride. “We’ve had a cast of thousands working on the development and it is already delivering economic flow on for businesses in south-east Queensland,” adds Tony Longhurst. “Raising the standard has always been the motivation at The Boat Works, and the superyacht yard is testament to the Longhurst family’s dedication to eco-development and sustainability.”

The Boat Works: Visionary Superyacht Yard Opens

The Boat Works - De Lisle III Lifted

#Superyachts.com

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jodybouchard9 · 5 years

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4 Hardscaping Projects Anyone Can Do Themselves—and Those Better Left for the Pros

Nicholas Free/iStock

The right level of curb appeal can make neighbors do a double take—for the right reasons. Plus, it can up your property’s resale value. Improving your curb appeal often includes manicured landscaping, a fresh coat of paint, and porch lights that are in good, working condition. But for many homeowners, an appealing front yard also includes hardscaping, or the nonliving elements of your outdoor environment like a pathway, stones, or a pergola.

If you’re a DIYer who already has several landscaping projects under your belt, you may be thinking that doing your own hardscaping is no big whoop. However, it’s possible to bite off more than you can chew.

“Sometimes hardscaping experiments don’t resemble the professional portrayals in magazines and online, and well-intentioned weekend DIYers are left disappointed and defeated,” says Missy Henriksen, vice president of public affairs at the National Association of Landscape Professionals.

To help you avoid a #HardscapingFail, we asked the design experts to weigh in on the hardscaping projects most homeowners can probably handle on their own as well as those they should probably leave to a professional landscaper or contractor instead.

DIY No. 1: Boulder placement

OK, we admit boulder placement doesn’t sound that glamorous or exciting (unless it’s the mythical boulder from which the future King Arthur pulled the sword), but this hardscaping feature can actually do a lot.

“Boulders make great focal points for landscapes or gardens, drawing your eye to natural elements and away from unsightly areas,” says Henriksen.

You can purchase these large stones in a variety of textures to ensure they blend in.

“Giant, large, and midsize boulders can be purchased from most garden centers and stone quarries,” Henriksen says. Place them individually or group them together to make a larger statement.

And the best thing about placing boulders? It’s nearly impossible to mess up.

“There are no misses in this project,” Henriksen says.

DIY No. 2: Decorative edging

Can you arrange things in a straight line? Then you can probably handle decorative edging.

“Decorative edging is a DIY-friendly hardscaping project in which you add brick, stone, or poly edging around your driveway, patio, raised garden beds, and other features,” says Joe Palumbo, president of Landscape Guys, in Forest Lake, MN. “Because edging is not structural and doesn’t require heavy or specialized machinery, usually you can install it without danger, and without undoing or undermining the look you want to achieve.”

You can use wood, brick, concrete, plastic, or metal for curved strip edging.

DIY No. 3: Short paver walkway or patio

Another cool hardscape project our experts recommend for DIYers is building a short (emphasis on “short”) paver or brick walkway on flat ground. You could make a simple pattern in a straight line or go for something more advanced like a herringbone or pinwheel design.

“If you aren’t putting your walkway on a slope, you don’t need to worry much about grading or slippage. You just need to make sure the ground is leveled and compacted before laying down your hardscape,” Palumbo says.

Most DIYers can take on a paver project no larger than 12 square feet, according to Duane Draughon, owner and lead designer at VizX Design Studios, in Lisle, IL. “Anything larger than that will leave room for a bunch of errors due to incorrect compaction, leveling, and drainage,” he says.

DIY No. 4: Dry stacked-stone wall

A dry stacked-stone wall is a stone wall without mortar, and Henriksen believes this is also a good DIY hardscape project.

“They are relatively easy to install, as perfect leveling is not required,” she says.

The basic steps involve outlining and marking the shape of the wall, and then placing stones one level at a time.

Leave these projects for the pros

Building a retaining wall right next to a sidewalk or street: Beyond the fact that it can be difficult to get a permit for this type of project, Palumbo advises against taking it on yourself because the planning itself can be challenging for anyone but a professional.

