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Me, painting a pattern on a client's floor in their new condo in Dallas, Texas years ago. Our company was Rosetree Arts & Signs.
Project built in SL for a Real Life client's build. I was allowed to sell the bar building in SL, unfurnished!
Coming soon @Asha Homes store.
This was a contract client's design I carved from wax to finished piece. Hand bead set and hand carved individual beaded edging on each leaf.
Platinum and diamond.
Mother/Daughter photography was on the job today. This is one of our client's favorite places to meditate. Not too shabby at all!
Not my baby. A client's baby.
Nikon F100, Kodak Portra 400 film, on-camera flash bounced off the wall/ceiling for a windowlight effect.
After Rolls-Royce Ltd. had taken over its competitor Bentley Motors in 1931 in a secret action without W.O. Bentley knowing anything about the coup, the challenge was to build a new model at Derby combining the Rolls-Royce benchmark (highest quality, absolute comfort, easy operation and reliability) with the sporty tradition of the W.O. Bentley cars of the twenties. Hence was born the concept of "the silent sportscar", initially introduced as the 3 1/2 Litre, from 1936 onwards as the 4 1/4 Litre. They were faster and more sporty than their Rolls-Royce sisters 20/25 and 25/30 and as such attracted a new clientele for Rolls-Royce Ltd. The last cars of this model, the MR and MX versions, featured a modified (longer) final gear ratio and improved steering. The "Derby" Bentley was the benchmark of the late thirties, its combination of performance, quality and comfort, and also the price, being far superior to all its competitors.
In the usual tradition of the thirties, Rolls-Royce Ltd. built the rolling chassis (complete and fully operational car without coachwork and interior) and authorised the most qualified coachbuilders to design and build the coachwork according to the ideas of Rolls-Royce Ltd. and to the client's specific requirements. Vanden Plas, who was the coachbuilder very much favoured by Rolls-Royce, made the Vanden Plas tourer design which became the most sought-after variant given its timeless beauty and its light construction which ascertained an excellent performance.
This particular car, the Bentley 4 1/4 Litre MX Vanden Plas Open Tourer chassis no. B91MX, is very desirable for a number of reasons. Having been delivered originally to Mr. Mary Proctor, B91MX was owned for many years by the Hon. Alan Clark, a prominent Member of Parliament but even more famous as one of England's most knowledgeable and experienced car collectors. Since 2005 B91MX has formed part of a European private collection. It was in this new context that a full restoration by leading expert and authority P. & A. Wood was carried out.
Chassis number : B91MX
Engine number : Y3BA
Engine specification : 6-cylindre 4.257 cc engine
Gearbox : MX overdrive gearbox
Commissioned by Gilded Age banker and developer, Ogden Goelet, as his family's summer residence, Ochre Court (1888-1892) is the first of a group of spectacular houses in the Grand Manner designed by Richard Morris Hunt, America's foremost architect of the late nineteenth century. The mansion was gifted, in 1947, by Ogden's son, Robert, to the Religious Sisters of Mercy who established Salve Regina College.
For this limestone palace overlooking the reddish seacliffs that give the estate its name, Hunt drew his inspiration from the late medieval period in French architecture. With its high roofs, turrets, whimsical gargoyles, and tall chimneys, Ochre Court recalls the style of Francois I, a transitional era when established medieval elements like the pointed Gothic arch and heavy stained glass were lightened by newly-emerging Renaissance details including rounded arches and delicate lacy ornamentation. The Atlantic Ocean is ever-present, framed by windows and terrace entrances, reflected in mirrored walls, and repeated in symbolic motifs. Hunt emphasized the social position of the Goelet family and their patronage of learning and the arts with exuberant decoration both within the house and on the grounds. In classical ceiling paintings, royal heraldic devices, carved emblems and statues, and a rainbow of antique stained glass, the architect signaled his client's aristocratic status and intellectual interests. Inside the mansion, Hunt used details from French Gothic chateaux and churches to create a Great Hall, which soars upward for three stories and dramatically frames a seaward vista. Radiating off the Great Hall, both the impressive ground floor reception rooms and the private upstairs family rooms, which are now University offices, were richly designed with imported antique fireplaces and lavish wallcoverings. The formal gardens and walkways of Ochre Court, designed by the Olmsted Brothers, are shaded by several mature specimen trees including the dramatic Copper Beech (Fagus sylvatica atropunicea), a European variety that reaches a height of 80- 90 feet. The exquisite blossoms of the Kousa Dogwood (Cornus kousa) transform the grounds in June. The dense flower heads this Far Eastern native are surrounded by creamy-white bracts.
The Goelets were an established American dynasty that had grown from humble eighteenth century trade. Ogden Goelet was one of the most famous competitive yachtsmen in the world. His wife, Mary Wilson Goelet, was one of the most important hostesses of her generation in a time when the operation of Ochre Court during a typical eight-week summer season required twenty-seven house servants, eight coachmen and grooms, and twelve gardeners. Their daughter, May, married the English Duke of Roxburghe, taking with her an $8 million dowry, while their son Robert became a major force in the development of American railroads, hotels, and real estate.
