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Archives for July 23, 2013

Allotment holders urged to get fruity

PA Photo/Handout

Plot-holders are being encouraged to grow fruit as part of National Allotments Week (August 5-11). Hannah Stephenson discusses which types of fruit will flourish in these spaces

It’s not only the humble potato or common carrot which can thrive on allotments – you can also grow a cornucopia of delicious soft fruits like summer berries and blackcurrants.

What’s more, fruit bushes and trees are long-lived. Gooseberries and blackcurrants can do well for 20 years, trees can produce for decades and raspberry canes can last more than 10 years.

“Plot-holders are better off looking at soft fruit because it takes up less space than fruit trees and is easier to manage and pick,” says Mike Thurlow, horticultural adviser to the National Allotment Society, which is running this year’s National Allotments Week campaign with Kelly’s of Cornwall.

“The root run of soft fruit isn’t so expansive so it doesn’t interfere with other crops or with neighbours’ plots.”

Summer fruits are generally easier to care for than larger fruit trees. Many currants can be grown as bushes, while raspberries and blackberries need to be trained against a framework structure, usually a post and wire system.

“Soft fruit can’t be shoved away in a cold corner,” Thurlow explains. “Full sun is needed to ripen the wood rather than the fruit because it is ripe wood which gives you the bountiful harvest the following year.”

If you are growing bushes or training trees, plan them as part of the structure of your allotment, as they are likely to be permanent fixtures. Most fruit trees are pollinated by insects so you’ll need to avoid windy sites, and add plenty of organic matter to the soil, which needs to be well-drained.

Strawberries, one of the nation’s favourite summer fruits, should be placed in the sunniest border and should be moved around on a three-year cycle.

Few allotments allow trees to be grown because they shade other plots and sometimes can’t be moved when a new tenant arrives. So if you want to grow fruit trees, you may have to buy dwarf rootstocks to train, creating espaliers, cordons or fans in sunny.

“Redcurrants, white currants and gooseberries can be fan-trained and turned into espaliers and cordons. It’s a bit of fun. You could train them up the side of a shed or make make a support from stakes and training wires,” Thurlow explains.

“Fruit which is trained takes up less room and is easier to manage because the fruit has air and light around it so there are likely to be fewer disease problems.”

Be warned that blackcurrants are big plants which will need plenty of room, each taking up around 1.5 square metres of ground so don’t plant them too close together.

“You’ll often have fewer berries from two struggling plants than from one good one,” Thurlow points out.

Unless you live in a really mild area and your plot is sheltered, avoid trying to grow tender fruits such as figs, apricots and peaches on your allotment, as they will need so much protection.

All soft fruits should be planted in a sheltered spot away from frost pockets. Choose late varieties to help avoid frost damage and make sure you net the fruits from the birds. A fruit cage is essential and should be allowed on allotments as it is classed as a temporary structure.

Avoid planting soft fruit where it has been grown before as it can lead to replant disease, resulting in stunted growth. Buy stock which has been certified free of pests and disease to avoid the fatal viral disease.

As for placing your plants, Thurlow advises to keep all your fruit bushes together as a group in a south or west-facing spot where they will receive the maximum sun.

“Put your raspberries at the back because they grow tall, then plant blackcurrants, white currants and gooseberries in front and strawberries right at the front,” he advises.

For success with strawberries, grow them in well-drained, moisture-retentive, humus-rich soil, adding lots of well-rotted compost or manure and a sprinkling of phosphate, and make sure they’re in a sunny spot. Strawberries should be planted in late summer as they need a period of cold to flower and fruit the following year.

Plant the crown at soil level and keep the area well-weeded, or grow them through weed-suppressing horticultural plastic. Strawberries should not be watered from overhead, as moisture on the fruits can rot.

Growing fruit on your allotment may take a little patience as many types will not bear fruit the same year they are planted (summer raspberries, blackberries and gooseberries will fruit in the second year and redcurrants in the third), but once they are established, they will not let you down.

:: National Allotments Week runs from August 5 – 11. For more information visit

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Tips for freezing your garden vegetables

Posted: Tuesday, July 23, 2013 11:00 am

Tips for freezing your garden vegetables


Freezing vegetables is a good option for people who want to preserve their garden produce but are daunted by the idea of canning.