“The big risk is that any engineering flaw could result in injury to people passing by,” he says. The closer people and cars are to your wall, the greater chance the wall will get struck, and perhaps damaged in the process.

Building a patio next to a body of water: This is another unforgiving project that can prove hazardous if you make a mistake while building it.

“Erosion, ice damage, childproofing, and accessibility make the engineering of hardscaping near a body of water trickier,” Palumbo says.

Pretty much everything else: Our experts agree that large retaining walls, driveways, fireplaces, and outdoor kitchens should all be planned and built by professionals.

“These projects involve a lot of materials, need to be permitted and engineered, and require a substantial amount of expertise to execute properly,” says Joe Raboine, director of Residential Hardscapes at Belgard.

Henriksen agrees: “Patios, walkways, and anything with steps will require a bit more sophistication and experience as factors like leveling, drainage, proper placement, soil considerations, settling, and expansion come into play.”

The post 4 Hardscaping Projects Anyone Can Do Themselves—and Those Better Left for the Pros appeared first on Real Estate News & Insights | realtor.com®.

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jeremystrele · 5 years

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Japanese Influenced Interiors – A World Of Inspiration

Interiors

Lauren Li

Amber Road designed a Japanese-inspired café called New Editions and incorporated ‘zaisu’: Japanese seating typified as a chair with no legs. Custom versions were upholstered in linen and featured the typical ‘sashiko’ stitching. Photo – Prue Ruscoe.

From Belgium to California, and right here in Australia, Japanese design has made a big impression.

I am an interior designer, not a Japanese design expert, but like a lot of us, I’ve visited this magical country, and I found it to be instantly captivating on so many levels. This feature won’t delve into what ‘true’ Japanese design is, but rather, will touch on the ways Japanese style has influenced a whole range of aesthetics globally.

While Japan might be recognised for ‘zen’ minimalism – think pristine spaces and glass elements that make up a house by SANAA or the bare concrete made famous by Tadao Ando – there are so many diverse Japanese interiors that I wouldn’t necessarily describe as minimalist. I’m very much drawn to more eclectic Japanese spaces, that are layered with texture, plants and meaningful objects.

This got me thinking about the paradox between how we imagine stereotypical Japanese minimalism, and then what you actually encounter when visiting Japan: a 100 yen store on every street corner, or at least a sublimely tasteful Muji! It seems to me that the Japanese appreciate minimal spaces, but also love to consume. Uh oh, Marie Kondo!

Inside Sydney’s New Editions cafe, by Amber Road. Photo – Prue Ruscoe.

New Editions references traditional Japanese ideas and materials. The interior by Amber Road feature a highly textured yet all-black palette. Japanese techniques have been employed such as ‘shou sugi ban’ a traditional way to preserve timber by charring it. Photo – Prue Ruscoe.

These interiors see the ‘wabi-sabi’ philosophy interpreted by Axel Vervoordt. Photo – Jan Liegeois

Wabi-sabi

You might be surprised to know that even Kanye West (!) has been influenced by Japan throughout his career – firstly with collaborations with Takashi Murakami and recently with his brand new ‘minimal monastery’ house designed by Axel Vervoordt. This Belgian architect is known for his intensely pared back design approach, and has long been inspired by Eastern philosophies. His stunning book Wabi Inspirations, features his own Westernised version of wabi features, including peeling paint, bare boards, distressed plaster walls, and muted colours. ‘It looks poor but it’s very costly. It’s the opposite of what most people want, which is something that looks expensive but is cheap,’ Axel chuckles.

Axel’s greatest inspiration is the spirit of zen monks in Japan, who sought contentment in simplicity, purity and restraint. ‘It’s the celebration of beauty in humble things’ Let’s just let that sink in for a minute.

