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Archives for January 8, 2016

Monet’s ‘other’ masterpiece: His gardens at Giverny

The Clos Normand garden at Giverny, where impressionist master Claude Monet spent the last half of his life. (Fondation Claude Monet, Giverny)

It seems appropriate that to get to Claude Monet’s home at Giverny, I’m leaving Paris from the Saint-Lazare train station. In a famous series of paintings, the impressionist master captured the busy energy of this station, an in-between space of hurried, blurred figures, with clouds of steam from approaching locomotives billowing under its iron-and-glass arched roofs.

But it was his outdoor paintings that Monet is best known for, including those of his gardens in Giverny, about 40 miles northwest of Paris.

Monet moved to Giverny in 1883, middle-aged and nearly penniless. Nine years earlier, he had exhibited “Impression: Sunrise,” the painting attributed with giving the impressionist movement its name. Yet true artistic success and financial stability would be years away. During the 43 years that Monet lived in Giverny, he came to be regarded as one of the world’s greatest artists, attaining international fame and a considerable personal fortune, much of which he funneled into his other passion, horticulture.

He spent years designing and landscaping the property he acquired here, working — with the assistance of his team of gardeners and small children — with the specific intention of creating spaces that he could paint. The gardens he created have come to be called his “other” masterpiece.

Only 45 minutes after leaving Paris, my train pulls into the town of Vernon, just inside the region of Normandy. Giverny lies a few miles away, but with a population hovering around 500, it’s not on the main line. From here, I’ll have to make my own way.

Walking out of the station, I bypass the little motorized train and the air-conditioned shuttle bus, either of which would take me the 31/2 miles to Giverny. Instead, for the equivalent of about $15, I rent an old 10-speed bicycle for the day from the cafe directly opposite. It’s perfect. The waitress/bike-renter offers me a home-made map highlighting an easy cycle path to my destination. She pumps air in the tires and comments on the perfect conditions. The sun is rising quickly, the heat beginning to prickle the skin on the back of my neck.

When do I need to bring the bike back?

“Take your time!” she waves me off cheerily and turns to serve another customer.

It’s mid-August, so Vernon, like villages all over France, is quiet, with bakeries, pharmacies and hairdressers alike displaying hand-scrawled signs saying “Closed for summer.” I cruise down the almost empty main street toward the river, detouring past the leering gargoyles of the church Notre-Dame de Vernon.

The Hôtel Baudy’s artists’ studio. (Anna Hartley)

Crossing the Clemenceau Bridge, I take stock of the drowsy Seine — hard to recognize as the same river that flows through Paris. The banks here are natural, with grass and trees growing down to the water, and a cacophony of swans, geese and ducks gathering in the muddy shallows beside a dilapidated 16th-century mill. Here begins the André Toufler path, an old train line converted into a bike-friendly path. On my left, grapevines scramble among yellow dandelion flowers, and trees covered with creepers create a dense, green curtain that climbs up the hillside. On my right, I see into well-tended back yards beside neat houses. I ride through a cloud of sweet rose perfume. Beyond the houses, the land opens up to cornfields, pastures of sturdy grazing Maine­Anjou cows, and the steep roofs of houses, as white as the chalk in the hills beside me.

I’m a bit sad to see the path end at the main road, Rue Claude Monet. This must be Giverny. As I ride up a slight hill, the prevailing theme in town appears to be flowers: Every single garden is abundantly, gorgeously cultivated in a kind of anticipatory tribute to the famous property beyond. Do people move here because they love to garden? I wonder. Or is it the result of some town decree?

One last rise, and I’m greeted with a friendly sight: the warm, rose-pink facade of the Ancien Hôtel Baudy, the restaurant where I’ve planned to have lunch. The large terrace is already starting to fill up with the midday crowd. Old, coppiced plane trees create a thick green roof over faded red umbrellas and pastel metal tables.

In its heyday, from the late 1880s until the beginning of the Great War, the Hôtel Baudy was the center of the village’s thriving social scene. Originally a tiny canteen and general store, it expanded thanks to the sudden influx of American and international artists. Attracted to the region for the beautiful landscapes, the cheap rent and the tantalizing proximity of Monet himself, they came by train from Paris, sometimes intending to stay for a few days and leaving years later.