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Tuesday, July 23, 2013 11:00 am.

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Gardens: less is more

The smaller the garden, the easier it is to design. Or so the theory goes. But sometimes it’s the tiniest of spaces that pose the greatest challenge. In a back garden in Chiswick, west London, Kate Gould has made the most of a minuscule plot, by carefully selecting the hard landscaping, limiting the colour palette and restraining herself at the nursery.

When Debbie and Nigel Kellow extended the kitchen of their Victorian terrace, their dark and dingy side return was replaced by a 4m sq south-west-facing plot surrounded by other gardens and shaded by mature trees. “In tiny gardens, I usually rotate the design by 45 degrees, which can make the space feel larger,” Gould says, “but Debbie and Nigel wanted the garden straight on. I wanted to make everything as simple as possible and as large as possible: big and bold.”

She also needed to pin down what was possible: homeowners tend to be overambitious, pencilling in a hot tub or a veg garden as well as a patio, but when space is tight, the vagaries of the English weather tend to rein in grand plans. “You have to be realistic,” Gould says. “Get in what you’re going to make good use of, especially with an English summer. You may use your garden only a few times a year.”

The Kellows wanted their garden to be a place where they could sit, eat and entertain, and the sandstone-paved area with its narrow borders has enough room for a table that can comfortably accommodate eight. When the weather’s a letdown, the chairs slot underneath the table: the set (from Indian Ocean) is made from synthetic rattan, so the whole thing is waterproof and, so long as it’s covered, can even be left outside all winter. “We didn’t want it overdesigned,” Debbie says. “I wanted it to be fairly traditional, in keeping with the house.”

The Kellows also didn’t want the garden to feel like a seamless extension of the kitchen, so there’s a small step between the two, and french windows rather than sliding doors. But the cool colours do echo the interior: the fence and planters are painted (French Gray, by Farrow Ball) to pick up the colour of the kitchen. Adding trellis to the top of the fence gives the garden extra privacy and growing space without loss of light.

The simple colour scheme extends to the plants, too: white is the dominant colour here. As a keen plantswoman, Gould says she had to tame her urge to buy one of everything at the nursery in order to make this garden work. There are fewer than a dozen species in this space, which was planted up last summer, but the repetition and simplicity are restful to the eye. Rather than adding trellis to the surface of the fences and wall, which would have made the garden feel even more hemmed in, she strung wires between vine eyes for a long-lasting and more or less invisible way to keep climbers in place.

On the back fence, the semi-double, white, scented flowers of Rosa banksiae ‘Alba Plena’ are beginning to open, and on the wall to one side and the fence to the other, another white-flowered climber, the highly scented star jasmine (Trachelospermum jasminoides), will soon join in. In April and May, the nodding, sky-blue bells of Clematis ‘Frances Rivis’ open, followed later in the summer by the flat, white blooms of C. ‘Miss Bateman’.

A low line of box (Buxus sempervirens) provides strong, clean lines when the garden is bare in winter, and shields the sparse bases of the climbers. A pair of lollipop-shaped standard bay trees (Laurus nobilis) in Versailles wooden planters made by the carpenter who built the fencing provide more architectural shape. Large lead troughs from Oxford Planters lend a solid, traditional feel and give the Kellows a place to sow herbs.

The entire project, including hard landscaping, re-fencing, planting, and design, cost around £12,000-£15,000. If such a hefty price tag is outside your price range, there are plenty of lessons here for the DIY gardener: choose a palette of only a few plants, and stick to it; invest in architectural plants to lend structure, especially in winter when everything else is bare; clothe walls with climbers held in place by a network of wires, rather than fussy trellis; and keep ornamentation to a minimum: a couple of large pots or planters makes a small garden look bigger, whereas a mass of smaller pots clutters the space.

Was it worth the money, hiring a designer to work on such a small plot? “Definitely,” Debbie says of her tiny haven. “In the evenings, when it’s all gone quiet, all you can hear is the trees.”

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Leukemia Survivor Rethinks Garden Designs for Patients

Last spring, Kevan Busa imagined he would be studying Spanish gardens. A student of landscape design at State University of New York (SUNY), Busa planned to spend his final semester in Barcelona, but a sharp pain in his right leg changed everything. 