Simplicity, purity and restraint are values that are an antidote to our fast, frenzied consumerism, and the scrolling social media spiral in which many of us live. Kim and Kanye are the most influential celebrity couple of our time (love them or hate them) and they have bought wabi-sabi to the mainstream, by showing the world how they live in an entirely bone coloured house, void of decoration (other than some exquisite Japanese ceramic pieces – raw ceramic ‘rocks’ and vessels by Yuji Ueda) and an unbleached grand piano (a Steinway no less). Their house isn’t exactly humble, however, it is somewhat surprising to see they have rejected having ‘things’ in the pursuit of wabi-sabi. (If you haven’t already… suss their sleek new home by Axel Vervoordt here).

Courted House by Breakspear Architects. Photo – Tom Ferguson.

Studiofour use the technique of ‘borrowing scenery’ in their projects to create a quality of space that provides a sense of sanctuary, enclosure and comfort. Photo – Shannon McGarth.

This house by B.E Architecture features a particularly unexpected detail in an urban property; a secluded Japanese garden with an outdoor shower. Alongside Japanese design, they channelled inspiration from Chilean landscape architect Juan Grimm and Australian gardens by Edna Walling. Photo – Peter Clarke.

BE Architects often design the landscapes for their residential projects. They feel that these gardens should invoke a sense of calm and serenity. The purpose of the gardens is to support the architecture as well as the occupants, while not making a grand statement in themselves. Photo – Peter Clarke.

The tranquil gardens of the Kawaii Platypi project by Splinter Society. Photo – Jack Lovel, courtesy Australian Interior Design Awards.

Borrowed Scenery

We know that houses are seriously compact in Japan, although they still feel amazing to spend time in.

Often, this is thanks to a well-positioned window with a view to a garden, which gives an impression of more space.

To borrow scenery is an ancient technique known as ‘shakkei’, and it makes a lot of sense to employ this philosophy in our homes in Australia. A great example of this in practice are spaces by Studiofour, which have a tangible connection to the outdoors. The Melbourne-based firm believes that a strong relationship to the outdoors ‘is a pathway to human health and happiness’.

this Japanese-inspired ‘Hideaway‘ cabin on Tasmania’s Bruny Island was designed as a place of refuge by local firm Maguire Devine. It enjoys unencumbered views out to the natural surrounds. Photo – Robert Maver.

Timber cladding combines with seamless concealed joinery, offering hidden storage space, in the minimalist micro-living apartment in Richmond by T-A Square architects. Photo – Jack Lovel.

The handmade brick seen in the Mayfield residence by Studiofour was chosen for its imperfection and variance in colour, tone, texture and size. Photo – Shannon McGrath.

For their Captain Kelly’s Cottage by John Wardle Architects sourced tiles from Japan, the very same that were originally commissioned by Frank Lloyd Wright for his Imperial Hotel in Tokyo. Photo – Trevor Mein.

Although geographically very far from Japan, Captain Kelly’s Cottage by John Wardle Architects, also in Tasmania, references Japanese design. The walls, floor, and ceiling of the living space was crafted entirely out of Tasmanian oak, and furniture items like a writing desk and coffee table were made out of leftover materials. Photo – Trevor Mein.

Dramatic panoramic views across the coastline of the north end of Bruny Island from Captain Kelly’s Cottage by John Wardle Architects. Photo – Trevor Mein.

Materiality

Imagine visiting a construction site, taking off your boots and sliding on a pair of slippers. This is exactly what happened to me when I visited Japan to work on an interior design project for a global retailer. I’m used to dusty worksites, with Triple M blasting from a radio in the corner, but I didn’t find anything like that on the Japanese construction site that day. The boots/slipper comparison reveals a lot about the way that building is approached in Japan. I encountered the cleanest and most organised building site I have ever seen, and I began to understand that everywhere I went I was talking to craftsmen.

The Shinto belief system, indigenous to Japan, influences Japanese architecture in terms of materiality and form. Materials are treated with care and the greatest craftsmanship. Materials are most cherished in their natural form.