The American artist William Metcalf is attributed with “discovering” Giverny in 1886, and the likes of John Singer Sargent, Paul Cézanne, Theodore Robinson, and Mary and Frederick MacMonnies are among the better-known painters who patronized the Baudy. Of course, not all of the artists who stayed there found fame and fortune, and some original artworks, traded in lieu of room payment, still hang behind the wooden bar.

I lock up my bike next to a large patch of lawn that was once a tennis court and approach the terrace.

“One for lunch, please.” A glass of rosé arrives quickly, closely followed by l’assiete du soleil, a huge plate of roasted summer vegetables, parmesan and cured ham. The sound of gravel crunching underfoot as waitresses flit between the tables mingles with the bright chatter of the polyglot lunch crowd.

Afterward, I wander around the restaurant’s back garden, poking about the sunny atelier, which was built in 1887 to accommodate the many artists-in­residence. Dust specks drift in the air, and the cobwebs are thick. Pots and brushes lie about, and an unfinished painting rests on an easel. It feels like the last artist simply put down his brush and walked away.

As I had feared, a long line of visitors are waiting to enter Monet’s home, snaking a few hundred yards up the road, so I turn instead to the many art galleries that pepper the main street.

There seems to be something for everyone here, from surprising modern street-art-inspired canvases to cloying pastoral scenes.

Modern-looking Espace 87 catches my eye, and, wandering in, I chat with the personable gallery manager and sculptor Alain Brieu. I remark upon the high number of galleries for such a small town. Brieu points out that the town naturally attracts art lovers; even if only a fraction of the half a million or so that arrive every year actually buy something, it is enough for many businesses to flourish.

“Are there any impressionist artists here now?” I ask.

“Impressionist painters don’t exist anymore, there are only imitators,” he declares, in a way I’ve come to see as distinctly French. There are certainly plenty of those around. Brieu shrugs. “Nobody can afford to buy real impressionist art now.”

Well, not in the medium the artist originally intended. But Monet’s works are emblazoned on everything from umbrellas to mugs to tea towels on sale in the gift shops. “It’s dreadful! Truly dreadful!” Brieu says. “The only things that aren’t dreadful are the prints, but why not buy an original piece of art instead?” With a smile, he gestures to those hanging on his walls.

Lily pads and frogs in the summer at Giverny’s famous Water Garden. (Fondation Claude Monet, Giverny)

I arrive at Monet’s house just after 4 p.m. As I enter the famous gardens, I take a deep breath and brace myself for a seething mass of tourists. But to my surprise, it is calm. People wander here and there among the flowers or rest on benches.

Flowers of every color fill my field of view, seeming to crowd in, nodding slightly in the breeze. It looks like a paint factory has exploded. Divided into rows, dominated by a wide central path leading to the front door of his home, the garden called Clos Normand is structured quite traditionally, yet it feels overgrown in a pleasing, messy, impressionist kind of way.

As I take a few photographs, it strikes me how difficult it is to find perspective here. The density of plant life in all of its colors makes judging distances difficult, and I’m surprised to see a small girl walk by me, only about two feet away, on a parallel path utterly hidden from my view. Bees buzz. Children pose for their parents in the warm sunshine.

Then I come to the road.

Rumbling with trucks and local traffic, it literally cuts Monet’s gardens in half. Visitors are protected by an underpass, and high walls hide it from view. But as I approach the bottom of the garden it’s impossible to miss, and I’m surprised that it has never been diverted.

Emerging moments later on the other side, I find the landscape radically changed. A lush oasis of clear pools, huge ferns and a forest of tall green bamboo as thick as my wrist constitute Monet’s famous Water Garden.

Branches of huge weeping willows brush the surface of the still water, creating ripples. A brilliant blue dragonfly perches beside a shaded stream, so still I think it might be asleep. The famous arching green bridge is held tight with densely winding purple wisteria. The subject of countless paintings and photographs, it is now crowded with picture takers: In their bright summer clothes, from a distance, they look a bit like flowers themselves.

Claude Monet’s kitchen in Giverny, France. (Fondation Claude Monet, Giverny)

It’s calm here, and I sit on one of the many benches. An elderly couple walks past, quietly discussing the lilies in knowledgeable terms.

A big red truck goes by, the top of its cabin visible over the garden wall.