When the pain wouldn’t subside, a friend drove him to the emergency room. Blood tests showed that Busa’s platelet count was virtually depleted, and his white blood cells had risen dramatically. Further tests found that acute lymphoblastic leukemia had spread to 92 percent of his bone marrow. 

“They told me I probably had a week-and-a-half to live if I hadn’t come in,” he said. 

Despite the devastating diagnosis, Busa was determined to graduate on time. However, after four rounds of chemotherapy, three bone marrow biopsies, and several spinal taps, he was in no shape to travel. 

So Busa discussed a unique idea with SUNY advisors: his final project would examine the healing potential of landscape design from a patient’s perspective. His observations appear in the June 2013 issue of Landscape Architecture Magazine.

Anatomy of a Healing Space

The idea that gardens can benefit the sick has had a long and robust history throughout both Eastern and Western cultures. In European and American hospitals, this belief remained strong up until the 20th century.

Busa points to Roger Ulrich’s work as a sign that the idea is returning to modern medicine. Ulrich’s 1984 study “View through a Window May Influence Recovery from Surgery,” was published in the journal Science and has been repeated multiple times. The practice is now called evidence-based design.

More than an attractive luxury, according to Busa, green space is “a sound economic investment in health and productivity, based on well-researched neurological and physiological evidence.” 

“If you put somebody in a space where they will heal faster, so they get out of the hospital three days earlier than before, do you know how much money you’ll save?” he asked. “Hospital bills per night are pretty intense I would say.”

But not every garden is therapeutic, and Busa’s perspective reveals critical details that most designers overlook. 

As he recovered from his bone marrow transplant at the Roswell Park Cancer Institute (RPCI) in Buffalo, NY, Busa turned his attention to the facility’s two-and-a-half acre courtyard. While this green space promises some escape from the clinical environment, Busa discovered that it did not consider patients’ needs. In fact, many of the park’s best features directly conflicted with doctors’ orders. 

“I did a survey of 85 bone marrow transplant patients and they said that what they like the most about the courtyard space was the sun,” he said. “But guess what? That’s the absolute worst for you right now. I’m sure your doctors have told you that, but they’ve probably told you 50 things a day for two months.” 

After the surgery, drugs, and chemo, Busa’s health was more fragile than ever. Not only was he now 200 times more likely to get a skin cancer, but his weakened immune system couldn’t even handle cut flowers in his room, much less the flurry of pollen, dirt, and fungi found in the courtyard. 

“It’s aesthetically very, very nice,” Busa said. “But the question arises: is it for the patients or is it for the family and the staff?”

In his report, Busa wrote that for bone marrow transplant patients like him, “the solution may be gardens that can be experienced from indoors, through glass. This idea may not sound terribly inviting, but it is a far preferable alternative to 100 days of brick walls.”

For an example of a healing space designed with patients in mind, Busa looked to another Buffalo institution: the Richardson-Olmsted Complex, a mental asylum completed in 1890. Now a National Historic Landmark, this therapeutic design came from architect H.H. Richardson, and the father of American landscape design, Fredrick Law Olmsted. 

Details of the grand complex reveal a 19th-century belief in the curative power of environment. According to Busa, it was designed to provide “benefits that no medicines can reach.”

“They had the patients come out into these porches and they could view this green space,” Busa explained. “They could see trees, they could see the grass, the plantings; they could feel the wind, they could feel the rain, they could feel the sun, but they were still in the protection of the actual architecture itself.”

Busa says that whether designing for a children’s hospital, mental asylum, or cancer institute, in order to be effective the green space must suit patients’ needs. 

“In school they teach you to study all aspects of a site,” he said. “Well, you’re studying all the aspects of the landscape itself, but what about the culture? What about all those additional, secret, hidden factors that have massive effects?” 

“It’s simple, but until you’re faced with this consideration you don’t even think about it.”

Article source:

[Images via exMiami]

Click here to view the full photogallery.
[Images via exMiami]

Now that The Related Group and The Related Companies are both on board with Island Gardens, the long-stalled Watson Island megaproject, things are starting to look big, big, big. While not an entirely new design, according to a report obtained by exMiami, they’ve expanded the older one by architects Nichols Brosch Wurst Wolfe with some wiz-bang new features like a big mall and park, and that grand mega yacht marina and basically masterplanned all of Watson Island in the process, creating a semi-self contained wonder world of excessive luxury and questionable urbanity. (wasn’t Jorge Perez an urban planner at one time?)