The Nobu Ryokan in Malibu, designed by Studio PCH, incorporates Japanese traditions in a Californian beach setting. The retreat features hand-crafted teak soaking baths, combined with indoor and outdoor spaces. Photo – Dylan + Jeni.

This mid-century home in San Francisco features interiors designed by Charles de Lisle, including a powder room with a hand-carved elm sink and black lacquered rosewood paneling on the walls. Photo – William Abranowicz.

(left) BE Architecture begin designing by looking at the materials that best represent the feeling that they want a house to embody. Photo – Peter Clarke. (right) Senses by Louisa Grey & Frama. Photo – Rory Gardiner.

Bathing

Having a bath in Japan has its very own set of customs and rules.

Maybe, in the West, we’re not ready to bathe completely naked with strangers (!) however, we could learn a thing or two about the Japanese ritual of bathing – and the serene way the Japanese design their bathing spaces, with great emphasis on the bath, natural materials such as timber and stone, and natural light.

This serene bedroom in Arent & Pyke’s Pyrmont Apartment features a hand-painted screen with a Cassina Tokyo Chaise Lounge. Photo – Tom Ferguson.

Back in the mid-century house in San Francisco, this living room’s bar is enveloped in a custom de Gournay silk inside a custom indigo-dyed ash cabinet with brass countertop and shelves. The inspiration from Japan is endless. Photo – William Abranowicz.

This space references design ideas by American designer/craftsman George Nakashima. He introduced an appreciation of a tree’s natural forms and colours to celebrate its ‘imperfections’ to the American market. His live edge tables are iconic and he also designed pieces for Knoll, which blend American Shaker design with Japanese joinery. Photo – Terence Chin.

Decoration

It’s fascinating how Japan has influenced Western design for hundreds of years. Notably, designers such as Frank Lloyd Wright and William Morris found inspiration from Japan during the rise of the Arts & Crafts movement. Many Nordic designers have also found common ground in their shared appreciation for fine craftsmanship.

From nature-inspired motifs, to the use of timber cladding and black lacquer, there are countless ways that Japan has influenced design and architecture in Australia and beyond. Personally, I’m totemo grateful!

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elitelandscape-blog · 7 years

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Elite Landscape Group

672 Lookout Court Naperville, Illinois 60540 (630) 729-0203

http://elitelandscapegroup.com/naperville-lawn-care/

Elite Landscape Group is a Naperville based lawn and landscape company serving the Aurora, Geneva, Batavia, Saint Charles, Plainfield, Bolingbrook Naperville, Lisle, Schaumburg and surrounding towns. We offer full residential and commercial lawn, snow and landscape management. Our total quality assurance program is oriented toward the goal of “total customer satisfaction”. Through 25 years of pacesetting and achievements Elite has established itself as the Naperville’s leader in landscaping services, design and maintenance.

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williamemcknight · 7 years

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12 Days of Christmas – May 2017

May is possibly the busiest month of the horticultural calendar, so it’s no surprise that the May issue of Pro Landscaper is a bumper edition. Firstly, we announced the launch of our brand-new event series, Pro Landscaper Live, with the first taking place in Manchester at the end of May (Page 16).

Garden designer Tracy Foster spoke to us about getting young people into horticulture, why she teaches design courses for non-professionals looking to design their own gardens, and the run up to Chelsea 2017 (Page 27).

Chelsea regular Landscape Associates was the focus for our Company Profile this month, with managing director Richard Curle explaining how the company got to where it is today and where it is headed in the future (Page 30).

In View from the Top, Tim Howell of Mitie Landscapes discussed why, and in an increasingly gig-based economy, retaining your own workforce is still the best option (Page 34), and Andrew Wilson explored the connection between designing drawing and fees, as many fail to see the link and sell themselves short (Page 37).

We took a trip to Southampton to learn more about the growth of a unique parks and green spaces offer (Page 45), and The Outdoor Room’s circular redesign of the Orchard Lisle Courtyard is just one of four spectacular portfolios in this issue (Page 58).

