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blood-and-wine-ao3 · 5 months ago

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Chapter 5 link!

https://archiveofourown.org/works/48321235/chapters/130454317

chapter text below the cut

Tommy held his brother, sure he was just quieter, sure he was just breathing a bit shallower and Tommy couldn't hear him.

But Tommy couldn't feel Wilbur's back move with each breath, couldn't feel the shaky rasping breaths into his jumper, couldn't hear each laboured breath, felt his brother's wings go limp and slacken. Tommy moved his hand to his brother's neck, feeling for something, anything-

Nothing.

Tommy let himself go, shaking and sobbing and holding his brother's body like it was the last thing in the world.

He let out a cry of raw agony, tears flowing like a river of blood as he clutched Wilbur to him.

"Bossman, is everythi-" Tubbo put his head through the portal, falling silent at Tommy's sobs.

"I- I'll leave you be," Tubbo withdrew, voice shaking.

Tommy didn't even register that Tubbo had spoken. The only thing he felt was empty, gnawing agony, and the absence of life in his arms.

Eventually, the portal vwooped shut, and Tommy sat completely alone with his pain.

He cried himself dry and sobbed himself hoarse, and when his voice was a whisper, his head pounded, and he had no tears left to shed, he took his brother into his arms and moved him to the bedroom.

He set him down gently, arranging his limbs into such a way it looked like he was asleep, tenderly removing his glasses and closing his eyes.

Tommy felt like he was moving through thick fog, or in a car with cruise control on. He felt he was blurry and on autopilot, like he was playing a game with nasty input lag.

He felt.... numb.

He went and sat down on the sofa, grabbed his laptop, and plugged in the USB from the market, both utterly stunned and not at all surprised when a .txt file came up displaying "How to Care for a Vampiric Fledgling (updated 202X, Courtesy of the Tesseract Foundation.)"

He skimmed through it as the first chunk was about pre-turned humans in the progress of their "illness"- but paused when he arrived at a section titled "Vampiric False Death."

"Vampiric False Death

When a human patient of vampirism progresses enough into their illness, their body will begin shutting down. Eventually, their heart will stop, and they will clinically be classified dead. There isn't anything that can be done to stop the process, but it's good to keep track of your fledgling's progress so that you can anticipate when it happens and make them as comfortable as possible. It's quite slow and can be either agonising or completely painless, but is often characterised by breathing problems, heart palpitations and angina. The actual mechanism of death is most often either asphyxia or a heart attack. While most fledglings overcome their deaths within two weeks, some fledglings take up to a month to turn, and a few do not recover at all.

After death, fledglings will not decompose or show any signs of being dead other than the absence of heartbeat, absence of breathing, rigor mortis (onset from 12 hours, stops about 12 hours before waking up) and pale/ashy skin. If a fledgling doesn't make it through their turning, they will start to decompose as a regular cadaver would.

In preparation for a fledgling waking up, ensure that their home is darkened, that they can contact you if you're not there, and - if possible - that they have a supply of blood."

Tommy read through the rest of the file, reading again and again, memorising every detail, and he only realised he'd been up all night when he heard the birds outside and a ray of sunlight slashed his eyes.

He put the laptop down, crossing to the fridge where a timetable sat. Hm. No appointments today.

He grabbed his phone, calling "Bossman Foxboy".

"Tommy it's 7am- you don't have appointments today-" a man groggily said.

"I know that Fundy, the shop opens at 9:30 right?"

"Why you asking?"

"Can I work as a walk-in today?"

"What's up? Need the cash?"

"Need the distraction,"

"Alright, be in at 9."

"Thanks, Fundy, I owe you one."

"You literally offered to come into work." Fundy laughed. "Now let me eat my toast."

"Cya boss man,"

"Cya,"

Fundy hung up.

Tommy sat on the sofa and thought a while, went over his priorities for the day.

He needed to eat, shower, get dressed, and go to work.

He decided he'd shower first, to get the tears off of him, so into the bathroom he went.

Once he was done with that, the sun was truly up, and Tommy drew the curtain to block out the stray light beam. He went into the bedroom and grabbed a change of clothes, changing in the living room by the light of his laptop screen.

He was wearing khaki cargo pants, a plain red t-shirt, and his red Converse, the tattoos on his arms proudly on display - vines and roses and Tom Nook and a portrait of Clem and a chunk of the tab sheet for Model Buses and god knows what else sitting proudly on his arms for all to see.

As Tommy caught his Clem tattoo in the mirror, he realised with a mounting dread that he hadn't seen the moth since the morning before. He started to worry a bit, but reasoned with himself that she'd probably just gone out flying and would be back. She did that sometimes, it was one of her little quirks. Clementine was fine. Or so Tommy hoped, anyway. She'd be home when he came back from work.

Once he was dressed he poured himself some cereal - cinnamon crunch, which was his favourite - and sat there crunching it dry. Normally, a tired-from-work Wilbur would call him strange and try to forcibly pour milk in there. But Tommy sat crunching his dry cereal with no complaints, and it felt scary. He didn't like it.

He went to the fridge and put milk in his cereal.

"There." he said to nobody in particular. "You win. When you're home I'm not going to tell you about it. Prick."

He finished his cereal and went back to his laptop, reviewing the file one last time to make sure he'd committed every detail to memory, before unplugging the USB and deleting it from his files and his recycle bin. He checked the time - 8:07 am - and pocketed the memory stick, grabbing the rubbing alcohol and some paper and cardboard and leaving his apartment. Tommy walked down the stairs, out of his building, and into the alley behind - staying watchful of everything and everyone.

There was a firepit, which was often used during holidays like Bonfire Night and Christmas - or just whenever someone in the building wanted to cook over a fire. He instead placed his little pile of paper and cardboard in front of it, popping the USB casing with his nail and prying out the actual memory drive before placing it on top. He poured the rubbing alcohol over it all, and then lit a piece of cardboard he was holding and dropped it on the pile.

With quite a satisfying fwoosh the fire started, and Tommy stepped back, watching it burn. Paper curled into char and then to ash, cardboard steadily burning away, and in the middle of it all the memory drive blackened and started to melt.

He watched it for as long as it burnt, and when it was reduced to embers, he stomped them out and plucked the melted husk from within, before dropping it onto the tarmac and grinding it to powder under his heel.

He checked the time, swore under his breath, and started walking to work.

Tommy walked to the shop, fumbling with his keys and eventually opening the door.

"Fundy! I'm here!" Tommy yelled.

"Alright, get set up and get the shop lit for me, I'm doing admin!" Fundy replied.

"'Kay, is anyone else working today?"

"Aimsey's got a couple appointments later, they're doing walk-ins in the morning though. Bill's booked up all day. Someone's coming in to rent the hire chair, and I think we have an artist coming in to do some designs for us,"

"Sounds good!"

Tommy crossed the parlor and flicked the lights.

The tattoo parlor was beautifully designed, with photos of designs - both on paper and on clients - adorning three of the exposed-brick walls, five black-leather chair-recliners with latticed dividers also covered in art, and mirrors in front of the chairs for clients to see their art being inked. The front wall was mostly windows, with a glass door. Still, art was taped to the windows.

Opposite the chairs was the waiting area, with black sofas and coffee tables with catalogues of designs and fonts resting on them.

On the wall was a floor-to-ceiling mural, Fundy, Aimsey, Bill and Tommy expressed on the brick with bold colour and sweeping line. Fundy's hat sat square on his head, his wild orange-dyed hair spilling out from it, a grin on his face and brown eyes shining. Aimsey's arm rested around Fundy's leather-jacketed shoulders, their face laughing and their pin-straight brown hair falling to their ribs. They wore their customary blue-and-white shirt, tulip and daisy tattoos visible on their arms. Bill's skeleton-tattooed hand ruffled their hair, setting their beanie askew. Bill himself was grinning at the shorter, his bandana keeping his black wolf-cut out of his face. He wore a skeleton turtleneck and a leather jacket covered in patches, other arm lazily drooped over Tommy's shoulder. Tommy returned the gesture, devilish grin on his face, blonde hair curling in all directions, his signature shirt on. Above the quartet, Lost Fox Ink was painted in loopy orange script.

Tommy was just setting up his chair for the day when keys jingled in the door and Aimsey entered, wearing their typical shirt and shorts, white bunny hat upon their head, green backpack on their shoulders, and black sticker-covered cane supporting some of their weight. They had a tulip tattoo on one forearm and a daisy on the other, a nautical star on their left wrist, a stylised bear on their right ankle, and a constellation of a woman on their left thigh. On their right, a black mask with embroidered white detailing sat folded next to a black bandana.

"Hey Toms!" Aimsey called, crossing the parlor to Tommy.

"Sup big guy?" Tommy replied, turning to face them.

"The sky," they grinned.

" 'Course." Tommy smiled.

"How are ya?"

He froze.

"I- uh- I'm..." he trailed off.

"Not great. Don't want to talk about it right now."

"That good, huh?" Aimsey set up their chair, crossing to Tommy's station and leaning on the recliner. "I'm here if you want to at any point, though. Just message me."

"Mmm," Tommy absently hummed. "Thanks."

The conversation went cold, and Aimsey returned to their station. The silence made Tommy cringe.

"How are your dogs?" he asked. "Gareth and G.... I can't pronounce the other one-"

"Gelert?"

"Yeah. The Irish wolfhound?"

"Mhm! They're fine, I've actually got some tattoo designs for them I want to get done."

"Can I see them?"

Aimsey nodded, flipping open their sketchbook as Tommy walked over.

Most of the page was taken up by a pair of dogs, an Irish wolfhound and a greyhound, playfully chasing each other. The wolfhound had on a blue collar and a green bandana, and the greyhound had on a red collar and a black bandana. "Gareth and Gelert" sat in loopy letters below the pair.

"That's beautiful," Tommy murmured. "When are you planning on getting it done?"

"I was actually going to ask if you could do it for me," Aimsey explained.

"You sure?"

" 'Course."

"Well I mean- I don't have any appointments today,"

"I've got a couple later, but I'm free all morning."

Tommy grinned. "I'll talk to Fundy."

"Thanks mush," Aimsey smiled. "I know you'll do my lads justice."

Tommy blushed at the compliment, walking back to his station and looking over a couple designs.

A few minutes passed, and the door went again. Bill walked in, wearing a yellow skull-print shirt, black joggers, black combat boots, and a white bandana tied as a headband. He waved a skeleton-tattooed hand, a bunny hat and a black mask with white embroidery on his forearm.

"Hey," Bill grinned.

"Billiammmmm!" Aimsey yelled.

"Sup." Tommy waved.

Aimsey and Bill exchanged conversation, animated and excited to see each other. Tommy was friends with them both, but they were closer with each other than with Tommy. And that was okay. At least he had friends at work. As he was observing the duo, he noticed the mask on Aimsey's thigh and the mask on Bill's forearm were variations on the same design.

"Hey guys?" Tommy interjected.

"Yeah?" Aimsey replied.

"I don't know why I've only just noticed, but you and Bill have the same mask tattoo."

"Oh- yeah! Bill also has my hat, and I've got his bandana, if you look." Aimsey turned their leg towards Tommy, showing the bandana tattoo.

"If you've got each other's accessories, and you both have that mask, who's it for?"

"Our friend Roxie," Bill smiled. "You might know her as Miss Beloved- you know, the drag queen?"

"Not ringing a bell, but they seem cool."