Here are some highlights:

1) A big ass 500,000 square foot mall.
2) A 13 acre mega-yacht marina. (Finally addressing Miami’s chronic shortage of mega yacht dockage. Seriously, this is an actual issue)
3) A parking garage and heliport to the east of the Children’s Museum.
4) A large waterfront park, sculpture garden, and amphitheater on the east side of the seaplane terminal.
5) A giant fountain on the MacArthur Causeway offramp to Island Gardens. Fancy!
6) Atop the mall, and between two towers, an amenity deck to end all amenity decks, which will include pools and ballrooms galore.
7) Terraces cascading down to the waterfront with lots and lots of waterfront dining.
8) Two luxury hotel and condo towers.
9) 500 hotels room
10) 200 residential units.
11) Docks with observation decks to check out all the giant boats in the marina.
12) A budget of somewhere in excess of $1 billion. Yep.
Etc. Etc.
Island Gardens coverage [Curbed Miami]
· First Look At Plans For $3 Million Square Feet Island Gardens [exMiami]

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Proposed Jilkaat Kwaan cultural center in Klukwan will display prized Whale …

HAINES — The Whale House artifacts, rarely seen masterworks of Northwest Coast Indian art, will be displayed at Klukwan’s Jilkaat Kwaan Cultural Heritage Center, village officials recently reported.

Agreement to display the carvings — secured from the Gaanaxteidi clan during meetings in Haines — represents a commitment of major art pieces to the center and a potentially powerful magnet for attracting additional funding and exhibits, said Lani Hotch, director of the nonprofit that is overseeing the project.

“This is monumental,” Hotch said. “I think it will generate a lot more interest in our project, knowing these artifacts are going to be in there.”

Steve Henrikson, senior curator of collections at the Alaska State Museum, said agreement to put the pieces on display is of international significance. “This is like a UNESCO World Heritage decision. To see art of that magnitude in its original setting is such a rare thing.”

‘Michelangelo territory’

The Klukwan carvings — notably four house posts and a mural screen or wall — are thought to be the work of Kadjisdu.axtc of Wrangell, who also did the artwork for the Chief Shakes House in that town. They have been admired by the outside world since the first photographs were taken, more than 100 years ago and became the subject of legal argument reported in depth by the Daily News in a series that ran April 4-9, 1993.

Henrikson described the artifacts as the equivalent of “Alaska’s Parthenon.” “The level of work exhibited by that art, and the sensitivity of it can be appreciated by people who don’t know anything about art or the culture. This is Michelangelo territory. The emotion in those faces just blows people away.”

Whale House caretaker Jones Hotch Jr. said an agreement to display the pieces was forged in Haines on June 2 among 40 members of the clan, who came from other parts of Alaska and the Lower 48.

The group decided to put the art in the proposed center on a loan basis for at least 15 years. The plan is to re-evaluate the arrangement in 14 years or when and if a new clan house is built.

Created during the zenith of Tlingit indigenous art about 200 years ago, the carvings and a feast dish also associated with Kadjisdu.axtc are ranked as treasures by art experts and historians. But they have been kept under wraps for most of the past 50 years.

Museum collectors and art dealers pursued the carvings for nearly a century, and a removal attempt in 1982 got them as far as a Seattle warehouse. The pieces were returned to Klukwan in 1994, following a historic tribal court trial in Klukwan that determined they were Gaanaxteidi clan property.

The clan was to meet soon after the artifacts were returned, but that didn’t happen. In the interim, the Chilkat Indian Village tribal council has been working with local members of the Gaanaxteidi clan for several years to clean and make repairs to the totems and make protective crates for them, Jones Hotch Jr. said.

The decision to loan the pieces to the cultural center didn’t come without debate. A recent groundbreaking for the village museum “raised the ire of some clan members who were opposed to placing the treasures in the center,” Lani Hotch said.

Putting clan property on public display and in a building other than one controlled by the clan are relatively new ideas that run counter to traditional Tlingit practice. Some early suggestions for the village cultural center included separate rooms inside for each clan.