It was Robert's gift of Ochre Court to the Religious Sisters of Mercy in 1947 that established the then Salve Regina College in Newport. The stately fify-room mansion was the entire college for the first few years, with the original fifty-eight female students living on the third floor. The original fifty-eight women students lived on the third floor, attended classes on the second, studied, prayed, and dined on the first, and snacked and purchased books in the basement. The eight Sisters of Mercy who made up that post-war faculty established their own modest living area in the servants' quarters. Salve Regina University has since grown to encompass over 60 acres and more than two dozen buildings, yet Ochre Court remains its heart.
This is a private commission that was taken at the client's home. I used 3 speedlights (2 of which were fired through brollies) - one in front of the client to my left, one behind the client to my right and one fitted with a gel and fired onto the background. I added some grain in post processing.
Canon 5D MKII.
Canon EF L IS 70-200 @ 120mm.
1/200sec @ f8 @ ISO100.
A natural light headshot session photographed at my client's home. The changing light made it near impossible to use studio strobes properly, so I used reflectors and natural light instead.
This was a commissioned project. The client's specific request was fish without stripes so I tried to provide variety through the fins, tails, and glass selection.
Client's profile: www.facebook.com/keili.arts
For work, commission or collaboration please reach out to: www.instagram.com/momento.r_/
This is my home health Client's daughter's flowers. They look pretty 'poopie' now so I'm glad I preserved their beauty.
So I'm looking for a weight vest. Big purchase, hundreds of bucks, I
know nothing about how to buy one. My instinct is to go online and
find some sort of user forum where people have posted opinions about
weight vests. I check metafilter, then google, then amazon. On amazon
I punch up a couple of vests that have no reviews, then I find the
review pictured here for an Everlast vest.
First instinct: this guy is associated with XVest. There are many
examples of this sort of guerilla internet marketing, in fact I had a
date with a woman whose full-time job is to lurk in travel chat
rooms, assuming one of a number of pseudonyms, and advocate for her
client's travel products.
More evolved sites have addressed this. Notice the "see all my
reviews" button. I clicked on it. This guy has reviewed all sorts of
shit, and one look at his review of Boards of Canada's _Campfire
Headphase_, which I have pasted below, is all I needed. This guy is
for real, and I ain't buying the Everlast vest.
18 of 25 people found the following review helpful:
Rembrandt and Van Gogh reincarnated..., October 23, 2005
I get it...I finally get it. It's no wonder that BOC's Michael
Sandison and Marcus Eoin (Sandison) have revelead they are brothers.
It takes two people from the same genetic gene pool to make music
THIS GOOD. After listening to their latest masterwork, The Campfire
Headphase, I now understand what BOC's music is meant to portray. I
believe that Boards' music is a virtual road map of the human soul.
Each new album and release Boards puts out is a musical
representation of a particular stage in human exisitence. The
Campfire Headphase represents "adulthood". Follow me for an
interesting ride.
Music Has The Right To Children in 1998 was BOC's seminal work. It
was their first official LP. Through inference of the title, this
album represented "childhood". Each song has a rustic, analog feel to
it. The album is replete with children laughing, saying "I love
you" (Color of the Fire), learning shapes (Triangles and Rhombuses)
and counting with the teacher in elementary school (Aquarius). There
are references to educational films and public television (One Very
Important Thought). Even "Telephasic Workshop" is a play on words as
compared to The Children's Television Workshop, who brought us
childhood classics such as Sesame Street and The Electric Company.
MHTRTC contains tons of samples from these two shows.
Music... is Boards' universally worshipped album because so many
adult listeners discovered it in their late 20's and 30's, when their
formerly optimisic youthful lives had become sad, corrupted and mired
in work, bills and bad relationships. This album reminds us of the
tender, innocent, happy childhood we lost yet is not too late to
recapture.
This brings us to Geogaddi in 2002, BOC's second, most controversial,
and the most polarized amongst their fans. The reason why is simple--
Geogaddi represents "adolescence" and young adulthood, say between 13
and 28 or so, a good 15-year period. Geogaddi's music is intrusive,
in your face and agressive, like a teenager enraged with hormones,
confused and aroused by his newborn sexuality. The music is powerful,
crisper, and braver than the previous album yet intentionally
pretentious and insecure, reminiscent of a teen's false bravado in
his/her attempts to lure a sexual partner. Titles like "Julie and
Candy", "Beware the Friendly Stranger" implies sexual predation and
curiosity. "Opening the Mouth" and "You Can Feel The Sky" refer to
the intense feelings of losing one's virginity. Young people are now
in high school or college, learing more advanced and complex subject
matters, such as mathematics, music and formulas (Music is Math, The
Smallest Weird Number, A is to B as B is to C, Dandelion). The
childhood represented in MHTRTC is now disgusting to the adolescent
know-it-all in Geogaddi. One can't wait to bid childhood "bye, bye,
bye, byeeeeee..." as in Sunshine Recorder. In fact, you'd better
"record" bits and pieces of your childhood "sunshine" or they will be
gone forever. BOC did and that's why MHTRTC was so great in recording
childhood sensations. Keep in mind, teenagers and college students
feel they are at an age where they feel the world revolves around
them. The very name "Geogaddi" means "to revolve around the world
TWICE". Teens must be so vain, eh? Fans recommended to "play
[Geogaddi] TWICE before listening". It is at this time in our lives
that we may experiement with drugs or become entrenched with unsavory
company, such as cults, as evidenced by so many references to
subliminals, Satanists and Branch Dividians (The Devil is in the
Details, 1969, etc.) "Gyroscope" takes the innocent number counting
of "Aquarius" and subverts it into a perverse, schizophrenic parody
of number-obession. BOC endured a lot criticism by fans, as they
interpreted Geogaddi to have lost that "warm sound" and suffered a
sophomore's jinx. Geogaddi gave so many listeners an awkward, angry
experience, reminding them of unpleasant adolescent memories,
triggering sensitive moments of dread, sexual shame and rebellion.