"She is. She's great, she's like a sister to us." Aimsey beamed.

"We should organise a work trip to one of her shows sometime." Tommy suggested.

"Oh my God, we should!" Bill agreed. "FUNDY-"

"WHAT?" Fundy yelled from the office.

"CAN WE GO ON A WORK TRIP?"

"WHEN? WHERE?"

"NOT SURE! DRAG SHOW! MISS BELOVED!"

Fundy sighed. "I'LL SEE WHAT I CAN DO."

Aimsey and Bill uproariously cheered. For two people, they made the parlor louder than a packed stadium.

Eventually they settled, and the parlor returned to uncomfortable silence. Tommy fished his phone from his pocket and checked the time. 9:16. The hire and the artist had yet to come in. The parlor opened at 9:30.

Aimsey and Bill started chatting again, and Tommy decided to play a puzzle game on his phone in the meantime.

After a bit, the doorbell rang, and Tommy crossed the parlor.

At the door was an average-height avian, brown-haired with magenta-tipped white wings. What made Tommy startle slightly was the avian's amount of wings - a set on their back, in line with most avian types, but another set on their neck. They waved, and Tommy opened the door.

"Are you working here today?" Tommy asked.

"Mhm, I'm here to do designs. Name's Lee."

"Oh! I'm Tommy, come in, I'll take you to Fundy."

"Thanks,"

Tommy led Lee through the parlor to the back office, and knocked on the door.

"Fundy! I've got a Lee here?"

"Let him in," Fundy replied.

Tommy opened the door and Lee stepped through, just as the doorbell went again. Tommy got halfway across the parlor-

And froze in his tracks.

A familiar, near-bald man with piercing blue eyes stood at the door.

"Hey- Aimsey- can you, uh, invite the hire in?" Tommy stuttered, walking back to his chair.

Aimsey did so, opening the door.

"Are you coming in to use the hire chair today?"

"Mhm."

"I'm Aimsey."

"Jack."

"Nice to meet you, Jack. Fundy's busy right now, but he'll hopefully be available before the shop opens."

Jack stepped in, shrugging his backpack into his hand.

"Where can I put my stuff?"

#ao3 #blood and wine ao3 #c!crimeboys #c!tommy #c!wilbur #dsmp ao3 #dsmp crimeboys #dsmp tommy #dsmp wilbur #dsmp

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oathkeeper-of-tarth · 7 years ago

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Vessel

Prompt: Pearl v/x? V. An abandoned/empty place. X. A flash of anger.

[prompt list]

Anon, you sent this prompt a while ago, and, well, you probably weren’t fishing for me venting my new episode feelings about half a year later, but here we are. Major spoilers for A Single Pale Rose. There is absolutely nothing happy about any of this. I got started on two ficlets, one of them was an attempt at a fixit-y “Rose makes sure to always ask, desperately trying to make up for the one time she didn’t” kinda thing, but that didn’t work at all and the mood was ultimately more like... this.

Summary: Rose is gone, but she’s left Pearl with something she may have forgotten to address. Set sometime after the flashback portion of Three Gems and a Baby. Pearl, Rose, and a pile of my suffering, ~1800 words.

---

Vessel

The palanquin is the same as she left it last time, save for a bit more of the inevitable, oh-so-Earthly growth over and around it. It never changes much, the place Rose keeps-kept trying her best to very deliberately forget, like she does-did with so many other things. But Pearl remembers everything with hologram-perfect clarity, and has never been very good at the game of pretending something didn’t happen.

The thought makes her stop her approach and shuffle in place, restless fingers playing against the skirt of her recent regeneration, fresh grass playing against her shins. Is that why Rose-? Is that why all the humans, all the time, one after another- because they couldn’t possibly have known, and Pearl was only ever a reminder, dragging them both down, whatever she did?

Maybe, maybe, maybe.

She goes to the Strawberry Fields to brood over their endless losses, and runs a wistful hand over the dulled edges of a halberd she remembers an old comrade wielding. Leaps up onto the floating islands to more easily recall the time when it seemed she and Rose were the only two Gems in all the world. When she feels like indulging in melancholy, she goes to the Galaxy Warp and sits on the edges of cold, cracked, eternally dim and lifeless warp pads, and looks up, up, up, into the now-unreachable.

And sometimes she comes here, where she knows she will never be anything but perfectly alone.

There is a breeze today, coming down the mountain, rustling those peculiar pink flowers. The sun sinking beneath the horizon casts it all into darker hues, purple and lavender in place of bright pink, just like- just like that night, when-

The words she’s never been able to speak are a bitter residue in the back of her throat. Her hands tighten into fists at her sides, arms stiff and kept resolutely still, even as she knows that, should they decide to betray her, no amount of resistance would help. But it’s worth a try, isn’t it? Now that Rose is... gone, now that nothing will ever be the same again, perhaps this has changed, too. Pearl takes a deep, unnecessary breath, and attempts.

“I-!”

She barely manages to make a sound before her own hand flies up and clamps over her mouth, the force of it making her stumble to her knees in the dew-covered grass.

By the time the hand relents, after all thoughts of Pink Diamond and I struck her down and she was never shattered at all and Rose is- Rose was- are thoroughly suppressed once again, it is drenched with tears.

The mounting feeling is in turns hot and cold, stabbing through where Pearl staunchly refuses to shapeshift appropriate human organs, and bubbling up into a single searing thought.

How could she do this to me?

Oh, it helps from very little to not at all, but it feels awfully good, sometimes, to just allow herself to feel wronged. And so easy, too, every time Rose leaves, like she does, like she now did, possibly forever - and leaves Pearl wondering, questioning, wallowing in her own apparent inadequacy.

Was I not worthy of the trust?

Trust- trust is faith in another, and an exchange of power. A pearl have power over a diamond! A ridiculous thought - a dangerous, subversive, radical thought. A thought Rose would have - should have? - loved.

It crawls along her skin and up her spine, the unnameable - the anger. Because she would have! Because if she- if Rose had asked, she’d have happily gone down on one knee and sworn off speech forever, if needed. Bound herself in directives and imperatives and orders and divine oaths, had them seared into the very core of her gem. Sworn to keep all secrets, from the sweetly, smilingly whispered it’ll be our secret over an odd Earth flower smuggled into courts and council chambers, to the world-shattering truths that would make a diamond shudder.

But Rose hadn’t asked; she’d done, and taken, and gotten what she wanted, and that was it. No looking back, never to be spoken of again, and Pearl, despite that soft please- thrown in among the commands, was left without even the sweet illusion of choice.

We’ll both finally be free.

Another beautiful, dangerous thought. And so like Rose, to fail to at all acknowledge the vast chasm Homeworld struck between them, to focus on the unlikely things they shared and remain almost resolutely oblivious to what set them apart from one another.

Oh, and how Rose would wax poetic! How enchanted she had always been, even by the most mundane of things Pearl had to say. I love how outspoken you are! I love hearing your voice, I love hearing you speak your mind. That wonderful, brilliant mind.

Well, so much for that-! Pearl’s traitorous hands relinquish their duty, finally, and clench in the diaphanous material of her skirt. Bitter, bitter, bitter.

And then swirling, treacherous, waiting just under the surface, waiting to drag her down to depths she tries very hard to keep locked away, safe and very carefully, very deliberately not thought about.

Was it worth it?

So much she would never see again - so much she gladly gave up, for Rose, for her cause and all their companions, for freedom on this odd, wild planet. But Rose is gone, and so is most everyone else, and all that’s left is… this. There is Garnet, and there is Amethyst, and there is even… the child. Steven. But they all feel so very, very far away, and Pearl doesn’t know where to even begin, when all she seems capable of lately is remembering.

Rose’s tears have done their part. Pearl’s preferred sword-arm is whole and her legs, when she tries them despite Rose’s gesture to stay still and stay down, wobble only a little and hold her up.

Rose grabs her arm anyway, and palms her other shoulder as if to steady her. “You can’t keep doing this, Pearl.”

“No,” Pearl begins, hoarsely, “you can’t keep doing this.”

“What are you talking about? That axe almost went right through your gem! If Garnet hadn’t managed to stop that carnelian in time, you would have- you-” Rose draws her hands back, and tries to stifle a rush of sobs - a waste, now that there is nobody to heal. “I can’t have you risking yourself like that for me, Pearl. I don’t need you to! I thought we were over this, it’s been so long...”

And it has indeed been long. And Rose is many things, but particularly observant is not one of them - still, how could it have escaped her that it was the first real battle since Pink Diamond’s… shattering? How far the stakes have risen, and how much they have gambled on this one lie-

“Rose, you have to understand. If you make a mistake, if they dissipate your form, or- or capture your gem, they’ll-”

They’ll know, everyone will know-

The tingle is already running down her freshly healed arm, the constructed muscles of it tightening, twitching, preparing. And so she struggles to choose words that won’t make her own limbs turn against her.

“Pearl?”

Gentle hands fold over hers and still their trembling, and they are not those hands (but they are, they are, they are-), no, these are soft, bare, and battle-worn, and oddly warm, and would never hurt her. Not… not knowingly.

And does she even know what she’s done?

Pearl hasn’t shown her yet, these true effects of her last command, and she isn’t sure she wants to know if Rose knew all along what it entailed. She herself is only aware thanks to her endless curiosity and thirst for knowledge, and the experiment she conducted on her own, that left her feeling oddly hollow. But it is convenient, isn’t it, if, for example, she were to be captured and interrogated, she couldn’t-

Pearl pulls away.

Think of me, she wants to say, too, think of what I will lose.

If the truth were to come out, she would never again be anything but Pink Diamond’s pearl, tagging along, following her orders, no matter how absurd. Nothing she did, on Rose’s behalf or her own, would really matter.

There's no denying that being the Pearl Who Belongs To No One - or the Terrifying Renegade, depending on who it is you ask - feels… good. A delightful, dangerous rush. The mere thought of the way everyone would look at her differently if they were to find out, the condescending pity, or the casual disregard...

Intolerable.

Would anyone stop to listen to her, dare to believe her when she tries to explain that no, it’s not like that! It’s not like that at all, Rose would never treat her like- Rose would never-

Except for the one time she did.

“Pearl?” Rose, again, with mounting concern.

“It’s nothing,” Pearl sighs, defeated. “Just… please, be careful. We’re so close.”

“I know,” Rose grasps both her hands again with a wide, teary smile, excitement and anticipation quickly replacing worry, and Pearl stops herself from pulling away, fighting so very hard to focus on... before, when those hands over hers brought nothing but comfort. “It won’t be long now, not when there’s already rumours of a retreat.”

Pearl tries again, and is foiled before her lips can even finish closing around the p-.

She’s crying again - or still? - but what are a few tears compared to the veritable torrents over the past months of being faced with the horrible inevitability of a life without Rose and the anticipation-

Her hands relent once more.

The mixture of grief and anger and odd relief and relief denied all at once is heady and dizzying. Rose can’t be completely gone, can she, if her orders are still in place? Or if she is, but Pearl is still bound, then will Pearl ever be released from this? And then, creeping: does she even really want to be, if it means there are still things - awful, precious things - binding her and her alone to Rose?

But then, of course… this way, she realises, this way the child will never know, either. And so Rose has achieved what she has always wanted: the ultimate fresh start, true reinvention, and the pinnacle of forgetting, never, ever looking back.

And what, Pearl thinks, what does she even want anymore?