“Some elders learned the old way and still have misgivings about it. They’re remembering the old time. Klukwan life has changed since then,” Lani Hotch said. “We have to adapt with the times and we’re doing the best that we can. Not everybody’s on the same page, but I think people will come around to the idea in time.”

Displaying the Whale House artifacts is appropriate as the Gaanaxteidi clan founded Klukwan and the Whale House was its most prestigious house, Hotch said. “It makes sense to have their pieces be the centerpiece exhibit of the village cultural center.”

‘Force for good’

Historically, Klukwan was home to at least seven clans and more than a dozen longhouses, each affiliated with a clan. People lived communally in houses named after important clan symbols, such as “Frog House,” “Killer Whale Fin House” and “Drum House.” Symbols or crests were carved into the posts and wall screens of longhouses.

Clan houses suffered when cultural changes — including factors like influenza epidemics — drove villagers to build individual family homes, Lani Hotch said. Often, clan-owned crest pieces remained in the vacant clan houses. “When those houses started to fall, the question became, ‘Where do you put these clan trust items?’ “

There are modern clan houses in the village, and house members responsible for them may still choose to keep crest pieces there, she said. “These are going to have to be clan decisions, and it’s hard to get all your clan members together. That’s a part of the difficulty.”

In Tlingit culture, crest pieces — including smaller items like ceremonial hats and rattles — were typically brought out only on special occasions. Pursuit by cash buyers in the 20th century made villagers even more protective of the pieces, driving them further out of sight.

The state museum’s Henrikson said he understands the cultural sensitivity surrounding the objects but believes the time has come to display them.

“This is living history. It gives people a chance to hear about the amazing things people in the village did to protect these artifacts. They found a way with their tribal government to hold on to them. Not every village was able to do that,” Henrikson said. “This material is a powerful force of good in the community. It has the power to change people’s lives.”

A small Frog House blanket and a full-sized Chilkat robe are among items stored elsewhere that will be kept at the center. House posts from Klukwan’s Frog House stored at the state museum in Juneau also were to be kept in a Klukwan center, but those commitments by an earlier generation likely will need to be revisited, Lani Hotch said.

Before 1982, the Whale House pieces were kept in an unoccupied cement building located across the street from the current ANS Hall in Klukwan.

Construction of the center has started, but current funds aren’t sufficient to complete the structure. A legislative grant of $3.5 million to the Chilkat Indian Village is being used to build the shell of the center. The village still needs to raise another $4 million to complete the interior, install exhibits and interior furnishings and do landscaping.

In addition to housing art and artifacts, the center will also serve as a bald eagle observatory and education hub.

“Klukwan is surrounded by the Chilkat Bald Eagle Preserve,” said Lani Hotch. “The Bald Eagle Council Ground, which gets the highest concentration of eagle is right in the vicinity of Klukwan.” The bald eagle count in the 23,000-acre preserve numbers between 3,500-4,000 in the winter months between November and March.


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Obamacare Is an Expensive Failure

A few months ago, Obamacare critics were pointing to
alarming predictions that some insurance rates would spike when the
law took effect – by as much as 41 percent in Wisconsin, 85
percent in Ohio, and so on. In Virginia, though, the potential
increases are not all that bad.

Some are actually much worse.

Virginia’s State Corporation Commission soon will assume control
over insurance policies offered through the new state-level
exchange. That’s where those who don’t get insurance through their
employers will shop for policies they will be forced by law to

Recently the SCC asked Virginia’s major underwriters to
provide information on what they charge now and what they will
charge starting Jan. 1, when Obamacare regulations
take effect. Specifically, the SCC asked for rate estimates in both
the individual market and the small-group market.

In the individual market, the SCC asked for the rate for the
most popular insurance plan for a 29-year-old male; a 45-year-old
couple with two children; and a 60-year-old couple. For the
small-group market, the SCC sought quotes for a business with eight
29-year-old male employees; a business with four male and four
female employees, all 45; and eight 60-year-old female

Ready for the results? Brace yourself.

Aetna says its most popular policy for a 29-year-old
man currently costs $118 per month in Richmond.
Once Obamacare kicks in, the rate will jump to $225 – an
increase of more than 90 percent.

Obamacare supporters say this is only natural, because one
of the ideas behind expanding coverage is to get young, healthy
people to help pay the health-care costs of sicker, older people.
(Not exactly a point they stressed during debate over the bill, but
never mind.) That’s why the law forbids charging the latter more
than three times the rate charged to the former. Jacking up rates
for “young invincibles” is supposed to help hold down rates
for old vulnerables.