These are the haters of Geogaddi. Others are reminded of young
acheivement, sexual conquest and higher learning. These are the
lovers of Geogaddi. I tend toward the middle, leaning toward the
hating side. My life sucked between 12 and 30, especially in romance
and finance. Geogaddi nails each angry, black, self-loathsome feeling
I ever experienced with spades. I hate them for planting the mirror
to my face, exposing my flaws to the world yet love them for doing so
in order to learn to love and heal myself and thusly prepare me for
the next ablum...The Campfire Headphase.
The Campfire Headphase represents solid adulthood--your 30's and
40's. Like the Sandison brothers, many people at this stage of life
are married, and/or have children. They may have secure jobs and
prefer a Netflix night rather than a wild night of clubbin' and
sluttin'. Geogaddi's music was electric and virile, like the pompous
high school football star. Headphase's music is acoustic, organic and
mellow, like getting stoned by a campfire. The initials of this album
is TCH, which could very well be an anagram of THC. The biggest
obsevation about this album is its use of guitars (or clever guitar
samples). Those who complain about the guitars (which are only
noticable on a handful of tracks) do not understand that acoustics-a-
la-Music70 were going to be a natural progression of Boards' music.
To make a sequel to MHTRTC would have been a lazy, backwards
decision. To create "Music Part 2" would have invalidated Geogaddi
completely, reducing it as a self-indulgent mistake (some obtuse fans
wouldn't mind this outcome). There was no way Mike and Marcus was
going to allow that to happen. TCH had to be mellow in order to allow
us to contemplate the harshness of the near-indigestible Geogaddi and
to fully appreciate how beautiful, and necessary that album was to
understand ourselves. Every time I listen to TCH, Geogaddi becomes
even more special. You have to take the sweet and the harsh, as in
Boards of Canada and as in life. You don't really understand that
lesson until you are in your 30's. God bless you Boards for guiding
me through that lesson. When I heard Peacock Tail, I understood
everything...why I went through the type of life I've led so far, the
smart decisions and foolish mistakes I've made in my life and why my
childhood sounded like MHTRTC and why my teens and 20's felt like
Geogaddi. Peacock Tail is the only Boards song other than Aquarius
that made me cry on the first listen.
TCH is an album of crisp, digital music. It feels almost like BOC in
high-def surround sound. The way the BOC-brothas equalize and alter
their music envelops me and a warm sea glass cocoon. Every song feels
like subliminal line noise is dancing through them, as if my
headphones are too close to my wall and I can hear random radio
singals through the electral outlet. My favorite tune as of this
writing is Slow This Bird Down, not for its melody or message, but
just for sheer technique. How is it possbile that a song transmutes
itself into a scratchy, broken radio transmission? Constants and
Changing uses the EQ to mess with your ears; parts are muffled,
others are pronounced. Your ears are fighting to pick up something
precise in the song, like an amorphous signal from outer space.
Brilliant. This album celebrates the freedom, leisure and self-
assuredness of adulthood (A Moment of Clarity, '84 Pontiac Dream) but
also reminds us that this period of life still brings heartbreak and
sadness. Farewell Fire is the one of the most heartwrenching and
saddest pieces I have ever heard--a 21st Century version of
Albonini's Adagio in G Minor for Strings and Organ. Eveytime I hear
this piece I think of the only woman to ever break my heart twice and
how the pain still manages to linger to this day (you know who you
are, Michelle...) This song also has possibly the longest fade out in
the history of man.
Guitars are nothing new with this album. BOC has been using analog
instrumentation long before the Twoism days. I have a friend in
Ireland who managed to get a hold a copy of two unreleased BOC demo
cassettes and a copy of the almost-mythical Acid Memories from 1989.
Yes, these tapes are authentic. No, you won't get a copy from me or
online. This music is not even on any file-sharing programs and trust
me, I have 'em all. You won't find them on the internet, period.
Based on these unreleased recordings, these cats have had the guitar
down cold for a long time. TCH is the perfection of organic
experimentation. Chromakey Dreamcoat and Hey Saturday Sun are
examples as such. Even the crunchy "squeaks" from the guitar strings
are sampled to the point of being part of the beat sequence. The
guitar riffs on Chromakey are so deconstructed, that they sound more
like a Japanese shamisen rather than the former instrument. You can
listen to this song forever and that's why Boards slams the brakes on
this song at the end, snapping you out of a surreal hypnosis. It is
already a fact that Boards have been influenced by psychedlic acts
like The Incredible String Band. The Band's flutes and guitars have
been sampled by Boards on Geogaddi and before.