Eventually I make my way up to the house itself. Rose-pink with green shutters on the outside, and vibrantly painted inside, it is undoubtedly an artist’s home. Each room seems to have its own character, and strong, well-balanced colors give it a strangely modern feeling. Most surprising of all are hundreds of original Japanese wood block prints that were in Monet’s private collection. I recognize the name Hokusai, and I do a double-take to see a print of his unmistakable “The Great Wave off Kanagawa” hanging on the wall.

Leaving the home through its sunny dining room and adjoining china-blue kitchen, I look at my watch and get a shock; I’ve got exactly 33 minutes before my train departs. Exiting through the enormous gift shop, actually the studio in which Monet painted his famous “Water Lilies” series for the Orangerie Museum in Paris, I get on my bike and ride.

The salon in Claude Monet’s home in Giverny, France. (Fondation Claude Monet, Giverny)

Zooming down Rue Claude Monet, past the galleries, past the Impressionist Museum, past the Hôtel Baudy, I pause briefly at the church of Sainte-Radegonde de Giverny to pay my respects at Monet’s grave.

Half a lifetime away from the man who trailed into Giverny poor and with an uncertain future, the successful and prosperous artist succumbed to lung cancer at the age of 86. Rejecting the pomp of a state funeral, he was buried in this local graveyard with only family and close friends in attendance. Right at the end of the ceremony, in a moment that reads as if from a play, Monet’s longtime friend Georges Clemenceau, the former French prime minister, ripped off the black cloth that draped his coffin, declaring: “No! No black for Monet! Black is not a color!”

Today, the extended Monet family plot is covered in flowers.

Hartley writes travel, sports and lifestyle articles from her adopted home in Paris. Her website is

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Les Rouges Gorges

6 Rue Aux Juifs


A village within a village. Cute timber and stone cottages placed around a paved courtyard overgrown with flowers and greenery make this a welcome BB stay in the medieval center of Giverny. Rooms from about $60.

Les Arceaux

49 Rue Claude Monet


A spacious and stylish two-story home with a large garden, terrace and patio. A couple of minutes’ walk from the Claude Monet Museum. Rooms from about $140.

L’Ancien Hôtel Baudy

81 Rue Claude Monet


The canteen-turned-hotel that housed famous French and American artists in Giverny’s heyday. Take lunch under the dappled shade of the terrace. Entrees start at about $18.

Le Petit Giverny

41 Chemin du Roy


Hidden a street away from the relatively busy Rue Claude Monet, this brasserie-grill serves up tasty steaks and fresh regional produce. Entrees start at about $16.

Fondation Claude Monet

84 Rue Claude Monet


Visit the home where impressionist painter Claude Monet spent half of his life and the gardens that inspired some of his masterpieces. Open daily from March 28-Nov. 1, 9:30 a.m. until 6 p.m. Last admission 5:30 p.m. $10, children ages 7 to 17 and students about $6, younger free.

— A.H.

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Master Gardener Volunteer training offered

JUNEAU – If you are a veteran gardener or a novice, and would like to learn more about gardening and landscaping, consider participating in the next Master Gardener Volunteer Level 1 Training Program.

Dodge County UW-Extension will offer a 13-week Level 1 Master Gardener Volunteer Training from 6 to 8:30 p.m. on Tuesday evenings beginning Feb. 2 and concluding in late April. Training will be held at the Dodge County Administration Building, 127 E. Oak St. in Juneau.

Participants are required to attend a mandatory orientation meeting on Tuesday, Jan. 19, at 6 p.m. at the Administration Building. This program is only offered in Dodge County every other year.

The program cost includes training, a comprehensive set of UW-Extension horticulture publications, and a one year membership to the local and state organization. The training is open to the general public and participants must be at least 18 years of age.

Registration will be on a first come, first served basis and class size is limited to 25 participants. Registration deadline for the class is Friday, Jan. 15. Acceptance into the class will be contingent upon passing a background check.

For more information, call the Dodge County UW-Extension Office at 920-386-3790.

This Dodge County program is not solely internet-based, but rather features a variety of hand’s on labs plus University of Wisconsin specialists and other guest speakers with expertise and knowledge on a wide range of different topics each week including: preparing soils for optimum plant growth, plant propagation, backyard wildlife, landscaping, insect identification and control, annuals and perennials, fruits and vegetables, native prairies, turf grass management, plant diseases, and weed control.