But it doesn’t appear to be working. Aetna says its
rate for the family with two kids is liable to jump 36 percent, and
the rate for the older couple is liable to jump 44 percent.

The CareFirst BlueChoice outlook is similar: Premium
increases of 108 percent, 40 percent, and 36 percent, respectively.
For Group Hospitalization Medical Services (an independent
licensee of Blue Cross and Blue Shield), the percentage hikes are:
113, 89, and 69.

Where’s the “affordable” part in the Affordable Care Act?

For small employers, things could be equally grim. Take Optima,
whichoperates in the Hampton Roads area. Optima
says the premium for a policy covering eight young male
employees – a landscaping business, say – could jump 132 percent. A
similar policy for Anthem’s Healthkeepers would double in

Not all the premium increases are this bad, and the increases
for companies with female employees are
smaller. Obamacare’s defenders may seize on that as proof
that the president’s signature policy is working. There’s just one
problem: It isn’t working according to the president’s own
standards. “If you already have health insurance,” candidate Obama
promised, “the only thing that will change for you under this plan
is the amount of money you will spend on premiums. That will be
less.” The law’s advocates echoed the talking point; MIT’s Jonathan
Gruber, for instance, said “What we know for sure the bill will do
is that it will lower the cost of buying non-group health

To be fair, many people will be eligible to receive subsidies
offsetting part of the bill, and some of them – though by no means
all – might see lower costs year over year. But this does not
reduce the actual cost, it only shifts some of it. And
cost-shifting – such as a hospital charging ten bucks for aspirin
to subsidize emergency-room care for the uninsured – was supposed
to be something Obamacare would reduce, wasn’t it?

The ACA’s cheerleaders also might argue that what
happens in the state exchanges is a sideshow, since most people get
their insurance through their employers anyway. This is not an
argument made gracefully by those who, during debate over the bill,
lamented the 45 million Americans without health insurance. They
were supposed to be the chief reason for the law’s
passage. Some sideshow.

Article source:

Gezi Park Monument by Studio Vural

New York-based Turkish architect Selim Vural, founder of architecture and interior design firm Studio Vural, has shared with us his design for a Gezi Park Monument. The memorial commemorates the recent protests on Istanbul’s Taksim Square against the planned construction of a shopping mall in place of the historic Gezi Park — which sparked the nationwide 2013 protests in Turkey (previously on Archinect).

Project Description from Selim Vural:

Beyond commemorating important events, monuments come to being through significant ideas. Their bodies are usually aesthetic, dynamic, communicative and distinctive yet beyond all, they are clear embodiments of their generative ideas.

It is also significant that all monuments of liberty in history are made of or derived from female figures. There is a soft power, an illuminated fearlessness in their stance, which is not evident in the singularly powerful male figures. On the one hand they are complex, conflicting, and plural and on the other they are “blazingly clear” in Le Corbusier’s favorite words, with a harmonizing cognition.

Such is the spirit of millions of Turkish people standing for freedom in Taksim Square in Istanbul, who took it to the streets after peaceful protesters trying to protect Gezi Park against an “illegal government project (!)” were pepper gassed and beaten brutally.
From a western perspective, a revolutionary syringe of Woodstock 69 Occupy Wall Street cocktail has been injected into Turkish cultural veins, creating an unprecedented moment of social blending and unity. Environmentalists, transvestites, traditionalists, gays and lesbians, farmers, intellectuals, factory workers, university students, veterans among many other have come together in Gezi Park and fought shoulder to shoulder. Transvestites have guarded the square holding hand in hand, so religious protesters could face to Mecca and pray; this is surely a first for Turkey! Gezi Park events were and are (people are on the streets as this text is being written) so fiercely post-modern and complex that it has appalled and dysfunctionalized many government faculties. The traditionalist/oriental government priding itself with economic growth has, unsurprisingly, retreated into a protective shell of denial.