Those who dismiss this work as inferior to MHTRTC have completely
missed the point. Listen. Everyone, mark my lips...There will NEVER
EVER be another album like MHTRTC! There I said it. Just like there
will never be another Michael Jordan, Malcom X, Nikola Tesla or Jimi
Hendrix, we will never see another BOC album like Music...so stop
wishing for it. Everything Boards cranks out to the public is equally
beautiful in thankfully different ways. Their sound is evolving at an
exponential basis, drawing ideas and motifs from their previous works
and transmuting them into newer, greater and more complex
masterpieces. I'm not surprised that BOC needs months to work on one
song...and years just to make one full length CD. That's how insanely
layered their music is. I never trust any artist that jams out a CD
of new material every year containing crap that fans want to hear.
True artists make music for solely themselves. If he or she gets a
couple of fans along the way, all the better. Artists are also
idiosyncratically selfish because they are dissatisfied with the
current paradigm of their genre's art. They naturally crave to create
something that is self-authored, bringing the satisfaction of
creating something intimate and beautiful. BOC are just hitting the
3rd gear on their supercharged Minimoogs. I predict based on their
musical progression that there will be two more full albums before
they call it quits forever. The next album will highlight middle-aged
life and be released around 2008-2009 and their final album will face
old age, death and the transition around 2012. The circle will be
complete, or is it the "Hexagon"?
This is my longest review and I hope you survived it. If I bored you
to tears and you hate my review, so be it; that is your right. If
reading this made you a better Boards of Canada fan, then let's go
"Happy Cycling" together. This is a great album and it will take me
until the next album to fully understand it. We can no longer call
Boards of Canada "electronic" artists. They are in a unique category
with no equal, but with many wannabees. "Analog-Synthetic Musical
Digitalization and Enhancement" is the closest 'genre' I can think of
for Boards of Canada, a coy, brilliant duo that now belongs to no
genre. 5 stars once again, Mike and Marcus. Don't stop making music
for yourselves and thank you for another incredible journey in my
headphones.
The Port Arthur massacre of 28–29 April 1996 was a mass shooting in which 35 people were killed and 23 wounded in Port Arthur, Tasmania. The murderer, Martin Bryant, pleaded guilty for the incident and was given 35 life sentences without possibility of parole. It is the deadliest mass shooting in Australian history. Fundamental changes of gun control laws within Australia followed the incident. The case is regarded to be amongst the most notable massacres in Australia's history.
Location
The main location of the incident was the historic Port Arthur former prison colony, a popular tourist site in south-eastern Tasmania, Australia.
Perpetrator
See also: Martin Bryant
In 1992, Martin Bryant - then 25 - was bequeathed about $570,000 in property and assets from a friend, Helen Harvey, who left her estate to him following her death in a car crash.[6] He used part of this money to go on many trips around the world from 1993 onwards.[7] Bryant also withdrew many thousands of dollars during this period. He used at least some of this money in late 1993 to purchase an AR-10 semi-automatic rifle through a newspaper advertisement in Tasmania.
Bryant's father had tried to purchase a bed and breakfast property called Seascape, but Noelene (also known as Sally) and David Martin bought this property before his father could ready his finances, much to the disappointment of Bryant's father, who often complained to his son of the "double dealing" the Martins had done to secure the purchase. Bryant's father offered to buy another property from the Martins at Palmers Lookout Road, but they declined the offer. Bryant apparently believed the Martins had deliberately bought the property to hurt his family and believed this event to be responsible for the depression that led to his father's 1993 suicide. Bryant later described the Martins as "very mean people" and as "the worse [sic] people in my life."
In late 1995, Bryant became suicidal after deciding he had "had enough". He stated, "I just felt more people were against me. When I tried to be friendly toward them, they just walked away". Although he had previously been little more than a social drinker, his alcohol consumption increased and, although he had not consumed any alcohol on that day, had especially escalated in the six months prior to the massacre.
In March 1996, Bryant had his AR-10 repaired at a gun shop and made inquiries about AR-15 rifles in other gun shops. At the time of purchase, non-handguns were not required to be registered in Tasmania.
According to Bryant, he thought the plan for Port Arthur may have first occurred to him four to 12 weeks before the event.[8][9]
Motivation
Bryant's motivation for the massacre remains a closely guarded secret, known only to his lawyer, who is bound not to reveal confidences without his client's consent. The lawyer later released a book outlining that Bryant was motivated largely by the media reports of the then-recent Dunblane school massacre. From the moment he was captured, he continually wanted to know how many people he had killed and seemed impressed by the number. Bryant is only allowed to listen to music on a radio outside his cell, and is denied access to any news reports of his massacre. Photographers allowed in to take pictures of him in his prison cell were forced to destroy the film in his presence when the Governor found out
Gun laws in Australia before the Port Arthur massacre[edit]
A redesign of the laws for all States and Territories of Australia had been finished[by whom?] and presented at a meeting of police ministers in Launceston in 1995. It had been rejected by Tasmania.
Attacks
28 April 1996
The events of this day were pieced together after investigation by police. The facts were then presented in court on 19 November 1996.
Morning events
Bryant was awakened at 6:00 a.m. by his alarm clock. His girlfriend and other family members said he had never been known to use it since he did not work and had no other commitments. At 8:00 a.m., his girlfriend left the house to visit her parents. Bryant left the house and switched on the burglar alarm, which registered the time as 9:47 a.m.