Participants are expected to come to class prepared by reading the manual and watching the online lecture series. If participants do not have access to a computer, they can make arrangements to use one at the Extension Office.

Successfully completing the training program is the first step to becoming a Certified Master Gardener Volunteer and a member of the Dodge County and Wisconsin Master Gardener Associations. Participants must also complete 24 hours of community service by October of the year after their training. In exchange for training, participants share their time and knowledge in approved education projects in their local area.

Community service work can easily be accomplished through working on local community projects, providing educational assistance and training, or serving with other Master Gardeners at the local Help Line. Dodge County Certified Master Gardener Volunteers work at local public gardens, nursing homes, community beautification and education projects, home show exhibits, county fair displays and much more!

For more information about the Dodge County Master Gardener Volunteer Level 1 Training Program, or to register, contact the Dodge County UW-Extension office at 920-386-3790, visit the Dodge County UW-Extension/Master Gardener Association website at or connect on Facebook.

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Arboretum Third Saturday Series Resumes Jan. 16

The Hamilton College Arboretum Third Saturday series continues on Saturday, Jan. 16, with Steve Blair, International Society of Arboriculture (ISA) certified arborist and representative of Bartlett Tree Experts. He will present a lecture titled “From the Cradle to the Grave, Tree and Shrub Care for the CNY Homeowner” at 10 a.m. in the Taylor Science Center’s Kennedy Auditorium.

Blair has been providing tree care services in central and northern New York since 1987. He has worked in the field as a climber, foreman, supervising foreman and plant healthcare specialist. Blair is also a certified pesticide applicator in the ornamental/turf and public health categories.

Blair will discuss tree and shrub nursery stock, planting, insects, diseases, deer and rabbit damage, soil characteristics, plant structure, pruning and removal. Attendees are asked to think about their plant frustrations over the last few seasons and come with questions.

Parking is available near the building. All Arboretum events are free and open to the public and everyone interested in gardens and landscapes is encouraged to attend. Pre-registration is not required.

Coming up:
Saturday, Feb. 20: “Springtime in Japan” with horticulturist Carol Bradford, gardening columnist for The Post-Standard (Syracuse, N.Y.).
Saturday, March 19: “Residential Garden Profiles” with landscape designer and garden writer Judy Nauseef K’73.
Saturday, April 16: “Luscious Landscaping, with Fruiting Trees, Shrubs, and Vines” with Lee Reich, plant and soil researcher, consultant and writer.

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Tips for staying safe in the garden this year – Delta

My credentials for advising on safety in the garden are, frankly, a little dodgy since I’ve had more garden accidents than most people. But that’s how I learned what actions are best avoided – and their consequences.

It’s so important to wear safety glasses outside, but it took me two scratched corneas to do so. Dangerous neighbourhoods for eyes include trees and shrubs that spring back in your face when you work on them and tough weeds that release violently and shower your face with earth.

Face-height plant stakes are another nasty for unprotected eyes.

Topping them with small jars looks ugly, pill and film containers blow away. Wine corks look great, but drilling the holes puts fingers at risk. Until the perfect solution emerges, glasses are safer.

In the years I was clearing rocks to enlarge the vegetable garden, I had gardener’s back two or three times a year because I was determined to be a gardening hero.

The gardening hero works on after they get tired, focuses on one task until it’s finished and

never takes a break by turning to something that works a different part of the body. Gardening heroes persist using metal wheelbarrows until they’re so old their joints stop co-operating.

The problem with lifting injuries is it’s so easy to underestimate how heavy something is. My most memorable accident came from lifting a small tub of water lilies. I still don’t understand why I didn’t tip the water out first.

Outside, one can slip at any time of year on mossy lawns, steps and walkways. Algae-covered decks and stairs are even more dangerous. Round slices of tree-trunks as walkways in gardens are lovely in summer but their algae coating in winter is an invitation to the bone clinic.

In summer, gardens have

other slipping hazards, especially on slopes of dry grass. Chances increase when people wear shoes with thin, flexible treads. That’s why I had several close encounters with a lawn mower at the foot of our steepest slope. What is safest (though difficult) is to stay covered up in

summer while gardening.