Gezi Park Monument has been conceptualized under the light of such complex forces. It is derived from an abstracted photograph of a female protester and strives to represent all above mentioned layers of society, harmonizing yet not sterilizing their individual identities. The project site is the platform where Gezi Park and Taksim Square meet. Horizontal sustainable concrete platforms merge with the vertical female figure, erecting themselves up towards the boundary line between the park and the square. Below the shell of the monument above, the 12 feet level difference between the park and the square has been utilized to accommodate a museum and a library. A promenade runs through the project and connects the square below, the underground functions and the park above. The concrete platforms function both as a roof scape for the museum and landscaping elements for the park, nurturing a variety of local plants including Turkish hot peppers, under the condition of peaceful consumption.

Gezi Park Monument is the architectural form of a nation’s SCREAM, it is loud yet peaceful, plural yet harmonic; it is a woman yet a nation.

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Landscaping Live a hit at RHS Hampton Court

The Association of Professional Landscapers (APL) has had great success with ‘Landscaping Live’ at this year’s RHS Hampton Court Palace Flower Show.

A first for both the APL and the RHS, the Landscaping Live concept demonstrated to the public how to create the perfect garden with a range of “How to” presentations.

As part of the Low Cost, High Impact gardens in the Inspire section of the show, the feature consisted of two gardens, one showing a professional approach and demonstrating how to make the most of a small space, the other showing a complete contrast, highlighting that good quality preparation and installation is essential for carrying out successful garden improvements.

The garden was designed by Mark Gregory of Landform Consultants, constructed by Arun Landscapes and planted by Claudia De Yong.

The construction of the planting took a mere two days with Claudia being aided by Paul Baker of Holland Landscapes and Phil Tremayne of the APL.

The plants were sourced from Hortus Loci with Claudia planting a running theme of white and blue with a splash of deep red to liven the garden up.

The plants in the garden ranged from Pittosporum tobira nana to Dianthus Cruentus and Astrantia Florence to Rosa Seagull.

The garden was an instant hit with the Hampton visitors who could immediately relate to both the un-landscaped garden as their own and the professional garden which was achievable.

APL’s Phil Tremayne did daily demonstrations with members Landform Consultants, Arun Landscapes, Garden House Design, Holland Landscapes, Arbour Design and Build and Claudia De Yong Designs on how to lay turf, plant trees and shrubs and how to lay decking which attracted phenomenal interest from the public.

APL Chairman, Mark Gregory said: “Landscaping Live was a runaway success with the public as they could immediately connect with the two contrasting gardens in front of them, realising that a beautiful garden is within their reach.

The event also did wonders for promoting the APL brand to the consumer and we hope that this will be their first port of call when choosing an accredited landscaper.”

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Written by Press Release

  • 03 Jul 2013 10:55

  • Written by Press Release

  • Category: Human Interest

Oak Park, IL—(ENEWSPF)—July 3, 2013. If you think a landscape should be about more than a lawn of non-native grasses, and want to learn more about native plants, attracting pollinators and birds, and the restoration of natural landscapes, you’re invited to attend a kickoff meeting to form a local chapter of Wild Ones, an organization devoted to creating natural gardens and landscapes.

This first meeting will be held from 2:30-4:30 p.m., Sunday, July 21st, at Green Home Experts, 811 South Blvd., Oak Park, Illinois.  Local Wild Ones member, Stephanie Walquist will give a butterfly presentation.  She has been gardening for butterflies and rearing/releasing some species over the years. Stephanie has also been assisting in the installation of a native plant garden at Beye School with the hope of getting other schools and local residents to join in to create wildlife corridors.   Plans will also be discussed for future educational programs, seed and plant swaps and field trips, and anyone interested will be invited to join the organization.

Wild Ones members help and learn from each other – beginners and experienced members alike – about identifying native (and invasive) plants, creating natural landscapes, protecting threatened native species, dealing with “weed ordinances,” and a lot more.

Members plan monthly educational chapter meetings, field trips, and presentations by experts in the field of native plants and natural landscaping. Chapters are supported by a national organization, and each member receives handbooks related to natural landscaping along with a bimonthly publication, the Wild Ones Journal.

For more information – and to let us know you’ll attend – contact Pam Todd (, Ginger Vanderveer ( or Marni Curtis (

Wild Ones began in 1979, in Milwaukee, Wisconsin, and became a non-profit, tax-exempt corporation in 1990. With approximately 40 active chapters, Wild Ones has approximately 3,000 members across the United States and Canada. See website at


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