Bryant travelled to Forcett, arriving some time around 11:00 a.m. He continued down to Port Arthur and was seen driving into Seascape down the Arthur Highway around 11:45 a.m. He stopped at the Seascape guest accommodation site (43.11888°S 147.85326°E[15]) that his father had wanted to purchase, owned by David and Noelene Martin. Bryant went inside and fired several shots, then gagged David Martin and stabbed him. Witnesses testified to different numbers of shots fired at this time. It was stated in court that it was believed that this was the time that Bryant killed the Martins, his first two victims.
A couple stopped at Seascape and Bryant met them outside. When they asked if they could have a look at the accommodation, Bryant told them that they could not because his parents were away and his girlfriend was inside. His demeanour was described as quite rude and the couple felt uncomfortable. They left at about 12:35 p.m.
Bryant drove to Port Arthur, taking the keys to the Seascape properties after locking the doors. Bryant stopped at a car which had pulled over from overheating and talked with two people there. He suggested that they come to the Port Arthur café for some coffee later.
He travelled past the Port Arthur historic site toward a Palmer's Lookout Road property owned by the Martins, where he came across Roger Larner. Larner had met him on some occasions more than 15 years before. Bryant told Larner he had been surfing and had bought a property called Fogg Lodge and was now looking to buy some cattle from Larner. Bryant also made several comments about buying the Martins' place next door. He asked if Marian Larner was home, and asked if he could continue down the driveway of the farm to see her. Larner said OK, but told Bryant he would come also. "Bryant then responded that he might go to Nubeena first" and he was going to return in the afternoon.
Port Arthur Historic Site
Port Arthur Bay, Port Arthur, was the location of most of the shootings
At around 1:10 p.m., Bryant got in line at the toll booth at the entrance to the historic site. He paid the entry fee and proceeded to park near the Broad Arrow Café, near the water's edge. The site security manager told him to park with the other cars because that area was reserved for camper-vans and the car park was very busy that day. Bryant moved his car to another area and sat in his car for a few minutes. He then moved his car back near the water, outside the café. The security manager saw him go up to the café carrying a "sports-type bag" and a video camera, but ignored him. Bryant went into the café and purchased a meal, which he ate on the deck outside. He attempted to start conversations with people about the lack of "WASPs" in the area and there not being as many Japanese tourists as usual. He appeared nervous and "quite regularly" looked back to the car-park and into the café.
Broad Arrow Café murders
Bryant finished his meal, walked into the café and returned his tray, assisted by some people who opened the door for him. He put his bag down on a table and pulled out of it a Colt AR-15 SP1 Carbine with a Colt scope and one 30-round magazine attached. The bag also contained, among other things, the knife he had used to stab Martin. It is believed the Colt magazine was partially emptied from the shootings at Seascape.
The café was very small, with the tables very close together, and was particularly busy that day, with many people waiting for the next ferry. The following events happened extremely quickly. Bryant took aim from his hip and pointed his rifle at Moh Yee (William) Ng and Sou Leng Chung, who were visiting from Malaysia and were seated at a table beside Bryant. He shot them at close range, killing both instantly. Bryant then fired a shot at Mick Sargent, grazing his scalp and knocking him to the floor. He fired a fourth shot that killed Sargent's girlfriend, 21-year-old Kate Elizabeth Scott, by hitting her in the back of the head.
A 28-year-old New Zealand winemaker, Jason Winter, had been helping the busy café staff. As Bryant turned towards Winter's wife Joanne and their 15-month-old son Mitchell, Winter threw a serving tray at Bryant in an attempt to distract him. Joanne Winter's father pushed his daughter and grandson to the floor and under the table.
The café structure in 2015. A memorial garden has been established at the site.
44-year-old Anthony Nightingale stood up after the sound of the first shots, but had no time to move. Nightingale yelled "No, not here!" as Bryant pointed the weapon at him. As Nightingale leaned forward, he was fatally shot through the neck and spine.
The next table had held a group of ten friends, but some had just left the table to return their meal trays and visit the gift shop. Bryant fired one shot that killed Kevin Vincent Sharp, 68.The second hit Walter Bennett, 66, passed through his body and struck Raymond John Sharp, 67, Kevin Sharp's brother, killing both.The three had their backs towards Bryant, and were unaware what was happening — they at first believed someone was letting off firecrackers. One of them made the comment "That's not funny" after hearing the first few shots, not realising that they were real. The shots were all close range, with the gun at, or just inches away from, the back of their heads. Gerald Broome, Gaye Fidler and her husband John were all struck by bullet fragments, but survived.
Bryant then turned towards Tony and Sarah Kistan and Andrew Mills.[16] Both men stood up at the noise of the initial shots, but had no time to move away. Andrew Mills was shot in the head. Tony Kistan was also shot from about two metres away, also in the head, but had managed to push his wife away prior to being shot. Sarah Kistan was apparently not seen by Bryant, as she was under the table by that time.
Thelma Walker and Pamela Law were injured by fragments before being dragged to the ground by their friend, Peter Crosswell, as the three sheltered underneath the table. Also injured by fragments from these shots was Patricia Barker.
It was only then that the majority of the people in the café began to realise what was happening and that the shots were not from a reenactment at the historical site. At this point, there was great confusion, with many people not knowing what to do, as Bryant was near the main exit.