Ideally this means longsleeved shirts to protect against sunburn and hats to shield heads.

Gardeners close to forested areas might add tall rubber boots if they’re among trees and shrubs because ticks are out there attacking silently and painlessly. I didn’t know I was bitten until one fell out of my hair.

Even relatively benign garden products need care. Lime sulphur and insecticidal soap are agonizing if they get into eyes. Mixing dusty fertilizers is a lung hazard unless you wear a mask or do the mixing outside while standing upwind.

But most injuries are the small, everyday slivers and scratches that occasionally get infected. That’s why wearing garden gloves can solve problems before they start. Unfortunately, many are stiff and clumsy. Thin leather gloves are thorn-proof and flexible but expensive. Alternatives include closely-woven fabric gloves such as Foxgloves that protect against all but large, determined thorns.

One vital protection for gardeners is the tetanus shot, which should be boosted every 10 years. Medical attention for any deep puncture wound is also vital.

Best wishes to you all for a safe New Year as well as a happy one.

Anne Marrison is happy to answer garden questions. Send them to her via It helps me if you mention your city or region.

© 2016 Delta Optimist

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Michael Wheeler: Tips for combatting soil compaction in garden

If you call the office to discuss a problem with your landscape, one of the first things I am going to ask you about is soil testing.

You get a wealth of information from the $8 test. And the results are eye-opening since it tells you pretty much all you need to know about the “chemical” side of the problem.

But that is just half of the clues you need before receiving a diagnosis.

The remaining half deals with the “physical” side.

The major physical problems gardeners, farmers and landscapers face in the next growing season is compacted soil because of the ridiculous amounts of rain we have seen this fall and early winter.

Compacted soil can create many problems for plant growth, and it needs to be monitored and addressed. When soils are hard and compact, roots cannot develop, water does not pass through and overall soil health is reduced.

I see so many failures with new plantings because the soil was not properly prepared and compaction was not reduced.

One reason plants do not blossom in hard soil is because plants are somewhat lazy. If they can find water and nutrients without spending a lot of energy, then that is what they will do.

Locating plants in loose soil allows them to root down deeply in the soil. And it is one of the best things you can do in order to get your plants established. A loose soil also means any water given will go straight down to the root zone and not run off the surface, which it would if the soil were compacted. Nutrients also are more available and easily accessible to the plant because of the extensive root system.

If you have a large area with compacted soils such as turf, one of the easiest ways to fix the problem is to core aerate. A core aerator pulls out a plug of soil and creates little finger-sized holes throughout the turf. Core aerate only when the turf is actively growing. Do not aerate when it is dormant or even in transition in the spring.

If you have a small area such as a raised or annual bed, battle compaction is easy. Simply change the physical characteristics of the soil entirely by adding compost.

Compost is the “black gold” every gardener wants and it is easy to do. Compost happens; no matter if you pile leaves and let them sit for a year or if you create a bin and actively manage the pile by turning and monitoring the progress. Compost can be created in as little as three or four months or as long as a year.

If you have a flower bed or a vegetable garden, add 3 inches of compost to the soil and mix well. The compost will change the way the soil feels in your hands. It will make it nice and crumbly and easily worked.

In other words, plants will love it and thrive.

Michael Wheeler is county extension coordinator for the UGA Cooperative Extension office in Hall County. You can contact him at 770-535-8293, His column appears weekly and on

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How to steal a view for your garden

Garden designers have a trick for making the most of the views in your garden: They borrow scenery from the neighbors — or from the nature and architecture around you.

Borrowing a view means taking full advantage of the backdrops outside the boundaries of your own property and making them yours by framing them in your landscape design. The idea isn’t new — it comes from old Chinese and Japanese design principles. European and American garden designers adopted the idea eagerly; prospects in the great garden at Versailles outside Paris, designed by Le Notre in the 18th century, embrace the countryside beyond the fabulous estate.

Modern garden designers rely on borrowed views to this day. “Absolutely. Borrowed views are everything,” says Matthew Cunningham, a landscape architect and principle of Matthew Cunningham Landscape Design in the Boston area. “For us,” he says, “looking at the context of the site means looking outside the property lines, to see what elements or features we can pull in as part of the garden.”