She plucks the flower closest to her knee, the bloom new and pink and drenched in eerie echoes of memories, but without a single answer for her. She moves to get up, straighten out her skirt, and return to the others at the Temple, hopefully to as few questions about her absence as possible.

By the time she’s made the long walk down the overgrown mountain path to the warp pad, all that’s left is pink petals crushed against her palm, and she lets the wind have them.

#steven universe #pearl #rose quartz #steven universe spoilers #pearlrose #a single pale rose #fanfiction #su spoilers #my fic #oathkeeper writes things #title actually courtesy of dry the river #Give Pearl A Break 2k18 #the WIP title for this doc was “Pearl Is Fucking Pissed” so take from that what you will #the great pinkpocalypse of 2018

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zhue-blog1 · 7 years ago

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February 6 2018

Writing to you from Taos, NM! I spent a couple days in Santa Fe with a good friend (visited Ghost Ranch and some museums and consumed copious amounts of delicious NM cooking) and then took a road trip to Taos! Today we went hiking around the Rio Grande Gorge and sat in some hot springs right on the bank of the river. Haven’t been painting because of the traveling, but I come home on Wednesday and am full of eagerness to get back to the paints! I’ve seen so many beautiful colors and instances of light here in New Mexico

________

images from the Folk Art Museum, Santa Fe (note the colors)

From the exhibition:

Crafting Memory: The Art of Community in Peru

Excerpts from the Permanent Collection

_____________

Harwood Museum, Taos (photographs courtesy of the museum website)

Vija Celmins (whose work made me miss drawing with such detail, and even printmaking. I’ve only seen photographs of her work before, and seeing them in person was tremendous...)

Untitled, 1994, Charcoal

Drypoint Ocean, 1982, drypoint

Comet, 1991 Skowhegan Suite 1992, 1991woodcut

Michelle Cooke

(Apologies I didn’t write down the title, thinking it would be legible in the photograph I took... it is not... and I can’t find these online!)

graphite on somerset

Agnes Martin Room (Donald Judd Benches...)

• complexity is simplicity is complexity

• is there humor in her work....

• directionality of space -- outwards from the center and long the horizontal stripes

•seeming “perfection” and precision from far away -- the small, subtle evidence of a pencil line, or a singular brush hair left to dry in the paint, when looking up close

•prayer ?

•peacefulness

Erin Currier

American Women (dismantling the border), 2017

(courtesy of the artist’s website)

Parsnips, Carrots, and Beans, 2015, Acrylic and mixed media

Taos Gorge, NM

Abique, NM

Echo Ampitheater, NM

• The contrast // relationship between an Agnes Martin and an Erin Currier (both works shown above) ... the different audiences//purposes they serve...

• The precision of Vija Celmins and Agnes Martin ... how while I am searching for precision within my work, it seems to be emerging as the precision of// within chaos ... I grew up making really contained and planned photographic drawings and have since pushed back so much against that mode of working...but my heart melted upon seeing such beautifully “perfect” prints and drawings.... I think I recently have been feeling fearful of making any work that is, contained, or “static” -- I’ve been thinking a lot about what makes a painting “work” // “successful” -- how I’ve recently been relying on movement // energy to serve that purpose ...

• I LOVE the folk art museum!!! I love tiny things!! Seeing into such small, hand crafted worlds... something about seeing daily life depicted in that way, and imagining the immensity of care that went into making each, individual figure and object ...

• C O L O R. New Mexico has FLOODED my mind with color ideas - from the pastels of desert sage to the bright turquoise doors to the pink and purple of mountains during a sunset

• It’s felt odd not being in my painting studio everyday. It has been incredible to travel and return to a place that were such a sanctuary for me last winter. It’s making me think about what constitutes an “artistic practice” -- I think it’s been important to actually have space from my studio and to spend this past week just being sooo saturated with visual information. It’s been a practice of receiving and noticing such information.

• Talk about space .... There is so much space in New Mexico -- the sky is an incredible blue, and today there were deliciously huge clouds as we drove from Taos back to Santa Fe. It is making me think about the white in my paintings (thank you, Ari, for that recommendation of Chromophobia -- found a PDF and can’t wait to dig into it!) and this confusion for me between a love/ “satisfaction??”, and a safety net. I think I am developing visual patterns of making a painting reach a point where it feels “finished” (I mean... what is “finished” really?) -- this use of white space, concentrated color, and some “chaotic//energized” strokes. In stages of painting before there is the use of white to create space, the image often feels like it has no breath or room for movement... I want to try and eventually push myself away from white, just to see. And to play with the over-saturation of an image. Exhaustion is something I explore in movement and I think have been trying to access (alongside history) through the painting and re-painting and scratching and washing of the painting’s surface, and I’m wondering about other ways to play with points beyond limit.

... how long do I allow myself to explore an idea, to make work with similar visual qualities... and when do I rigorously re-direct....

most recent piece (worked on before NM) -- acrylic on paper

early stage (apologies for the poor photo quality)

most recent draft: (charcoal + crisco added)

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thesteveyates · 5 years ago

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Title picture : Dudley Dix, cape ‘cutter Elvee’, photograph courtesy of Ryerson Clark.

Jim Young ‘Rocket’

Dudley Dix ‘Retro’

From Cape Cutter to Comanche.

Blog time : early January 2020, the brief spell of dry and cold weather has passed and it’s back to the usual mildly cold but very wet winters we have down here in the south-west of England. I can’t carry on with the drain work out back because the drain pit has flooded again and i definitely can’t do the cement work. This morning we hit the builders merchant with a big (by my standards) order for the posts, rails and decks for my workshop storage : after that it’s home, coffee and a long writing session.

Iv’e been thinking a lot about boat designs recently for a couple of reasons : firstly that iv’e been discussing Jim Young’s ‘Rocket’ design with my mate Al down in NZ and he’s been getting me up to speed on modern shapes and rig proportions. By chance i watched the Sydney Hobart start and then by accident i was online for the live feed from the finish as the super-maxi ‘Comanche’ ghosted up to the finish line. To me Comanche looked freaky with that ultra wide stern, chines and a rig almost back in the cockpit and Al says that’s the way race boat design has gone. Secondly iv’e been fantasising what i will build when i win the lottery…..and in the real world thinking about the smaller boat i would actually like to build for my next major sailing project.

The work i am doing right now in the workshop, and the reason for my big materials order, is to completely clear one side of the workshop such that i can have as large a work space as i can on that side ; enough perhaps to build a small boat in there with maybe a temporary extension at the door end. In this post i’m not going to talk about the actual boat and design that i’m thinking of building this coming winter as i haven’t quite nailed down the specific boat that i want although i am down to a couple of contenders.

What iv’e always wanted to do with my website is to feature boat designers that have made their mark with small boat designs, dinghy’s, dayboats and smaller cruising boats : i recently re-posted my ‘Boxfather’ blog post (Phil Bolger) and had a sudden rush of something to the brain that i should work through the alphabet, my problem being that the two designers that i’m looking at are right down at the far end : Francois Vivier and John Welsford !. I would love to start with the late Ed Burnett’s work although his main body of work was with medium to large traditional cruising boats and as much as i admire his work i wouldn’t want one myself…..except definitely his collaboration with Nigel Irens and the ‘Roxanne’ design which would be a perfect fit for what i do.

Irens/Burnett ‘Roxanne‘ hull with modified rig in Dartmouth.

Ed Burnett designed ‘Nomad‘ in Poole.

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For a big and husky offshore/ocean cruising boat i would love something that looked like Nomad except that she is a deep draft yacht and one of my primary requirements is to be able to sail in shallow water, access the rivers and creeks that you see in my cruising posts and then dry out level on the mud or sand. Iv’e talked about my design requirements in small boats before, the kind of boats that my budget will allow and just to re-iterate : low budget, shallow draft or variable draft, ability to sail offshore in moderate conditions, dry out easily, basic comfort for one or two people.

When i think about a ‘blue sky’ project and if you will, my ‘ideal’ boat, the same parameters apply except that the budget goes out the window !. It’s a kind of fantasy exercise but fun all the same except that this year i’m collaborating with my mate Big Al down in New Zealand who is also working on his own ideal boat project and our two very different end points come out within a foot of each other. They are very different boats and while mine is still based on my stated parameters, his are nearly all about cruising speed and windward ability but with a lot of practical considerations thrown in : this year i intend to do a whole series of posts about his project and how it compares with my own thoughts.

Roger Martin Presto Sharpie….current fantasy boat !, like a Liberty with muscles and attitude.

While i’m here though i would like to take a look around the ‘D’ in the D. is for Design because a couple of Dudley Dix’s designs are ones that have inspired me and one of them became a close candidate for ‘the’ boat……and i like a lot of his designs !

Two years ago i wintered in the Exe at Topsham and i really enjoyed my time there in both the river and the village ; the river is shallow and tidal, just perfect for WABI”’ and Trout’s at Topsham really helped me out and kept an eye on the boat. In the summer that year i was cruising in the estuary one time when i decided to dry out on the Bull sand which is right in the middle of the river, and go for a walk over as far as i could at low water to Exmouth. It’s absolutely the kind of thing i like to do with WABI”’ and kind-of demonstrates what i need out of a boat ; shallow draft and the ability to dry out level.

Hunter Liberty, WABI”’

Anyway, later that day i was back on a mooring when this little red gaffer came beating down the river against the last of the flood tide. I’d seen the boat a couple of times on it’s mooring up by Starcross and recognised it as one of Dudley Dix’s designs : i’m not sure if it’s the Cape Cutter design at 21′ or the smaller Cape Henry at 19′. Thinking back….i definitely had an impromptu race against a Cape Cutter in the Hamoaze one time in my Frances 26 and even with a very fresh and smooth bottom and brand new sails the Cape Cutter out-tacked me up that river….mainly by being able to tack quicker and get moving better after the tack. If anything the Dudley Dix design reminds me of the Cornish Shrimper only a bit more modern and with a more powerful rig.

Dudley Dix, Cape Cutter.

The larger of the 2 designs is definitely one that would have done the same job as WABI”’ has done for me over the last few years and would be a perfect fit in my home river as being very shoal draft with her board and rudder up ; once again i just like the look of the boats. I borrowed this image below from the Dix designs website and i can only apologise that i don’t have any interior photographs. Of interest i note that there is an active owners group and one of these boats was filmed in the ‘Classic boats’ series ; link at the bottom of the page.

For this post i took another look at Dudley Dix designs website to see if there was anything else in a similar vein to the two ‘Cape’ designs and there is another one ; the Cape May design at 25 feet which is very similar, just larger, and then a ‘Cape Charles at 32 feet which i have excluded because it has a shallow fin keel.

Earlier on in the post i mentioned my mate Al and his requirements for a boat ; that performance comes very high on his list and that he’s prepared to work around that. Interestingly Alan also wants to have less draft than the original design and a rig that’s not only going to get moved (from the original) but also needs to be drop-able easily. In contrast i ask for ‘enough’ performance , i like to get the best out of my boats and iv’e talked about the practice of doing that with small boats and i certainly wouldn’t want a total dog : the little Liberty isn’t a fast or powerful boat but it does embarrass other larger boats in light conditions. Along the way i did look at some higher performance lifting keel boats that were just about in my budget, went to see one of them which i didn’t like and then wasn’t able to go and see the next two which might have been better boats for me. For the record the one boat i did visit was a Dehler 25 and the two that i missed out on were the Evolution 25 and the Parker Super-Seal at 26 feet.