Bryant moved just a few metres and began shooting at the table where Graham Colyer, Carolyn Loughton and her daughter Sarah were seated. Colyer was severely injured in the jaw, nearly choking to death on his own blood. Sarah Loughton ran towards her mother, who had been moving between tables. Carolyn Loughton threw herself on top of her daughter. Bryant shot Carolyn Loughton in the back; her eardrum was ruptured by the muzzle blast from the gun going off beside her ear. She survived her injuries, but learned after she came out of surgery that, despite her efforts, Sarah had been fatally shot in the head.
Bryant pivoted around and shot Mervyn Howard who was seated. The bullet passed through him, through a window of the café, and hit a table on the outside balcony. Bryant quickly followed up with a shot to the neck of Mervyn Howard's wife, Mary.[16] Bryant then leaned over a vacant baby stroller and pointed the gun at her head and shot her a second time. Both of the Howards' injuries were fatal.
Bryant was near the exit, preventing others from attempting to run past him and escape. Bryant moved across the café towards the gift shop area. There was an exit door through the display area to the outside balcony, but it was locked and could only be opened with a key. As Bryant moved, Robert Elliott stood up. He was shot in the arm and head, left slumping against the fireplace but alive.
All of these events, from the first bullet that killed Ng, took approximately 15–30 seconds, during which twelve people were killed and ten more wounded.
Gift shop murders[edit]
Bryant moved toward the gift shop area, giving many people time to hide under tables and behind shop displays. He fatally shot the two local women who worked in the gift shop: 17-year-old Nicole Burgess, in the head, and 26-year-old Elizabeth Howard, in the arm and chest.
Coralee Lever and Vera Jary hid behind a hessian (burlap) screen with others. Lever's husband Dennis was fatally shot in the head.Pauline Masters, Vera Jary's husband Ron, and Peter and Carolyn Nash had attempted to escape through a locked door but could not. Peter Nash lay down on top of his wife to hide her from Bryant. Bryant moved into the gift shop area where several people, trapped with nowhere to go, were crouched down in the corners. Gwen Neander, trying to make it to the door, was shot in the head and killed.
Bryant saw movement in the café and moved near the front door. He shot at a table and hit Peter Crosswell, who was hiding under it, in the buttock. Jason Winter, hiding in the gift shop, thought Bryant had left the building and made a comment about it to people near him before moving out into the open. Bryant saw him, with Winter stating "No, no" just prior to being shot, the bullet hitting his hand, neck and chest. A second shot to the head proved fatal to Winter. Fragments from those shots struck American tourist Dennis Olson, who had been hiding with his wife Mary and Winter. Dennis Olson suffered fragment injuries to his hand, scalp, eye and chest, but survived.
It is not immediately clear what happened next, although at some point, Bryant reloaded his weapon. Bryant walked back to the café and then returned to the gift shop, this time looking down to another corner of the shop where he found several people hiding in the corner. He walked up to them and shot Ronald Jary through the neck, then Peter Nash and Pauline Masters, killing all three. He did not see Carolyn Nash, who was lying under her husband. Bryant aimed his gun at an unidentified Asian man, but the rifle's magazine was empty. Bryant then quickly moved to the gift shop counter, where he reloaded his rifle, leaving an empty magazine on the service counter, and left the building.
Up to this time, Bryant had killed 22 people and injured 12.
Car park murders
During the café shooting, some staff members had been able to escape through the kitchen and alerted people outside. There were a number of coaches outside with lines of people, many of whom began to hide in the buses or in nearby buildings. Others did not understand the situation or were unsure where to go. Some people believed there was some sort of historical reenactment happening, and moved towards the area.
Ashley John Law, a site employee, was moving people away from the café into the information centre when Bryant fired at him from 50–100 metres (50–110 yards) away. The bullets missed Law and hit some trees nearby.
Bryant then moved towards the coaches. One of the coach drivers, Royce Thompson, was shot in the back as he was moving along the passengers' side of a coach. He fell to the ground and was able to crawl, then roll under the bus to safety, but later died of his wounds. Brigid Cook was trying to guide a number of people down between the buses and along the jetty area to cover. Bryant moved to the front of this bus and walked across to the next coach. People had quickly moved from this coach towards the back end, in an attempt to seek cover. As Bryant walked around it, he saw people scrambling to hide and shot at them. Brigid Cook was shot in the right thigh, causing the bone to fragment, the bullet lodging there. A coach driver, Ian McElwee, was hit by fragments of Miss Cook's bone. Both were able to escape and survived.
Bryant then quickly moved around another coach and fired at another group of people. Winifred Aplin, running to get to cover behind another coach, was fatally shot in the side. Another bullet grazed Yvonne Lockley's cheek, but she was able to enter one of the coaches to hide, and survived.
Some people then started moving away from the car park towards the jetty. But someone shouted that Bryant was heading that way, so they tried to double back around the coaches to where Brigid Cook had been shot. Bryant doubled back to where Janet and Neville Quin, who owned a wildlife park on the east coast of Tasmania, were beginning to move toward Mason Cove and away from the buses. Bryant shot Janet Quin in the back, where she fell, unable to move, near Royce Thompson.
Bryant then continued along the car park as people tried to escape along the shore. Doug Hutchinson was attempting to get into a coach when he was shot in the arm. He quickly ran around the front of the coach, and then along the shore to the jetty and hid.
