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kuramirocket · 3 years

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The U.S.-Mexico border as we know it is a relatively recent invention. Established after the conclusion of the Mexican-American War in 1848, the first formal barriers didn’t begin to materialize until the early 20th century in locations such as California and Arizona — to regulate the movement of people and cattle.

In fact, it wasn’t until the Clinton administration in the 1990s that the border began to assume its modern look, when steel helicopter landing mats left over from the Vietnam War were used to mark the divides between territories. The architecture of the border has grown increasingly defensive, aided and abetted by the xenophobic rhetoric of politicians like former President Donald Trump, who operated by the mantra, “Build the wall.”

In the meantime, Indigenous groups such as the Tohono O’odham of Arizona, who have inhabited the Sonoran Desert for centuries, have seen their historic homelands quite literally torn apart by the border — sacred sites and environmentally fragile zones blasted away to make way for ever more wall.

“Passage,” which is entering its final week at the Mesa Contemporary Arts Museum at the Mesa Arts Center in Arizona and “Indigenous Women: Border Matters,” on view at the Wheelwright Museum of the American Indian in Santa Fe through early October, expand the frame to center the Indigenous view of the border.

“Passage,” which was organized at the Mesa Contemporary Arts Museum examines the toll the border has taken on human life in an installation that also nods to O’odham tradition. The exhibition features the collaboration of Indigenous and Mexican artists from around the Southwest and beyond.

Thousands of contributors submitted handmade clay beads from locations around Arizona and the country, with each bead intended to symbolize a life lost along the U.S.-Mexico border over the last 30 years. Luger also teamed up with two local Indigenous artists — Thomas “Breeze” Marcus (Tohono O’odham) and Dwayne Manuel (Onk Akimel O’odham) — who contributed a floor mural inspired by O’odham creation myths.

Viewers are invited to navigate this labyrinth, coming into intimate view with the beads, which bear the distinct imprint of thousands of human hands. The effect is bone-like and funereal, a veil of manufactured death hovering over the O’Odham imagination.

The taut and tiny “Indigenous Women: Border Matters” at Santa Fe’s Wheelwright, looks at the ways in which modern notions of the border have disrupted Indigenous life.

A series of wry linocut prints by Makaye Lewis (Tohono O’odham) capture the vagaries of life along the border — in which to be Indigenous is to be suspect and to be subjected to the continuous surveillance of border authorities. Strangers on their own land.

Particularly visceral is an installation by Daisy Quezada Ureña (Mexican American), whose featured works depict articles of women’s clothing — principally undergarments — hung on plastic spikes that emerge from the wall. In some cases, she renders the clothing in porcelain, which gives these personal items an unsettling, ghostly sheen. Another sculpture by the artist features a woman’s shirt supported against the wall by a metal fence post.

Redolent of sexual violence, the sculptures are a gripping memento mori to the steep bodily price often paid by female immigrants to the United States.

These are difficult subjects. But even as these exhibitions offer an unblinkered view of the ways in which policy can play out in real and violent ways, they also reflect the ways in which artists and communities can come together — to work, to tell a story and to show resilience in the face of political forces that don’t see people, only the imaginary geopolitical line.

#🇲🇽#usa #united states #mexico #us mexico border #indigenous #history #mexican history #mexican american war #California #arizona #vietnam war #Tohono O’odham #Onk Akimel O’odham #mexican american #native #donald trump #dump trump

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architectnews · 3 years

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Please Don’t Eat the Daisies House, New York

Please Don’t Eat the Daisies House, New York Real Estate, Mid-Century Luxury NY Home, US Architecture Photos

Please Don’t Eat the Daisies House in New York

Aug 24, 2021

Please Don’t Eat the Daisies House

Location: New York State, USA

Photos by Courtesy of Douglas Elliman

Source: TopTenRealEstateDeals.com

“Please Don’t Eat the Daisies” Home For Sale priced at $5.495 million!

The New York home where best-selling author Jean Kerr wrote Please Don’t Eat the Daisies is for sale at $5.495 million. Kerr and her husband, Walter Kerr, theater critic for The New York Times, raised their six children in the home that was the setting for Jean’s 1957 book, Please Don’t Eat the Daisies. The book was later made into a movie starring Doris Day and David Niven.

The Please Don’t Eat the Daisies storyline runs very close to author Jean’s actual home life. Kerr, with six children instead of the movie version of four, was married to Walter, who also, as in the movie, changed his profession from professor to theater critic. When the family outgrew their New York City apartment, in 1955 they moved to the suburbs in Larchmont, NY – about 20 miles from Manhattan.

According to one of the couple’s sons, when they went to look for their new house, the one they wanted wasn’t possible to view, so they bought a house down the street. Their family life in the home paralleled that of the characters in the book, including one of the children eating the daisies.

One of Larchmont’s most interesting and historic homes, the former Kerr house was built in 1901 as a stable and carriage house for the 45,000-square-foot Crocker family mansion whose patriarch, Judge E.B. Crocker, founded the Southern Pacific Railroad.

In the 1920s, a new owner of the carriage house, Charles B. King, a Detroit auto pioneer, cleverly acquired 35 truckloads of decor from the Vanderbilt mansion in Midtown Manhattan when it was being demolished. Some of these finds included a two-story fireplace, marble handrails and a spiral staircase that King included in the home’s transformation.