At the same time i did a similar exercise to see if there was a small, high performance boat that had more space than the Liberty, a lot more speed , that would sit on a soft bottom and that looked right…at least to me.

What i found was this….which made me very moist indeed. This is Dudley Dix’s ‘Retro 29’ design which i think is based on his earlier radius chine sport boat which was slightly shorter and had a more ‘modern’ look. This certainly looks quick , and with that bulb lifting keel looks both powerful and beach-able…..i’m not sure about the rudder arrangement on this one as that definitely needs to lift and lower easily : but what a great looking concept. Just so that you know there are several rig options, from a very modern square-top , one high peaked gunter and one gaff but each comes with a bowsprit and the chance to fly some decent canvas offwind. The one below is the racier version with a short coachroof….there is a longer coachroof version with a double bunk under the bridge deck which would be neat.

Photograph from Dudley Dix designs website.

D. is for Design. Title picture : Dudley Dix, cape 'cutter Elvee', photograph courtesy of Ryerson Clark. Jim Young 'Rocket'

#Cape Cutter 19 #Cape Henry #dehler 25 #Dudley Dix #Hunter Liberty #Jim Young #Rocket 31

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alpacamybagsus-blog · 7 years ago

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Days 11, 12, and 13 (Tucumcari/Santa Fe/Albuquerque, Flagstaff, Los Angeles)

Our writing over the last couple of posts has been a joint effort since these blogs always seem to take us longer than we think they will. This one, however is going to be a solo Michael effort, since Kanisha is busy repacking our car today. Late on Day 11 we found our rental car was making a funny noise emanating from the wheel well, which made us nervous. Would the wheel fly off on the Interstate while doing 70? Or worse, on a two lane road where losing control would mean a head-on collision with a tractor trailer? We didn’t want to find out, so like the responsible adults we are, we swapped it out for another rental car. Don’t worry, readers, we lost a few hours of fun, but we’re safe.

So the last time we wrote it was from the comfort of the Blue Swallow Motel, which is a perfectly-preserved-from-1939 motel along historic Route 66 in Tucumcari New Mexico. I personally enjoyed the old copies of National Geographic they left in the room, which advertised travel deals for tourists of the era. Main takeaway: travel used to be hella expensive. We live in a Golden Age!

Kanisha went out at night to take photos of the neon phantasmagoria that once characterized the small rest towns on the Mother Road:

Pretty, right?

Earlier, we also got a shot of the kitschy curio shops that populated the area.

We got a great night’s sleep marinating in the “100% refrigerated air,” and had some great coffee the next morning courtesy of the hosts. Soon after, we were off across more lonely high-desert roads to climb the mountains towards Santa Fe.

At an elevation of 7,198 feet, the capital of New Mexico (also America’s oldest, founded 1610. Have that, Boston) is an impossibly pretty mountainside town, done almost entirely in the Pueblo-Spanish style. I’d say it’s amazing that it could remain so well preserved, but apparently the revival was part of a 1912 effort to boost tourism. I guess the Old Trail hadn’t been bringing in enough new money...

Anyway, it’s still beautiful, and I wish I had snapped more pictures of buildings like the above.

The cathedral basilica was also a Neo-Romanesque masterpiece.

As with the rest of New Mexico, there was no shortage of turquoise, and the lapis lazuli was not in tight supply either. Santa Fe more than the roadside stands had high end Native art galleries though, which were pretty cool even if we couldn’t afford anything.

There was even a nifty art vending machine made from a converted cigarette dispenser.

Aside from walking around we also spent most of our morning at a farmer’s market where Kanisha managed to snag some chive vinegar, and I some yak jerky. Hipsters have taken over everywhere, and we thus get to reap these rewards!

After leaving Santa Fe in the afternoon, we drove down through the mountains to Albuquerque, where upon arrival, I took a much needed nap. Albuquerque is a rapidly growing city that boasts the distinct New Mexican culture you would find in Santa Fe, with a bustling Los Angeles type vibe. You can find Native American and Mexican food casually interspersed in the city’s many restaurants, and we got to enjoy a fusion dish - the Navajo Taco, made by layering salsa verde, beans and cheese on top of Navajo fry bread. As with the rest of New Mexico, the food is just casually very spicy. You don’t even have to ask, it’s just expected that you want it hot.

The other thing you might think of when Albuquerque comes to mind is Breaking Bad. If that’s you, than you and Kanisha are on the same page. We discovered the aforementioned taco because we went to Los Pollos Hermanos (actually this was filmed at a delicious New Mexican burrito chain called Twisters).

We also stopped by the local candy shop that did the props for the entire first season of the show and was responsible for the blue methamphetamine.

Here’s Kanisha cooking up a batch of fine crystal. Plus we got to buy some delicious mint-covered Oreos.

Last, it was time to head to a brewery to finish the day, but Kanisha snagged a last photo of another famous TV location:

After Albuquerque, we had a long drive ahead of us out to Flagstaff, to see two National Parks: Painted Desert/Petrified Forest (underrated) and the Grand Canyon’s South Rim (appropriately rated). But first we had to cross the continental divide. Most of the rivers we crossed were essentially tiny creeks since the whole area is so dry. They apparently flood to great depths during the monsoon season, but for now it was silly to think that a river like the Pecos that’s so prominent on the map barely has enough water to flow for most of the year.

We also got Denny’s, Kanisha’s first time in 10 years. Getting beers at a Denny’s officially made us the trashiest people in said Denny’s, which is a tough title to achieve and one to be proud of.

The first park we made it to was Painted Desert. The approach to the park is similar to the dry scrub land that covers western New Mexico and Arizona, but soon you see the painted valley spread out before you. We remembered pictures!

Even the stuffed alpaca was remembered (finally):

The south portion of the park is covered in large petrified tree trunks. The area had formerly been tropical in the time of the dinosaurs, but the fossilized trees now dot the landscape. From far away, the trunks and flecks of petrified wood covering the ground make it look like freshly sawn logs strewn with sawdust are everywhere, but up close you can see the quartz formations. They’re pretty enough to make jewelry from. Kanisha took some pictures:

And again our alpaca, with a nice detailed view of the quartz:

After leaving, it was time to see the crown jewel of the Great American Roadtrip. The Grand Canyon drive takes you up through the desert to the mountains, where Flagstaff is nestled in the Coconino National forest. It’s highly surprising to be driving at one moment through red rocks and desert, and having that scenery give way to a thick pine forest. The canyon itself is about sixty miles north of Flagstaff, and gives no warning that the forest is about to give way to its vastness. The first person to discover it must have just been wandering through the woods, and then suddenly stunned, seemingly out of nowhere.

Obviously, we took pictures.

Kanisha contemplating beauty!

Me, looking at how far I’d fall if there weren’t a rail!

Us, at the rim (it was windy)

Obligatory selfie, (again, windy)

After hiking around for a bit, we decided to go check out historic Williams, a historic Route 66 town we’d been tipped off to by a fellow traveler down in Boquillas, who seemed to know his stuff. It turned out to be wonderfully quirky and kitschy like Tucumcari, but with a bustling downtown vibe. Definitely recommended, definitely worth a visit.

As you can see, they keep that 19th century Western town spirit alive.

Finally we stopped at an extremely Twin Peaks-y diner and got dinner. The staff were super nice, and they had fine coffee and cherry pie, as one must expect. They also had a sign up with this piece of wisdom, which I now bequeath to you:

The next day comprised a long drive through the Western Arizona and Eastern California desert. We unfortunately don’t have much photo evidence for it, but if you can imagine a lot of hot gravel and 110 degree air, that’s pretty much how it went. We eventually arrived in San Bernardino and had some pretty groovy Peruvian food as we waited for rush hour traffic to subside before we could head into the city. As anyone who knows LA knows, this never actually happens, so we had to sit in some traffic. We finally made it to Downtown LA and had a drink to end the day. I was first introduced to mezcal when I lived here, so we went to a bar specializing in it for a drink. Much deserved after all that driving!

#new mexico #painted desert #tucumcari #american road trip #grand canyon #petrifiedforest #petrfied wood

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blueimmersion-blog · 5 years ago

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Technical Diver

There are robust variations between a cave diver and a sump diver and the way they relate to the cave surroundings, how they configure their gear and what they attempt to obtain. A sump diver is greater than only a cave diver and greater than only a dry caver. A sump diver combines dry caving and cave diving methods in a singular approach to be able to obtain a really particular aim - negotiating water stuffed passages to be able to discover dry cave on the opposite facet. Whereas cave divers get pleasure from swimming round in water stuffed passages as an finish in of itself, to the sump diver the moist stuff is an impediment that should be negotiated, not the ultimate reward. To the dry caver the sumps are impenetrable and signify an finish of the journey, the sump diver however is just about unstoppable. Technical Diver

It's not all beer and skittles nonetheless, most of the time really attending to a sump in a dry cave requires not solely dragging your personal sorry ass a number of kilometers in, but additionally carrying a mountain of dive gear as well. For these of us who get pleasure from driving as much as a dive web site, chucking on the tanks and taking a leisurely stroll down carpeted stairs to the water, this may appear a bit, effectively... eager.

Undoubtedly carrying miscellaneous bits of dive gear and tanks to the far reaches of a cave to be able to do a dive is somewhat intense. But the rewards are titillating and it's price carrying down your physique and pushing your self to get there. In my view, that is what actual cave exploration is all about; strapping on the required gear and negotiating some severe cave. After I lastly mixed dry caving and cave diving it was like that second when peanut butter and chocolate collided... "two nice tastes that style nice collectively"... Reese's Peanut Butter Cups anybody?

My very first sump diving expertise was courtesy of Forrest Wilson, who invited me alongside on a visit to Snail Shell. Snail Shell is the longest steady cave within the Tennessee Central Basin area and has greater than 9 miles of surveyed passages. Our journey to push the second upstream sump felt like an enormous effort, particularly with the diving tools in tow. We spent over 10 hours underground and traversed over 14,000ft. On the finish the boys (Mike Younger, Adam (Skip) Kendrick) laid an extra 400ft of line. But as soon as I noticed the map of the entire system it was clear that our sojourn into the cave did not even scratch the floor. The sheer measurement and potential of those 'dry' caves dwarfs the vast majority of their submerged counterparts.

Being my first sump diving expertise I used to be a bit moist across the ears. I wore a 3mm wetsuit, grossly insufficient for the circumstances, which meant I froze. I dragged in tanks that had been approach too massive for a sump solely 70ft in size. Even the sidemount harness was, in hindsight, approach too cumbersome and had too many redundant bits and items. I am positive the GUE of us would have a match in the event that they got here nose to nose with a sump diver. Gear choice is predicated on the character of the cave and whether or not you may carry all of it to the water's edge. Keepings issues gentle and environment friendly is of major significance; small tanks, no wing, light-weight harness and sometimes no fins are simply what the physician ordered.

Typically it's a must to be inventive and invent your personal gear. I as soon as needed to jury rig a no-mount harness on the spot to be able to discover a small crevice in upstream River Lethe, a collapse Jenolan. I had no hope of becoming into the outlet in a regular sidemount harness, so to maintain a 'zero' profile I threw some bits of bungee and hose retainers collectively. The 'Lethe' harness, with some minor modifications has since turn out to be my rig of alternative when sump diving. It offers me a low profile within the water, but permits me to sling and stroll with 7L tanks for a number of thousand toes. Typically you simply must get inventive.