Bryant then went to his vehicle, which was just past the coaches, and changed weapons to the self loading rifle. He fired at Denise Cromer, who was near the penitentiary ruins. Gravel flew up in front of her as the bullets hit the ground. Bryant then got in his car and sat there for a few moments before getting out again and going back to the coaches. Some people were taking cover behind cars in the car park, but because of the elevation, Bryant could see them and the cars did not provide much cover. When they realized Bryant had seen them, they ran into the bush. He fired several shots. At least one hit a tree behind which someone was taking cover, but no one was hit.
Bryant moved back to the buses where Janet Quin lay injured from the earlier shot. Bryant shot her in the back, then left; she later died from her wounds. Bryant then went onto one of the coaches and fired a shot at Elva Gaylard who was hiding inside, hitting her in the arm and chest and killing her. At an adjacent coach, Gordon Francis saw what happened and moved down the aisle to try to shut the door of the coach he was on. He was seen by Bryant and shot from the opposite coach. He survived, but needed four major operations.
Neville Quin, husband of Janet, had escaped to the jetty area, but returned to look for his wife. He had been forced to leave her earlier after Bryant shot her. Bryant exited the coach and, spotting Quin, chased him around the coaches. Bryant fired at him at least twice before Quin ran onto a coach. Bryant entered the coach and pointed the gun at Neville Quin's face, saying, "No one gets away from me" Mr Quin ducked when he realised Bryant was about to pull the trigger. The bullet missed his head but hit his neck, momentarily paralysing him. After Bryant left, Quin managed to find his wife, although she later died in his arms. Neville Quin was eventually taken away by helicopter and survived.
Bryant fired at James Balasko, a U.S. citizen, hitting a nearby car. Balasko had been attempting to film the shooter. Many people, unable to use their parked cars, were hiding or running along Jetty Road and did not know where Bryant was because the gunfire was extremely loud and difficult to pinpoint.
At this time, Bryant had killed 26 people and injured 18.
Toll booth murders and carjacking[edit]
Bryant then got back into his car and left the car park. Witnesses say he was sounding the horn and waving as he drove. Bryant drove along Jetty Road towards the toll booth where a number of people were running away. Bryant passed by at least two people.
Ahead of him were Nanette Mikac and her children, Madeline, 3, and Alannah, 6.[19] Nanette was carrying Madeline, and Alannah was running slightly ahead. By this point, they had run approximately 600 metres (660 yd) from the car park.[19] Bryant opened his door and slowed down. Mikac moved towards the car, apparently thinking he was offering them help in escaping. Several more people witnessed this from further down the road. Someone recognised him as the gunman and yelled out "It's him!"[19] Bryant stepped out of the car, put his hand on Nanette Mikac's shoulder and told her to get on her knees.[19] She did so, saying, "Please don't hurt my babies" Bryant shot her in the temple, killing her. Next, he fired a shot at Madeline, which hit her in the shoulder, then shot her fatally through the chest.[19] Bryant shot twice at Alannah, as she ran behind a tree, missing.[19] He then walked up, pressed the barrel of the gun into her neck and fired, killing her instantly.
Bryant fired at some people hiding in a bush, but missed. Having seen the murders of the children, some people further up the road began running. They told drivers of cars coming down the road to go back. The people thought Bryant would head up the road, so instead they proceeded on foot down a dirt side road and hid in the bush. The cars reversed up the road to the toll booth.
Bryant drove up to the toll booth, where there were several vehicles, and blocked a 1980 BMW 7 Series (E23) owned by Mary Rose Nixon.[19] Inside were Nixon, driver Russell James Pollard and passengers Helene and Robert Graham Salzmann An argument with Robert Salzmann ensued, and Bryant took out his rifle and shot Salzmann at point-blank range, killing him. Pollard emerged from the BMW and went towards Bryant, who shot him in the chest, killing him.[19] More cars then arrived, but seeing this, the drivers were quickly able to reverse back up the road. Bryant then moved to the BMW and pulled Nixon and Helene Salzmann from the car and shot them dead, dragging their bodies onto the road. Bryant transferred ammunition, handcuffs, the AR-15 rifle and a fuel container to the BMW. Mary Nixon, Russell Pollard, Helene Salzmann and Robert Salzmann are the people Bryant was charged with killing at the toll booth.
Another car then came towards the toll booth and Bryant shot at it. The driver, Graham Sutherland, was hit with glass. A second bullet hit the driver's door. Sutherland quickly reversed back up the road and left. Bryant then got into the BMW, leaving behind his Volvo 244, including his Daewoo shotgun and hundreds of rounds of ammunition.
At this point, Bryant had killed 33 and injured 19.
Service station murder and abduction[edit]
Graham Sutherland, who had just been shot at in his car, reversed back up the road and drove to the service station close by, where he tried to inform people what was happening. Bryant drove up to the service station and cut off a white Toyota Corolla that was attempting to exit onto the highway. Glenn Pears was driving, with girlfriend Zoe Hall in the passenger seat. Bryant quickly exited the car with his rifle in hand and tried to pull Hall from the car. Pears got out of the car and approached Bryant. Bryant pointed the gun at Pears and pushed him backwards, eventually directing him into the now open boot of the BMW, locking Pears inside.