Andy McIndoe suggested some of the best long-blooming shrubs and perennials for year-round interest in his monthly column (Page 78), and Jamie Butterworth turned his attention to umbellifers, a popular choice for designers at RHS Chelsea (Page 82).

Stressing the importance of communication and commitment in a working relationship, Robert Webber offered his top tips for lighting design (Page 97) and Sean Butler starts a three-part series, providing some much-needed clarity on several laws affecting those in the landscaping industry (Page 98).

In What I’m Reading, garden designer Robert Barker tells us about how he discovered the book ‘Derek Jarman’s Garden’ and why it is a must-read (Page 106). We also explore the current trends in the mower market, and what the future may hold in a special market report (Page 112).

To view the May issue, please click here.

In a 36-page supplementary issue, we showcased the key highlights for the RHS Chelsea Flower Show 2017, and included exclusive Q&As with the designers and contractors. We spoke to Sarah Eberle, RHS Chelsea’s most decorated designer, to discuss her illustrious Chelsea career. We also looked back on the eight years M&G Investments has sponsored the prestigious event, and spoke to RHS Chelsea first-timer Charlotte Harris about her debut garden, inspired by the spectacular boreal forests of Canada.

To view the RHS Chelsea Flower Show 2017 show guide, please click here.

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nofomoartworld · 7 years

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Hyperallergic: Squeeze in Some Last-Minute Summer Adventure with These Cultural Landscape Guides

We’re nearing the end of summer, but don’t fret yet — you still have time to travel and explore a place you’ve never visited. For some last-minute summer plans close to home, Hyperallergic recommends you dive into the wonderful city guides put together by the folks at the Cultural Landscape Foundation (TCLF), a nonprofit with a mission to simply connect people to places of culture, from museums to parks to cemeteries.

The organization defines cultural landscapes as those “that have been affected, influenced, or shaped by human involvement … Collectively, cultural landscapes are works of art, narratives of culture, and expressions of regional identity.” Over the last nearly two decades, it has put together a growing database called What’s Out There, which represents the most exhaustive online resource of cultural landscapes around North America, from architect Paolo Soleri’s Cosanti complex in Paradise Valley, Arizona, to artist Benjamin Dominguez’s magical playground of concrete sculptures in San Gabriel, California. The database currently boasts over 2,000 entries, 900 profiles of landscape designers, and 10,000 images, and you can search it by location, keyword, and landscape type. Each site entry also includes a brief history of the place that, according to TCLF spokesperson Nord Wennerstrom, has been carefully vetted.

What might be a little more helpful, if you live in or near a big city, would be to look at TCLF’s city and regional guides, which are derived from the What’s Out There database. Last year, Hyperallergic’s Allison Meier provided an overview of the New York City one. As she noted, New Yorkers are probably familiar with many of the listed sites, from the Museum of Modern Art to Cooper Hewitt, but the guide also includes less frequented places, such as Fort Wadsworth and the Olmsted-Beil House. Other cities TCLF has compiled guides for are Washington, DC, New Orleans, Houston, Denver, Philadelphia, and Chicago; one for Indianapolis is coming soon.

While many of the cultural landscapes are located in these cities, some lie in quieter vicinities and could make for nice day trips by car or train. Just 50 miles north of Denver, for instance, is the gorgeous tree farm of Arborland, established in 1971. Nature lovers near Chicago, meanwhile, can check out the Morton Arboretum in Lisle, Illinois, which also features a herbarium.

To make your hunt for an adventure close to home even more convenient, TCLF’s website has a neat tool you can access with a smartphone. The database is GPS-enabled, so all you have to do to discover a nearby site is access the foundation’s website on your device, scroll down, and click “Explore What’s Nearby” button — the database will show you all the results within a 25-mile radius of where you stand. Now be off and explore your local built landscapes!

Osaka Japanese Garden in Chicago, IL (photo courtesy Chicago Park District)

The post Squeeze in Some Last-Minute Summer Adventure with These Cultural Landscape Guides appeared first on Hyperallergic.

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