Regardless of being clueless and ill-prepared, the Snail Shell journey was an unimaginable expertise. The cave is like an underground river, the place you negotiate massive stream passage by swimming, wading and strolling by way of giant swimming pools of water. Alongside the best way you climb over breakdown piles and traverse waterfalls. And in between getting your ass kicked by the cave, you're handled to some spectacular surroundings and unimaginable formations. These are likely to distract from the arduous circumstances, albeit quickly. Once we lastly reached the tip of the road and the second sump, the boys inspired me to seize the reel and spool out a number of meters, to expertise laying line. By that time I used to be bordering on hypothermic and enjoying explorer was the very last thing on my thoughts, so I declined and focused on getting myself heat. I did, nonetheless, get my first style of sump diving and I beloved it!

So from my first sump diving expertise allow us to quick ahead to an journey throughout the opposite facet of the world, all the best way in Australia in truth, the place I did get to play explorer. The Buchan space one of many largest karst options within the state of Victoria, the southernmost state of mainland Australia. It's a farming space; inexperienced grass, rolling hills, cows and all that. Beneath this panorama the world is a honeycomb of caves. The Pot Holes Reserve specifically is totally suffering from caves with over 90 recorded. The Pot Holes narrowly escaped quarrying within the 80s and is now protected by Parks Victoria, which is fabulous given the importance of the world.

In 2006 the Victorian Limestone Caving Staff (VLCT) found 330ft of perennial streamway on the Pot Holes Reserve, which they dubbed Elk River, on account of the outstanding 'antler' formation discovered. It was an unimaginable discovery, as for the primary time cavers obtained a glimpse of the underground river that had lengthy been mooted to exist within the space however had eluded all. Exploration quickly stopped, nonetheless, as the best way ahead was blocked on each the up- and downstream sides by sumps.

In 2008 my mate James (Jim) Arundale probed the underwater extensions at every finish of Elk River. He discovered it troublesome to push by way of however ultimately negotiated a good and nasty sump and was rewarded with one other 400ft of streamway passage earlier than one other sump terminated his progress. Lastly, in August 2009, with Peter Freeman coordinating the Victorian Speleological Society (VSA) effort, Jim and I ready to sort out the second downstream sump. I grew to become a accomplice in crime to what certainly is the largest heist of the century!

We joked about discovering kilometers of passage earlier than descending, however to really discover 5000ft of passage, principally multi functional go, was simply mind-blowing. I imply actually, who really finds that a lot cave passage nowadays, particularly in little outdated Buchan?! The Buchan caves whereas fascinating, are usually moderately small. The longest pitch is barely 130 odd toes lengthy and a lot of the caves appear to terminate all too early. Whereas hopeful, we weren't anticipating to hit the jackpot. But, we scored, and what we discovered surpassed all our expectations.

Elk River it appears is the primary drain for the world, the lengthy misplaced and far theorized about grasp cave system. The cave is of excellent significance in Victoria and is an important since 1907-1910, when Frank Moon found Fairy and Royal Caves (the Buchan Present Cave system). The invention completely re-writes the books about hydrology and geological construction within the space. The drainage would not go within the path most anticipated, in the direction of the one important seen resurgence within the space. The truth is, it goes precisely the other approach! Additional, it's simply the deepest collapse Victoria, now over a 350ft down, and it has the potential to drop additional nonetheless. Which is unimaginable provided that not one of the caves within the Buchan space go deeper than 200ft On high of that, it has the potential to turn out to be the longest steady stream passage in Victoria. These accolades have meant the cave system is now known as the Murrindal Potholes Jap Grasp Cave (MPEMC). The official title would not fairly roll off the tongue, so we proceed to affectionately discuss with it as Elk.

Related Topics:

Expedition Trimix Diver Courses TDI Courses

#Technical Diver

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homedevises · 6 years ago

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Seven New Thoughts About Natural Design Architecture Lifestyle That Will Turn Your World Upside Down | natural design architecture lifestyle

Between the Waters was a accord amid Ooze and artisan Marjetica Potrč. Courtesy Roman Mensing

The Perfect Balanced Home: Southlands Residence Surrounded … – natural design architecture lifestyle | natural design architecture lifestyle

On a baby band of acreage amid the Emscher River and the Rhine Herne Canal in Germany already sat a blow stop whose bright actualization belied its abolitionist purpose. The structure’s adept architecture consisted of pipes arch from two toilets and the Emscher (the best attenuated river in Germany) that converged at a baby association garden and bubbler fountain. The garden was, in fact, a manmade wetland that collected, treated, and bankrupt the address from the toilets and river—making it drinkable.

The 2010 project, accepted as Amid the Waters, was one of the ancient projects of Rotterdam-based Ooze Architecture and its two founders Eva Pfannes and Sylvain Hartenberg. Ooze is focused on one actual specific goal: award solutions to the world’s apple-pie baptize crisis through observing, imitating, and socially normalizing naturally-occurring baptize ablution processes. “The solutions are already there, they’ve consistently been there, built-in in nature,” says Hartenberg. “We aloof use these account the ambiance has presented to us all along, and adapt them to accomplish systems that are efficient, low-tech, and calmly maintained.”

The complete wetland—the filtration arrangement on affectation at Amid the Waters—exemplifies the affectionate of arrangement that Ooze uses often. This artificially-created mural operates like a clarify by application debris and frondescence breach bottomward baneful substances. But clashing a naturally-occurring wetland, these landscapes use specific sediments and plants that optimize altitude for adorable microorganisms (and avert bugs and aromatic bacteria). But it’s not a catholicon for the world’s apple-pie baptize shortage: Altered landscapes and climates crave altered solutions. Moreover, Pfannes and Hartenberg apperceive that abounding audience and communities will agnosticism their proposals. “We capital to accept smaller-scale examples we could point to back behest for a activity or abutting a municipality,” says Pfannes. “They can consistently be scaled up depending on population.”

“We accept been so far from attributes for so long, all our filtration systems are hidden underground for best of the world. We don’t accept to face them,” says Pfannes. Projects such as Amid the Waters accordingly accept been key to proving their alignment for antibacterial baptize is apple-pie and safe to drink. Courtesy Ooze

That ascent up has embodied itself in several projects back Amid the Waters, including a 2012 activity in which the duo alien their assignment to associates of the Rio de Janeiro government as a way to break the city’s advancing attempt for apple-pie baptize in its slum-like adventitious settlements, accepted as favelas. “They were acutely absorbed in the assignment we were doing, but they had actually no money to accomplish it happen,” says Hartenberg “So basically they said, ‘If you can acquisition the money we will abutment you in this abolitionist idea.’”

And so the architects set off to acquisition allotment and apprehend their prototypes. They spent the project’s aboriginal two years speaking with activists, inhabitants, association leaders, and ecologists to bigger accept the issues afflictive the area. “We let bodies explain all their problems about baptize themselves, so that became the documentary [film], and based on that, we gave our solutions to the neighborhoods and presented to the funders [in Europe],” says Pfannes.

The Água Carioca ancestor in Rio de Janeiro. “It’s not a band-aid we anticipate would assignment for the absolute city. But we saw these actual specific affairs in the favelas breadth there was huge pools of wastewater, kids were accepting sick, they were acting as breezy assemblage territories,” said Pfannes. “So we thought, why not alter these cesspools with a admirable allotment of attributes that additionally provides apple-pie bubbler baptize for a actual low cost?” Courtesy Raul Correa Smith

The solution, called Água Carioca, was about a beyond adaptation of Amid the Waters advance over a distinct armpit in a Rio de Janeiro favela. Due to the city’s adjacent adequate rain forests, alteration decay alfresco the burghal was out of the question. “We had to break the botheration appropriate breadth it was, and appropriate breadth the baptize was actuality consumed,” says Pfannes.

This is breadth the complete wetland came into play: The wetland requires about bristles aboveboard anxiety to clarify one person’s decay per day. And with pools of wastewater already application a abundant accord of amplitude aural the favelas, Pfannes and Hartenberg knew they had allowance to operate. Ooze’s ancestor would clarify the address of about 150 bodies per day (that’s almost 646 gallons) sourced from the favela’s attenuated streams and ponds. Ooze accustomed a $30,000 admission from the Stimuleringsfonds foundation to body the aboriginal ancestor in Rio at Sítio Roberto Burle Marx, a garden on the outskirts of Rio. The architecture was realized, but added affairs to serve the absolute borough commune accept been put on authority because of political roadblocks.

Shortly thereafter, Hartenberg and Pfannes began alive on a angle for the Dutch Government’s ‘Water as Leverage‘ program. The angle would focus on alive with the burghal of Chennai, India to strategize adjoin calamity and drought. Due to an acutely wet two-month backing season, an abridged underground arising system, and abridgement of apparent permeability (Chennai is densely built), the burghal suffers from abiding acute flooding—deluges that leave pools of toxic, undrinkable baptize everywhere. The afterwards dry division brings acutes droughts.

Existing catchment basin in Chennai Courtesy The Hindu

Once again, the architects angry to the accustomed ambiance for their solution. Through conversations with abiding association and experts, and allegory the region’s accepted and celebrated landscape, the Hartenberg and Pfannes abstruse of a baptize administration action implemented by the Mughals in the 17th and 18th century, who dug bags of ditches that boring acquiesce rainwater to charge the apple and restore the city’s aquifers. From there, the antiseptic baptize could be pumped with wells. “With urbanization, this arrangement was forgotten,” says Pfannes. “They congenital over the lakes and absent the baptize breadth it is basically absent forever; again, we accept confused abroad from the systems attributes has provided to us.”

Ooze’s angle for Chennai consisted of agnate catchment pools throughout the city. Accurate to form, complete wetlands additionally accomplish an actualization in the plan: In several places, they would abetment in the filtration process. The project, appropriately called Burghal of 1,000 Tanks, will booty an incremental access to implementation. “People charge to get acclimated to the abstraction of their baptize actuality filtered out in the open,” says Hartenberg. It is currently actuality activated on scales alignment from 8,000 to 400,000 association throughout the city.

Diagrammatic breadth of Burghal of 1,000 Tanks, assuming baptize bleed from catchments and wetlands into the underground aquifer. From there, it can be pumped to the apparent via alone able-bodied holes. Courtesy Ooze

Minimalism | LIVINGPOD – natural design architecture lifestyle | natural design architecture lifestyle

Most recently, the duo were arrive by the Brooklyn architecture centermost A/D/O to advance and present a band-aid for New York’s wastewater challenges. The burghal has a accumulated sewer-rainwater clarification arrangement that’s frequently afflicted by rain, arch to discharges of alloyed stormwater and carrion into the East River and added accustomed baptize bodies. Ooze’s Every Added Street proposal recommends axis bags of burghal streets into absorptive surfaces that absorbs rainwater, thereby abbreviation overflows and the city’s assurance on adamantine infrastructure.

Diagram of New York brownstone block from Every Added Street Courtesy Ooze

Although the wide-spread ability of Every Added Street is far-fetched, the activity highlights how a acknowledgment to attributes could account highly-planned New York the aforementioned way it has aided Rio de Janeiro and Chennai. “By aloof bringing New York and New Yorkers a little afterpiece to attributes through the redesign of their streets, we accept the ability to anticipate pollution, and admit an bigger affairs all at once,” says Hartenberg. “It’s aloof about alert to what attributes wants.”

Between the Waters

Courtesy Hans Blossey

Between the Waters

Courtesy Shilesh Hariharan

Between the Waters: Baptize filtered through the complete wetland is cooler for agog travelers.