Cunningham has done this most spectacularly at a garden on the coast of Maine, where a small stone patio at the edge of a property on Mount Desert Island provides a contemplative spot for taking in the dramatic water view. The patio unites the garden and the view.

Water, trees and architectural elements can all be part of dramatic and beautiful borrowed views.

But you don’t have to live next to the ocean — or mountains, woods, meadows or marshes — to grab a dazzling bit of scenery. In another client’s garden, the master bathroom skylight was placed to give the owners a view of the graceful branches of a large oak tree near the house. “You never think of the sky as being a vista,” Cunningham says, “but it is.”

Trying to discover the potential of borrowed views is “one of the first things we do when we first start working on a project with a client,” Cunningham says. The good views, and the bad views (which can be screened), are taken into consideration all through the planning process.

It often takes a practiced eye to discover the untapped potential of neighborhood scenes. Colleen Hamilton, a garden designer and owner of Bloomin’ Landscape Designs in Carmichael, California, says a client she worked with disliked the Italian cypresses her neighbors had planted and wanted to screen them out. Instead, Hamilton framed the view of the stately stand of cypresses, developing her client’s garden with an Italian theme that was reinforced by the borrowed view.

“We added a statue and an arbor, and with the cypress in the background, it was a fantastic view,” she says. “Without that, it wouldn’t be the same.” The client was thrilled.

Water, trees and architectural elements can all be part of dramatic and beautiful borrowed views, Hamilton says. A mature tree not on your property but shading it gracefully gives even a new garden instant aristocracy. In areas where shared green space is part of a suburban landscape, wrought iron fences instead of board fences allow you to visually extend the perspectives from your property, making even a small garden seem larger.

“Use every possible view, and make it something special,” Hamilton says.

You want to look for the views you can use, whether it is to steal them, create them or augment them. Susan Cohan, garden designer

Susan Cohan, a garden designer and owner of Susan Cohan Gardens in Chatham Township, New Jersey, says she uses borrowed views to give her clients “more than they expected.” Borrowing views “is the first thing they teach design students,” she says. “You want to look for the views you can use, whether it is to steal them, create them or augment them.”

Study your property from every angle, she suggests, so you don’t miss a chance. Walk around, of course, but sit down, too, in the spot where you are considering placing a patio, a fire pit or even just a garden bench. Study garden views from inside the house, too.

“It doesn’t have to be something grand or long,” Cohan says. One of her clients made the most of the wall of a neighbor’s garage, painting it to complement her own garden. “Borrow that,” Cohan says, “but ask permission, of course.”

Cohan also suggests using mirrors to create unexpected new views of your own pretty garden. A mirror mounted in an old window frame and hung on a fence will appear to show a landscape beyond your garden, even though it actually reflects the beauty within.

Cohan admits that her own fantasy view, “a castle on a hill in the south of France,” may be unrealistic, but it helps remind her to keep her eyes open for opportunities. If you let your property lines also mark the boundaries of your imagination, you might miss something great.


Matthew Cunningham, Matthew Cunningham Landscape Design,

Colleen Hamilton, Bloomin’ Landscape Designs,

Susan Cohan, Susan Cohan Gardens,

▪ To find a garden designer in your area, check the web site of the Association of Professional Landscape Designers,

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2016 trends in garden design

For the full story, on, click here

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Hillview and Bransford back garden design

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Next Generation Eureka kicks off

On Wednesday evening around 100 Eureka residents under 30 gave their input on the city’s General Plan and future projects and came up with some ideas of their own.

“I hope to engage the next generation of Eureka,” Eureka Community Development Director and event organizer Rob Holmlund said of the goal of the meeting.

The Wharfinger Building was packed with people and far exceeded Holmlund’s goal of having at least 40 present.

Before the presentations and workshops started contemporary Top 40 hit songs played on the sound system as people chatted or voted in several polls that were on the wall. One asked where people would like to see city revenue spent and provided options for people to vote for.

Votes filled the cups for non-motorized transport, economic development and street maintenance or repair.

Another poll provided stickers that people put under their answer for whether or not they’d like to see the city grow, the vast majority wanted more growth.

Sticky notes adorned the walls with attendees’ ideas for what they’d like the city to look like in 20 years. The most common terms on these notes were “clean” and “safe.”