At 8,596 square feet, the Kerr house has big water views of Long Island Sound and Horseshoe Harbor, six bedrooms and seven baths, which was a perfect amount of space for the Kerr family of eight. Only a 35-minute train ride into Manhattan with easy access for guests, its size and layout create many venues for entertaining and a quick commute. Though the swimming pool is currently an artist’s rendering, the white sandy beach is only steps away from the front door.

Some outstanding features of the home include carillon bells from France, a hand-carved, wood-coffered ceiling in the formal living room with large arched windows, and hand-carved wood panels in the library. The master suite is spacious with a fireplace, large windows with views over the cove and a reading nook with water-view windows on three sides. The family room adjoins a chef’s kitchen, and the kitchen opens onto the large terrace, conveniently accessed for outdoor entertaining, lush gardens, and the home’s Mediterranean-style courtyard with fountain.

Jean Kerr was a prolific writer, including magazine articles, books, Broadway plays and film scripts, with the ability to describe life’s most mundane activities with an original sense of humor. Kerr outlived her husband by seven years and died at the age of 80 in 2003.

Larchmont is the third wealthiest neighborhood in New York and the 15th wealthiest in the country. Celebrities who live there, such as film director Ang Lee, keep a low profile – with the exception of Joan Rivers, who grew up in Larchmont and often mentioned the area in her stand-up routine.

The listing agents for the home are Stacey Pinkas from the Armonk Douglas Elliman office and Alex Lundqvist with the Douglas Elliman Eklund-Gomes Team in Manhattan.

Photo Credit: Douglas Elliman

Source: www.elliman.com

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homepictures · 6 years

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Five Stereotypes About Homes Designs Interior That Aren’t Always True | homes designs interior

Lennon Communications, Appropriate to the Naples Daily News Published 6:09 a.m. ET Dec. 15, 2018

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The Oaks Lot 901 is a two story, single-family home in Linville Ridge.(Photo: Submitted)

LINVILLE RIDGE, NC. — Clive Daniel Home has completed the interiors of four North Carolina projects developed by Lutgert Companies. Allied ASID Autogenous Designers Jean Losier and Lisa Mettetal created the interiors for all properties, abrogation a rustic architecture banner that reflects the surrounding abundance environment. The residences accommodate The VIP Cottage, The Oaks Lot 910, and two models at The Brooks, and Evergreen, all amid in Linville, North Carolina. The Clive Daniel Home autogenous designers accept created 12 archetypal residences for the developer.

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According to Losier, “The VIP Cottage is a three-bedroom home on the golf advance that was congenital in the backward 80s and has enjoyed a absolute advance by the architecture duo, consistent in a absolute face lift. This home is busy by VIP barter who are abeyant homebuyers in Linville Ridge. We were requested to accompany an adapted attending to the VIP Cottage with a rustic architecture that would reflect the surrounding abundance environment. The new interiors are airy and adequate with balmy finishes evoking a accustomed feeling, creating a affable feel to the spaces. An continued accouter was added in the back, additional an alfresco affable breadth and a ample broiler to sit and adore the abundance views.”

The Oaks Lot 901 is a two-story, single-family home amid on the acme of Linville Ridge The four-bedroom home is priced at $1,725,000, including accoutrement and is golf barrow attainable with continued ambit angle of the surrounding countryside. Guests access on the capital floor, which includes adept bedroom, living, dining and study. The additional attic appearance a acquisition amplitude and two bedfellow bedrooms.

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Added artist Mettetal, “The home showcases copse flooring, ample windows with angle of the surrounding areas, additional a comfortable broiler in the abundant allowance crafted of ledge stone. Ceilings are aerial with rustic beams in the active and dining rooms, accouterment an open, aerial feeling.”

The CDH designers additionally completed interiors for The Brooks archetypal at Linville Ridge. The 2,610 square-foot aerial akin assemblage appearance three bedrooms, 3.5 baths additional den with an accessible abundant allowance attic plan, gourmet kitchen, covered alfresco accouter and two-car garage. Old metals, reclaimed copse and accessories accompaniment appropriate lighting. Floating axle capacity in the ceilings and a bean broiler accompany the accustomed elements of the mountains inside. The home showcases an outdoor active breadth and long ambit angle of the surrounding countryside.

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Interior Designers Losier and Mettetal accept additionally created the interiors for Lutgert’s new rustic chichi Evergreen II archetypal in Linville. The sales amount including accoutrement is $1,363,000, bringing an adapted attending to Linville Ridge with a architecture that will reflect the surrounding abundance environment. The 2,893 square-foot residence showcases accustomed elements consistent in a sophisticated, yet airy activity with admirable windows accouterment a bird’s eye appearance of the basin below.

Linville Ridge is amid 75 afar northeast of Asheville in the Blue Ridge Mountains of North Carolina and is a accumulating of acreage homes, abundance cottages and boondocks homes. The Lutgert Companies has developed an 1,800-acre golf advance community. Set at an acclivity of about 5,000 feet, Linville Ridge is the accomplished golf advance association east of the Mississippi. The aggregation has additionally developed The Estuary at Grey Oaks, the acclaimed Park Shore community, the aerial rises at Bonita Bay and Mercato, as able-bodied as the Residences at Mercato, a mixed-use association in North Naples

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Clive Daniel Home is amid on U.S. 41 in Naples and in Boca Raton.

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