Courtesy Roman Mensing

Between the Waters

Courtesy Roman Mensing

Between the Waters

Courtesy Roman Mensing

The aboriginal ancestor of the Água Carioca activity in Rio de Janeiro

View of Thessaloniki from White Tower, Greece – August 2014 – natural design architecture lifestyle | natural design architecture lifestyle

Courtesy Ooze

Água Carioca activity in Rio de Janeiro

Courtesy Ooze

Diagram of Água Carioca

Courtesy Ooze

Água Carioca activity in Rio de Janeiro

Courtesy Ooze

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California Central Railroad: Folsom to Roseville.

The California Central Railroad had its genesis with the failure of the Sacramento Valley Railroad (SVRR) to complete its original concept of running a railroad from Sacramento to Folsom, and then up to Marysville. Colonel Charles Lincoln Wilson, who was instrumental in getting the SVRR organized and running in 1852, was the driver behind the California Central Railroad (CCRR) which ran from Folsom to Lincoln, California. While little of the original railroad grade remains today, many suburban streets utilize the original road cuts and parts of the old grade can be seen in Orangevale Park and along Linda Creek in Roseville. I used historical maps from the SVRR and the Central Pacific Railroad to verify the alignment of the CCRR line from Folsom to Roseville. The line from Roseville up to Lincoln is still in use by the Union Pacific Railroad.

Discovering The Central California Railroad

Profile Of The Sacramento Valley Rail Road, Chief Engineer Theodore Judah, C. Wilson President, 1854. Courtesy of the California State Archives.

In 1854, then President of the SVRR, Charles Lincoln Wilson traveled back east to find someone who could engineer the railroad. He hired Theodore Judah who had been working in the railroad industry for several years. Judah was named Chief Engineer of the SVRR and, once in Sacramento, went to surveying for the road. Because the SVRR master plan called for the railroad to travel north, Judah located a good place for a bridge across the American River would be at Negro Bar.

In July 1854 Judah submit his report and a map of the profile of the SVRR for the first 31 miles. The distance to Folsom, then Granite City, was 22 miles. The next 9 miles was the road from Folsom to just north of Secret Ravine. This would be at the later intersection of the Central Pacific Railroad through Roseville. The 1854 map by Judah shows the rail line crossing over the American River, passing next to the Halfway House, and finally crossing over Secret Ravine, known today as Dry Creek.

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Judah mapped the crossing of the American River north of Folsom on his profile map for the SVRR in 1854. Courtesy of the California State Archives.

Judah notes the Half Way House on his profile map for the SVRR as the original plan was to take the railroad to Marysville. Courtesy of the California State Archives.

Near the end of the profile map Judah notes the crossing of Secret Ravine which would put the rail line south east of Roseville. Courtesy of the California State Archives.

We have historical photos that show the location of the bridge across the American River. That Judah indicated the Halfway House on his original map is significant for placing the rail line along Linda Creek through Orangevale and into Citrus Height. The Halfway House was the approximately halfway between Sacramento and Auburn on the old Auburn road. While the notation of Secret Ravine doesn’t indicate where across the creek the rail line was to travel, it still helps to place grade in the vicinity of Roseville.

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1860s photo showing the CCRR bridge over the American River from the south side, with the suspension bridge foreground.

CCRR steams over American River heading towards Roseville and Lincoln, early 1860’s

The SVRR, for all of it grand plans to monopolize rail routes in the valley, faced constant financial difficulties. Even though Charles Lincoln Wilson helped raise the initial capital for the SVRR, he was ultimately pushed out as President. But after the SVRR started actually running in 1856 from Sacramento to Folsom, and generating much needed revenue, it was decided to push for an extension of the line up to Marysville.

In 1857 the SVRR filed a map for an extension of the rail line. The Chief Engineer was not Theodore Judah, but J.P. Robinson. It would not be unreasonable to assume that J.P. Robinson leaned heavily on Judah’s original design from 1854, if not an actual duplication. In either event, it is likely that both the Judah and Robinson layout from Folsom to Roseville was the most economical.

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S.V.R.R. Extension title of map showing line from Folsom to Marysville.

1857 Sacramento Valley RR Extension from Folsom to Roseville Map

Full SVRR Extension Map

While SVRR was planning the extension, Charles Lincoln Wilson incorporated a new company called the California Central Railroad in 1857 with Theodore Judah as Chief Engineer and Wilson as the appointed contractor. I have found no actual map filed, thus far, with the state by the California Central Railroad, but it’s probably floating around someplace. However, in 1864, the Central Pacific Railroad filed a map of their lower division from Sacramento to Auburn. On it the CCRR is depicted in the relative alignment indicated by the SVRR extension map.

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Title for the 1864 CPRR map.

1864 CPRR map showing the CCRR from Orangevale Park up to Roseville at then Grider’s or the junction.

1864 CPRR map showing town of Folsom and the CCRR crossing the American River and begin to head north to Roseville.

1864 CPRR map showing the CCRR from Folsom to Roseville.

The CCRR was able to build the fairly substantial bridge over the American River by 1859. They reached Lincoln, CA, in 1861. When fully operational, the CCRR had 18.5 miles of track, four locomotives, four passenger cars, and 16 freight cars. They operated daily round trips from Sacramento to Lincoln via a connection to the SVRR at Folsom. Round trip fare was $3 and freight was $4 per ton. At Lincoln, passengers could take the Oregon Stage to points north or the communities along the Yuba and Feather Rivers.

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Sacramento Daily Union advertisement for the California Central Railroad.

Several years ago I was involved in a conversation with friends about a railroad line that went from Folsom to Roseville. Even though no one really seemed to know the route, they were all full of speculation. At the time, I did a little bit of research and was able to get copy of a map, filed by the Sacramento Valley Railroad for a route in 1857. Unfortunately, the map was essentially the railroad line, distance, angles, radius, but no physical features that would aid me in transferring the line to a modern day street map.

Fast forward a couple years and I’m able to devote more time to researching the history of the Folsom to Roseville railroad. This is not a scholarly or definitive work of research on the subject. I have tried to accumulate different bits and pieces of the puzzle to give a more complete picture. An in-depth analysis would require translating Chief Engineer Robinson’s angles and distances. That was beyond my scope since I am not an engineer and have not had the time to educate myself in the nomenclature. Plus, the ultimate route was not built by the company that originally filed the map. Consequently, the final railroad grade may have been different.

Maps, maps and field work

What I have attempted to do was look for as many physical clues still present today along with historical photos and old United States Geological Service Topographical maps, usually 7.5 x 7.5 minute. While I am pretty certain about the first mile and the last couple of miles, there is an area in Orangevale that provides very little clues as to the exact route. From the Sacramento Valley Railroad map, and old topographical maps, I can see a couple different possibilities. If you think the railroad may have run through a property you are familiar, I would like to document it for posterity.

The first railroad in California, the Sacramento Valley Railroad (SVRR) completed its main line in 1856 from Sacramento to Folsom. As always seems to be the case in the early years of railroads; the investors, managers and engineers were always fighting with one another. When the president of the SVRR left and formed the California Central Railroad, the SVRR immediately commenced making a map for submission to the State of California for the right of way from Folsom up to Marysville. The SVRR Extension was dated September 21st, 1857.

I have been told (which is not a substitute for evidence) that the route had been originally surveyed by SVRR’s first engineer Theodore Judah back in 1854. It has been speculated that the subsequent SVRR map follows the original line with potential improvements from Chief Engineer Robinson who was not a big supporter or friend of Judah.

Correspondence regarding the Folsom to Roseville line

THURSDAY, JANUARY 07, 2010

Railroad Map Survey Nomenclature

The California Central did indeed build a portion of railroad planned by the SVRR. Indeed, the president of the CC, Charles Lincoln Wilson was the ousted president of the SVRR, and was intent on fulfilling his initial ambition of building a railroad to the head of the Sacramento Valley (thus that railroad’s name). Robinson’s June 1857 location survey northward was an immediate response to Wilson’s organization of the CC in April 1857. The SVRR was not at first willing to abandon its northward ambition to Wilson and the CC.

It is also very likely that the CC’s location was also close to Judah’s 1854 line since Watson had been Judah’s assistant when the 1854 location was established, and Judah would likely have favored his own 1854 line after he joined the CC in 1858. However, it is possible that Robinson “improved” on Judah’s line (after all, Robinson didn’t like Judah). Too, Watson may have made his own “improvements” when he made the initial location for the CC (Watson had a mind of his own). And, Judah may have made further “improvements” to the line when actual construction began. In any event, there certainly appears to be a minor difference between Robinson’s 1857 line and the railroad as built between the site of Orangeville and the site of Roseville. The as-built line (of Montague’s map) shows four curves along what I think is Plummer’s Ravine (about half way between Orangeville and Roseville), while Robinson showed that all tangent. – Wendell Huffman

Regardless of the SVRR desire to build a line from Folsom to Roseville and beyond, it was the newly organized California Central Railroad (CCRR) that started construction in 1858. They completed the line all the way to Lincoln on October 31, 1861. When the Central Pacific Railroad, part of the transcontinental railroad building, reached Roseville in 1864, the value of the CCRR diminished in value. The Folsom to Roseville line was shut down in 1868.

Significant remnants left from the CCRR are the first railroad bridge over the American River that would eventually become the Rainbow Bridge, the cut in the north side bluff that would become Greenback Lane, the Orangevale or Gold Creek Bridge, and Folsom street in Roseville.

Early Maps

The earliest maps of the area are from Government Land Office (GLO), the predecessor of the Bureau of Land Management. Even though both the CCRR and CPRR were in existence when the 1865 and 1866 maps were made, they don’t show the rail lines on the maps. The GLO maps, in addition to showing sections of the Township and Range they were based on, due note fields, wagon roads, creeks, fields and homes. The 1865 map of Township 10 North, Range 8 East, Mt. Diablo baseline meridian, does indicate the Halfway House. But sadly, nothing about the railroad that certain was running by it. A 1910 Water Canals map shows the CCRR from Folsom to the Sacramento – Placer County line, including the Halfway House.

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1865 GLO map shows the Halfway House, but not the CCRR that ran next to it.

1866 GLO map of area to be Roseville. No railroads are shown.

1910 Water Canals Map showing the California Central Railroad from Folsom to the Halfway House.

United States Geological Service (USGS) Quadrangle Topographic Maps

Call me obsessed or mentally ill, but just knowing the CCRR existed is not enough for me. I want to know where it actually ran. If at all possible I want to stand on the spot that it traversed. Suburban development has forever erased the footprints of early settlers. A glimpse of the past occurs in old topographic maps from the United State Geographical Service (USGS).

While none of them showed any trace of the CCRR line, the elevations, creeks and outlines of dirt roads can all give clues. Even 60 years after the CCRR was initially built, the topography illustrated on the USGS maps would have been virtually the same. With this set of facts, I set about to re-creating a route that:

Resembled the 1858 map

Lined up with the known points of the CCRR

Would represent the most efficient, least costly route

Took into consideration local anomalies that may have been created because of the CCRR line.

Sacramento 1892 Quad

The first comprehensive topographical map of the region shows the town/depot of Ashland. The initial CCRR grade is shown as a gravel road traveling to Orangevale. Folsom Road, perpendicular to the Southern Pacific RR, is the only other indication of a rail road that existed 30 years earlier. There are some real issues with this map, how roads line up, angles, etc., that prevent it from being historically accurate with respect to the location of man-made landscapes. The Ashland Depot would be moved to the City of Folsom in 1976.