Attendance was so high that more chairs were brought out to accommodate the growing crowd yet still people stood at the back of the hall as the presentation started.

Connor Callison, the 18-year-old Eureka High School grad whose meeting with Holmlund inspired the event, opened the meeting with a short speech.

“We’re going to take the city in 10-15 years and I’d rather have it be our city instead of one someone planned for us,” he told the crowd.

Holmlund said he’s been looking into doing an event like this over the past year ever since he noticed that residents under 30 years of age were an underrepresented demographic in city and public meetings. The city is currently working on drafting the new General Plan Update that will be good until 2040 and is looking for public input, he said.

“It’s a pretty good time to get involved in what the city’s going to be,” Holmlund said to the crowd.

As he was thinking of doing something like this he met Callison, who stood out to him because of a business idea the Eureka High grad had. Callison said he wants to start a “maker’s space,” where people can have access to revolutionary technologies like a CnC machine — a tool for precise cutting, carving, drilling or machining — as well as a 3D printer and a laser engraver.

“My intent for this is sort of to be a business catalyst,” Callison said.

Creative minds and entrepreneurs would pay to access this space and machinery to start their own businesses or invent their own things.

“Otherwise this machines are super expensive,” he said. “They wouldn’t be able to afford it.”

Once the two started corresponding, Callison posted on Facebook to see if his friend group and others his age were interested in getting involved in the city’s plan. There was.

Following his speech to Wednesday’s meeting, Callison introduced Holmlund, who spoke to the crowd on the ins and outs of city governance. Holmlund also gave previews of potential future city projects like parklets, alley and waterfront improvements, parking, food trucks and pop-up retail.

He then split the crowd into six groups to discuss ideas for the waterfront, night life, outdoor activities, economic development, making the city cleaner and safer and how to make this a Portland-style city. At each station someone took notes that will be compiled and considered during the decision making process of the general plan update.

At the waterfront station, local architect Kash Boodjeh sat with a large waterfront map and noted ideas for how the space should be used. Ideas stretched from landscaping, to what type of businesses should go there and to an outdoor amphitheater shielded from the elements for concerts, plays or dances.

At the economic development table one attendee discussed the need for more jobs opportunities for young people. At the outdoor activities people brought up the need for better parks as well as supervised parks for parents and kids.

Local Ashleigh Jordan said she attended the event to get involved in the future of Eureka and plans to keep participating in local governance.

“I came just to see what other people my age were thinking,” she said.

Hunter Cresswell can be reached at 707-441-0506.

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Griffon to Participate at CJS Securities “New Ideas for the New Year” Investor …

NEW YORK–(BUSINESS WIRE)–Griffon Corporation (NYSE:GFF) today announced that it will present at
the CJS 16th Annual “New Ideas for the New Year” Investor
Conference in New York, NY on Wednesday, January 13th. A copy of
Griffon’s latest investor presentation, which will be used at the
conference, will be available at the time of the conference in the
investor relations section of Griffon’s website (

About Griffon Corporation

Griffon Corporation is a diversified management and holding company that
conducts business through wholly owned subsidiaries. Griffon oversees
the operations of its subsidiaries, allocates resources among them and
manages their capital structures. Griffon provides direction and
assistance to its subsidiaries in connection with acquisition and growth
opportunities as well as in connection with divestitures. In order to
further diversify, Griffon also seeks out, evaluates and, when
appropriate, will acquire additional businesses that offer potentially
attractive returns on capital.

Griffon currently conducts its operations through three business

  • Home Building Products consists of two companies, The AMES
    Companies, Inc. (“AMES”) and Clopay Building Products Company, Inc.

    • AMES is a global provider of non-powered landscaping products for
      homeowners and professionals.
    • CBP is a leading manufacturer and marketer of residential,
      commercial and industrial garage doors to professional dealers and
      major home center retail chains.
  • Telephonics Corporation designs, develops and manufactures
    high-technology, integrated information, communication and sensor
    system solutions for use in military and commercial markets worldwide.
  • Clopay Plastic Products Company, Inc. is an international leader in
    the development and production of embossed, laminated and printed
    specialty plastic films used in a variety of hygienic, health-care and
    industrial applications.

For more information on Griffon and its operating subsidiaries, please
visit the Company’s website at

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