Antelope 1911 Quad

In one of the earliest complete quadrangle topographical maps of the area, it is clear that the original Folsom Rd that would intersect perpendicularly with the Southern Pacific RR tracks, if extended would line up with dirt road south of marker 164. If you continue on the line, it would link up with the dirt road spur which is the present day intersection of Cirby and South Cirby roads. I have little doubt that the dirt roads depicted continuing onto South Cirby was the original CCRR line.

Folsom 1914 Quad

The 1914 topo quad map shows South Cirby intersecting with Old Auburn. Lost is any indication if the CCRR tracks paralleled Linda Creek on the south west or north east side. A dirt road, BM 203, may have been part of the old road bed, but this may be at odds with the tracks crossing Oak Avenue several hundred yards to the east of its intersection of Hazel Ave.

Much of the 1914 topo map is just blank. Perhaps World War 1 interrupted a full map from being made. Even the portion containing Negro Bar and the cut leading up to the Gold Creek Bridge was not finished.

Folsom 1944 Quad

The next full topographical map I could find was completed in 1944. Significant on the Greenback portion is that the railroad curve cut into the hillside, also known as Lincoln’s Cut, is clearly shown with the road way turning to the northwest to meet the Gold Creek Bridge. In 1944, Greenback had not been extended over the steep creek ravine. Some maps I have seen indicate that there was a bridge over the drainage area at the X marking the Bench Mark (BM) 225. X marks the spot of the railroad cut into the hill that took the CCRR northwest to Roseville.

A larger image of the 1944 map shows much of the elevations missing from the 1914 map. Absent on the 1944 map is the dirt road at BM 203 that traveled up the southwest side of Linda Creek. Instead, we find a dirt road several hundred yards north of the intersection of Oak Ave. on Hazel. The original 1857 SVRR map showed a curve in the tracks that would indicated a grade that would take the tracks to the north and west of intersection of the 3 different creeks that converge north of BM 203.

Citrus Heights 1951 Quad Map

From the bottom right hand corner where South Cirby intersects with Cirby, there is a finger of a dirt road shown. This could have been the old railroad bed. The yellow line is placed parallel, northeast, of the suspected CCRR route. Notice the 150′ elevation line northwest of the (Linda) Creek is in alignment with the dotted dirt road line that eventually would connect with Folsom Rd. on the other side of Interstate 80. I believe the cartographers mapped the cut of the railroad before the Sierra Gardens Elementary School was built in 1956.

The street Old Folsom Rd. shown in the bottom center of the image indicates that at one time it probably connected to the reconfigured Folsom Rd. on the northwest side of Interstate 80. Old Folsom would subsequently be renamed Oakridge Dr. My guess is that the nice straight 150′ elevation line crossed the Cirby Creek at the site of the the present day student access bridge from Gregory Way.

Folsom 1954 Quadrangle

10 years after the 1944 Folsom topographical map was completed, not much had changed in the Orangevale area. The Lincoln Cut is still depicted and Gold Creek is now full of dirt which enabled Greenback to connect the original alignment of the CCRR cut above the renamed Negro Bar without constructing a bridge. How convenient that an 80′ deep, 200′ wide ravine suddenly filled up with rock and dirt between 1944 and 1954.

By 1954, the Topo maps had dropped the previous racial slur in favor of Negro Bar on the maps. Greenback Lane has been extended to connect to the original railroad line. The town of Ashland no longer appears. Still prominent was what became known as the Lincoln cut through the hill side to connect with the current Gold Creek Bridge built in 1915.

Notice that where Greenback crosses Gold Creek before connecting with the original RR grade and before it connects with Auburn-Folsom Rd., Topo maps no longer show elevation changes down to the creek level but represent the rock fill to build up the road base. The Gold creek crossing infill is 80′ high (235′ – 155′) and the Auburn-Folsom infill is 27′ (195′ – 168′). In both instances, there is a 3′ to 4′ corrugated drain pipe allowing the creeks to continue to flow. While these are minor ephemeral creeks that would only flow during the winter, no road construction today would allow for a creek to be so blocked.

Orangevale 1954 Topo Map

While the south end of the line in Folsom and the north end near Roseville are easy to determine, the middle section through Orangevale is open to interpretation. I used a 1954 USGS 7.5 minute quad map to generate an approximate grade elevation through the Orangevale area. The 1954 had the least amount of suburban clutter with the best detail of dirt roads and elevations. A more detailed map was made with Google Earth.

The most exciting and affirming route location was finding what I am fairly certain is the old CCRR grade through the Orangevale Community Park and along the City of Roseville Open Space area along Linda Creek.

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Folsom quadrangle U.S.G.S topographical map 1914 only partially complete.

Antelope quad map showing straight line route Folsom Rd. down to intersection of S. Cirby and Old Auburn.

Folsom quad 1914 showing S. Cirby in original location.

The larger 15 x 15 scale topo maps show less elevation than the 7.5 x 7.5. Note Ashland is still a place in 1892, site of a California Central Railroad Depot.

Folsom quad 1954 showing Greenback extended with Gold Creek ravine filled along with creek by Auburn – Folsom Rd.

Folsom quad 1944 of Orangvale and the confluence of creeks CCRR and SVRR wanted to avoid.

Folsom quad 1944 showing Lincoln cut and no fill in creeks.

Citrus Heights 1951 quad map with oddly straight 150′ elevation cut in line with CCRR tracks.

Printed Ephemera

Even after the CCRR was defunct, the marketing aspect of a railroad from Folsom to Roseville was still used to lure people to the newly developed Orange Vale Colony. The Orangevale Colonization Company was formed in 1887 to market 312 ten acre parcels plus a small village north of the American River adjacent to the City of Folsom. A Sacramento Union newspaper lithograph from 1890 shows a train crossing through Orangevale.7

Important to the marketing plan was irrigation water from a local ditch from the American River, access to Folsom via bridge to the railroad and a faint marketing wisp of the old CCRR line that cut through the northeast corner of the colony. The old CCRR line, 20 years defunct with the rails long removed, seemed like an odd marketing premise. While the prospect of a rail line to Folsom or Roseville sounds nice, who would knowingly buy a plot of land that, would one day be cut by an existing or new railroad?6

In 1909 they were still promoting some form of rail transportation.

The Sacramento and Sierra Railway, an electric line now being built to connect Sacramento with Lake Tahoe resorts points, will pass through Orangevale and afford rapid and frequent communication with the Capital City. Orangevale will be a commutation point, and an hourly service is promised, which will make this the choicest suburban residence district of the city.- B.F. Hullings One page of a reprint from the “Great West” with text by B. H. Hulings promoting Orangevale Colony and its orchards. Illustrations include orchards, Orangevale homes. In: “The Sacramento Valley of California”, page 50; originally published in the “Great West”, Vol. IX No. V, September 1909.

Whether the author was speaking about plans to rekindle the old CCRR line into an electric railway or some other proposed trolley line I am not sure. I have been unable to locate anything about the Sacramento and Sierra Railway electric trolley line.

Center Mississippi Township

In a book on Citrus Heights history there is a map of the Center Mississippi Township, the bulk of which was to become Citrus Heights, with the complete CCRR line running from Folsom up toward Roseville.1 Also in the book is the lithograph of the Cornelius O’Donahue ranch in 1862. Off in the top of the print on the horizon of the ranch is a train steaming across from left to right. If the drawing was actually made in 1862 it could only be the CCRR because the Central Pacific did not pass in vicinity until about 1864.2

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I suppose some folks would have bought parcels hoping to cash in on a railroad in their front yard.

“With projected railroad running through the land” the CCRR had been defunct for at least 20 years.

Early marketing piece about Orangevale and electric trolley line to be built.

Lincoln Cut

As a young boy I remember traveling down Greenback Lane from our house in Citrus Heights to the Folsom Rodeo and seeing this enormous rock wall that looked like is should collapse. The enormous rock wall was the remains of what became known as the Lincoln Cut as the CCRR railroad cut through the north side bluff of the American River to take the rail line north. I speculate that the high rock wall little path was assigned the named “Lincoln Cut” when the route was designated as an auxiliary route for the Lincoln Highway in approximately 1916.

A local history book, full of great images of the Lincoln cut, is Images of America, Orangevale. There are several good images of people and cars traveling though the cut along with a paving crew in the early 20th century. It also has a great early photo, approximately 1941, of the CCRR road cut on Orangevale Avenue 8, 9, 10, 11, 12,13 and another picture of the Lincoln Highway identified as Orangevale, but what I believe to be Ashland north of Folsom.

Unfortunately, the book has a few errors, one of them is that the author states, “[CCRR] made two cuts along the American River’s tough granite bluffs…” Actually, all the cuts were into alluvial consolidated soil and very little if any granite was cut. The bluffs along the American River are comprised of layers of sediment, cobble rock, clay and silt which are relatively easy to cut through.

While I would love to put all the photos I have come across into this post, copyright protections prohibit that at this time.

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1952 aerial photograph of Orangevale Avenue and the Lincoln Cut just north of Greenback Lane.

Gold Creek Bridge replaced the CCRR trestel bridge to enable traffic to get to Folsom via the soon to be constructed Rainbow Bridge.

Historic Gold Creek Bridge 1915

Typical CCRR cut exposing the alluvial consolidated nature of the bluffs.

CCRR road cut along Orangevale Ave.

CCRR cut from Orangevale Ave. into the heart of Orangevale. Heading was 304 degrees which pointed the tracks slightly south of a direct line which is approximately 316 degrees.

Grading for home site on Orangevale Ave revealing depth of CCRR railroad cut.

History Revealed and Nibbled

While driving down Orangevale Ave in early October, 2013, I notice grading work being done on the CCRR cut. I stopped and inquired with the gentlemen working to fill up the dump truck and they informed me they were getting the lot ready for the construction of a new home. It was interesting to see the depth of the original CCRR cut into the hill.

The construction crew informed me that the property owner was aware of the history of the site and how the California Central Railroad ran through the lot. Additionally, because the size of the oak trees around the cut and the regulations surrounding heritage oaks, it was unlikely that the banks of the cut would be completely wiped out. To be honest, I am a little bit envious of the property owner. How many people get to build on a piece of land with such a provenance of a historic railroad having passed through their property 160 years earlier?

Orangevale Community Park (OVP)

After I studied the approximate location of the route from the 1857 SVRR map and looked at old topo maps, I determined that deflection of the near straight line from Orangevale Avenue to Roseville had to be around Orangevale Community Park. East of the intersection of Hazel and Oak Avenues is the confluence of several minor creeks. As small as these creeks are, they would have created a very uneven landscape and represented a flooding hazard. Certainly no railroad engineer would want to hassle with running a line through all these creeks and hills.

Old railroad bed discovered?

It wasn’t until the end of my hike all over the park that I finally saw the raised landscape feature. The most striking aspect is that the berm, over 4′ tall, was bisected by a small creek. There was no indication that this small ephemeral creek could erode through this bank of dirt. Obviously, this was some sort of elevated feature to cross the creek; it had to be the railroad. Even though it is overgrown with bushes and trees, you can still discern how flat the top of the bank is and how it’s relatively straight from the starting point near Filbert Rd. Had this been some sort of levee, it would have directed the small creek to another creek a couple hundred yards away.

It all fit together that this straight, flat earthwork was the CCRR grade designed to skirt the confluence of multiple small creeks. Fortunately, this part of the park has been left untouched and wild. Other portions of the park and private property have obliterated any traces of the rail line.

The geo-positioning or GPS coordinates associated with the photographs I took with my camera phone helped confirm the grade. While they are not perfect, the coordinates provide a pretty good line on which assign the rail road grade. All the photos of this section of the CCRR grade start with OVP for Orangevale Park.

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OVP marker image, creek bed lower right hand corner.

OVP 5′ marker showing height of grade over creek.

OVP line image 13 showing side slopes.

OVP line image 5

OVP marker southern elevation of track bed in the park.

OVP marker, 5′, showing CCRR road bed height mid way through park.

OVP line image 12 end of visible portion entering Orangevale Community Park.

OVP line image 11 top of grade looking north west.

Orangevale Park California Central Railroad road bed elevation image 8

Woodbridge Ranch

A large portion of where the CCRR must have run is through the private homeowners association of Woodbridge Ranch. While driving through the area I was surprised to see the foundation of a brick water tower. Upon conversing with a member of the homeowners association, he mentioned that the water tower was built by the former ranch owner to provide water for his cattle operation. In addition he mentioned that a historian several years earlier had determined that the CCRR line had run too far to the southwest for the water tower to have any connection to the line.

It is certainly possible that the CCRR never ran past the point that the water tower is located. Although, I can plot a line route that put the CCRR grade traveling right past the tower. This brick water tower is fairly substantial in construction and I am not entirely convinced that a cattle operation would warrant the significant investment to build such a structure.

The structure is also reinforced with rods and plates on the outside similar to those used in at the old Southern Pacific Railroad shops in Sacramento. Although, such reinforcing mechanisms were common with load bearing brick structures of the time. In my limited search for brick constructed water towers, I have yet to come across a North American railroad that built a water tower similar to this one. There is always the possibility that the brick water tower was built for a larger and as yet unknown business venture beyond just cattle.

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Reinforcing plates and on Woodbridge Ranch brick water tower. Built by rancher for cattle or CCRR for steam train’s water station.

Steel reinforcing plate for brick load bearing wall at Southern Pacific Painting facility in Sacramento, built late 1800’s, similar to plates at Woodbridge Ranch water tower.

Woodbridge Ranch Brick Water Tower. May have had additional wooden tank on top of round portion.

Update to Original Post: Old Auburn, South Cirby Intersection; May 10, 2013

It’s always a challenge to document a historic place or event when it is located on private property. My good luck was that Gary Nesheim saw this blog post and called me. From a conversation with his father, he was fairly certain the CCRR had passed through what was now part of their property east of Old Auburn Blvd.

Gary’s father had spoken with someone researching the CCRR years ago but the report on the rail line has been lost. But a rail road was never to unrealistic to Gary’s dad who had found some old rails on the property and incorporated them into a bridge over Linda Creek. There is a wide swath of the CCRR that passes through private property from the corner of Oak Ave. and Hazel up to South Cirby. The moment Gary first showed me the unnatural berm cutting diagonally across his property I was fairly certain that was the old rail road bed. Gary knew where the county had laid the sewer line so the straight hump of earth could not have been from utility work. The low rise berm would not have been created by Linda Creek flooding because it bisected the creek flood plain as opposed to being parallel to the creek bed.

We drove around to the southeast side of Linda Creek and a man-made rail road cut was readily apparent. As the rail line approached the Linda Creek crossing there is tall berm which would have connected to a bridge. You can follow the approach south as it changes from elevated berm to creek side road cut. All of this is in a straight line along the expected path of the CCRR. There is even a small drainage swale between the old road bed and cut embankment.

I poked around further along Old Auburn Road and found a concrete foundation for an out building of approximately 10′ x 10′. While it is doubtful that this was present at the time the CCRR was in operation, we do know that the line passed by the “Halfway House” The Halfway House was half way between Sacramento and Auburn at the 18 mile mark. Old Sacramento Union notices show that a Frank Brown acquired the Halfway House from partners Rosecrans and Cutts in 1852. (Sylvan Recollection, A History of the Sylvan District by Lillian A Cross, 1943). The structures burned down in the 1950’s.

Thanks to Gary Nesheim for providing me access to the property to take photos and document part of the California Central Railroad line.

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Railroad rail incorporated into a bridge crossing Linda Creek. Found by property owner in the 1960’s while developing the land for a home site.

Blue lines mark the concrete foundation. Could this out building been associated with either the Halfway House or Williams shown on the a Central Pacific map of 1864?

Where the CCRR line crossed Linda Creek to the north side, east of Old Auburn.

Blue line marks the approximate dimensions of an obviously man-made landscape; approach for rail bridge across Linda Creek.

Berm of raised earth used as an approach to crossing Linda Creek with a bridge for the California Central Railroad.

Rail line cut in the flood plain bank of Linda Creek north west of Woodbridge Ranch.

CCRR cut approaching a crossing on Linda Creek south east of Old Auburn.

Linda Creek

The big question I had was; did the CCRR line run on the northeast or southwest side of the creek? It is fairly subtle, but I did stumble across another raised landscape feature, approximately 6′ – 8′ feet wide at the top, with a height of 6″ to 24″, running in a straight line. This raised landscape feature would intersect Linda Creek at a perpendicular crossing. As with the grade in Orangevale Park, there were places that had a drainage swale on either side of the road bed.

I would not have expected the elevation near Linda Creek to be as high as that of the crossing in Orangevale Park because the creek is 6′ below the surrounding floodplain. The rail line I mapped through the Linda Creek floodplain also fits nicely with an unusually flat and narrow elevation line depicted in the a 1951 Citrus Heights topo map of the area. I suspect this perfectly straight elevation change, which aligns with Folsom Rd. was the CCRR grade cut caught by cartographers while they were mapping the area. It has been subsequently lost as Sierra Gardens elementary school was built in 1956 – 57.

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Linda Creek line south side elevation slope.

Linda Creek line north side elevation

Linda Creek line 13, mass of bushes where CCRR crossed Linda Creek.

Linda Creek line image 12, end of bed before creek.

Linda Creek line image 11

Linda Creek line image 10

Linda Creek line image 9

Linda Creek line image 8

Linda Creek line image 7, flat top, sloping side on grade.

Linda Creek line image 6

Linda Creek line image 5

CCRR track alignment at across intersection of S.Cirby and Rocky Ridge, Roseville,CA

CCRR track alignment from S. Cirby north east.

Approximate height and crossing of CCRR over Linda Creek.

Folsom Road Bridge

A short history of Roseville includes a photo from 1870 of a bridge over Dry Creek along Folsom Road.4 There is no attribution of who took the photo or where the author found it. But Folsom Road is unique in Roseville, and other cities, that the road does not follow the typical north-south or east-west alignment.

Engineers, by default, will design a city’s street system with efficient and easily verifiable grid pattern. So when a street pops up that is diagonal to the grid it is usually historic in nature. Railroads were concerned with getting from point A to B in the shortest distance and would only change direction because of geographic features that would necessitate costly bridges or “cut and fill” operations.

Consequently, I am fairly confident that Folsom, Oakridge and S. Cirby alignments were all a direct result of the path and right-of-way created by the CCRR. Plus, a straight line virtually connects all the sections together with the directional cut at Orangevale Avenue. You get the feeling that the Railroad engineer drew a straight line from the first opportunity he had to turn the rail line north and only deviated to avoid crossing creeks or excessive “cut and fill” routes.

Conclusions

While I am an amateur historian, rail buff and archaeologist at best, the line I have mapped must come close to the original construction. The biggest area for alternate alignments occurs in the Orangevale area where there is very little physical evidence, other that Orangevale Community Park, to discern the path of the line.

Driving Tour of the CCRR: Folsom to Roseville

The construction of the Central Pacific RR up to Auburn from Sacramento, with a more direct route and lower cost, severely undercut the market rail passengers and freight on the CCRR. The California Central RR ceased to operate in 1868 and its assets sold to the California and Oregon Railroad in July 22, 1868.

Folsom – Roseville Bibliography

Mississippi Township 10 N Range 7 E Map 1868 with RR shown. Pg 16, Images of America, Citrus Heights. Author Jim Van Maren, 2011, Arcadia Publishing. Courtesy of Center for Sacramento History

1862 lithograph O’Donahue Ranch with train on horizon, Pg. 28, Images of America, Citrus Heights. Jim Van Maren, 2011, Arcadia Publishing. Courtesy of Thompson and West; reproduced by Howell-North North, Berkeley, California, 196

Central California Railroad locomotive crossing American River at Folsom, Pg. 9, Images of America, Roseville. Author Roseville Historical Society, 2010, Arcadia Publishing. No attribution

Folsom Road Bridge over Secret Ravine into Roseville, Pg. 10, Images of America, Roseville. Author: Roseville Historical Society, 2010, Arcadia Publishing. No Attribution.

Sacramento County Tax Assessor Map 1882, Pg. 12, Images of America, Orangevale. Paul J. P. Sandul and Tory D. Swim, 2006, Arcadia Publishing. Courtesy of SAMCC

1892 Marketing Map showing RR on inset regional map, Pg. 18, Images of America, Orangevale. Paul J. P. Sandul and Tory D. Swim, 2006 Arcadia Publishing. Courtesy of SAMCC 2002/092/001

Sacramento Union Lithograph 1890 of Orangevale with train heading to Roseville, Pg. 18, Images of America, Orangevale. Paul J. P. Sandul and Tory D. Swim, 2006, Arcadia Publishing. Courtesy of SAMCC, No. 68/110/451

Lincoln Cut 1894, steep sides and curvature, Pg. 20, Images of America, Orangevale. Paul J. P. Sandul and Tory D. Swim, Arcadia Publishing, 2006. Source, Sacramento County and It’s Resources: A Souvenir of the Bee, 1894, Our Capital City, Past and Present, 70.

Paving Greenback Lane(sic) along Lincoln Cut, 1916, Pg. 21, Images of America, Orangevale. Paul J. P. Sandul and Tory D. Swim, Arcadia Publishing, 2006. Courtesy of SAMCC, No. 76/35/279

Lincoln Cut c. 1900, Incorrectly ID’d as Greenback Lane, Pg. 71, Images of America, Orangevale. Paul J. P. Sandul Tory D. Swim, Arcadia Publishing, 2006. Courtesy of Folsom History Museum No. 2004.04.12 *Cites tough granite cuts. There is no granite, all loose cobble composite.

Paving of Lincoln Cut 1916, Pg. 72, Images of America, Orangevale. Paul J. P. Sandul and Tory D. Swim, Arcadia Publishing, 2006. Courtesy of SAMCC No. 76/35/283

Car driving through Lincoln Cut, Pg. 72, Images of America, Orangevale. Courtesy of SAMCC No. 80/05/5786

Orangevale Ave and CCRR cut north after bridge. Pg. 73, Images of America, Orangevale. Courtesy SAMCC, No 85/24/5754

A History of the Sacramento Valley Railroad Up To 1865, by James John Campilio, 1934

California Central Railroad: Folsom To Roseville The California Central Railroad had its genesis with the failure of the Sacramento Valley Railroad (SVRR) to complete its original concept of running a railroad from Sacramento to Folsom, and then up to Marysville.

#California #Folsom #Judah #maps #Railroads #Roseville #Sacramento #Wilson

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