Bryant then moved back to the passenger side of the Corolla as Hall attempted to climb over to the driver's seat.[19] Bryant raised his rifle and fired three shots, killing her.[19] Many people around the service station witnessed this and ran to hide in nearby bushland. The service station attendant told everyone to lie down and he locked the main doors. He grabbed his rifle, but by the time he could retrieve some ammunition and load his gun, Bryant had left in the BMW. A police officer arrived several minutes later and then set out in pursuit of Bryant.
Zoe Hall was the 34th victim killed.
Seascape roadway
As Bryant drove down to Seascape, he shot at a red Ford Falcon coming the other way, smashing its front windscreen.[19] Upon arriving at Seascape, he got out of his car. A Holden Frontera 4WD vehicle then approached Seascape along the road. Those in the vehicle saw Bryant with his gun, but believed him to be rabbit hunting and actually slowed down as they passed him. Bryant fired into the car; the first bullet hit the bonnet and broke the throttle cable. He fired at least twice more into the car as it passed, breaking the windows. One bullet hit the driver, Linda White, in the arm. The car was going downhill so it was able to roll down the road out of sight around a corner, despite its broken throttle cable. White swapped seats with her boyfriend, Michael Wanders, who attempted to drive the car, but was unable to, because of the broken throttle cable.
Another vehicle then drove down the road, carrying four people. It was not until they were almost adjacent to Bryant that they realised he was carrying a gun. Bryant shot at the car, smashing the windscreen. Douglas Horner was wounded by pieces of the windscreen.[19] The car proceeded ahead where White and Wanders tried to get in, but Horner did not realise the situation and drove on. When they saw that White had been shot, they came back and picked them up. Both parties then continued down to a local establishment called the Fox and Hound, where they called police.
Yet another car drove past and Bryant shot at it, hitting the passenger, Susan Williams, in the hand.[19] The driver, Simon Williams, was struck by fragments.[19] The driver of another approaching vehicle saw this and reversed back up the road. Bryant also fired at this car, hitting it but not injuring anyone. Bryant then got back into the BMW and drove down the Seascape driveway to the house where the Martins, his first victims, lay dead.
Sometime after he stopped, Bryant removed Pears from the boot and handcuffed him to a stair rail within the house.[19] At some point, he also set the BMW on fire.[19] He is believed to have arrived at the house by about 2:00 p.m.
29 April 1996
Capture
Bryant was captured the following morning, when a fire started in the guest house, presumably set by Bryant.[21] Bryant taunted police to "come and get him", but the police, believing the hostage was already dead, decided that the fire would eventually bring Bryant out. Bryant eventually ran out of the house with his clothes on fire, suffering burns to his back and buttocks. He was arrested and taken to hospital for treatment.
It was discovered that Glenn Pears had been shot during or before the standoff and had died before the fire. The remains of the Martins were also found. It was also determined they had been shot, and that Noelene Martin had suffered blunt-force trauma. They both died before the fire; witness accounts of the gunfire, as presented to the Supreme Court of Tasmania, place the time of death of David and Noelene Martin as being approximately noon on 28 April. One weapon was found burnt in the house, and the other on the roof of the adjacent building where police believed they had seen Bryant the night before. Both weapons had suffered from massive chamber blast pressure, possibly from the heat of the house fire.
There are two ways to connect an application to Sociotoco Search: primarily through the standard Sociotoco Search client application(s), or exclusively through the API and a custom client. The easiest way is to connect to the standard client.
See white paper:
sociotoco.com/blog/2009/12/9/white-paper-finding-people-o...
Commissioned wall-hanging
18"
Tempered and transparent glasses, raku pottery, smalti, ceramic, and client's stained glass and crockery
Another nest in a client's garden. This little cutie is just over a week old. The parents were dive bombing me (actually hitting my back) as I got this photo with my cell phone.
This is taken in a client's house. The candles were sitting on the coffee table. So I just lit the candles and turned out the light. You can see the flicker of motion blur from the flame. © All rights reserved
Simple studio style shot taken within the client's own home using a couple of standard strobes and shoot through umbrella.
Concept rendering for client's 1954 F-1... Boss-style!
You may have seen this in Truckin' Magazine an issue back, and I'm stoked that they ran it.
As always, pencil sketch scanned-in, and then re-drawn in Illustrator. All work is Illustrator, no Photoshopping, filters, or even gradient meshes.
Actual truck scheduled for completion in a few months...
Room Lift is an interior design business that specializes in re-designing one room, while utilizing as much of their client's furnishings and decor as possible.
07 – Hortense Caleff (Wid. Wm H) Montague Residence. 1939 S Oxford Ave. 1903.
Hortense C Montague was born in 1855 in Minnesota. Her family moved to Riverside sometime after 1867. She moved to Los Angeles after marrying William Henry Montague (1849-1890), from Ohio, on May 18, 1880. She and her husband had three daughters – Stella Montague Schneider, Lilian Montague Osborne, and Helene Montague Collin. After her husband passed away in 1890, Hortense managed his estate, which included real estate in Pomona, Los Angeles and Alameda, until her death in 1910. The Montague Residence is an unusual throw back to the Victorian era, in a thoroughly modern neighborhood – the shape and details all speak of an older client’s tastes and sensibilities. Whimsical filigree fills the pediment and slim carved columns support a broad front porch. Although it’s been remodeled, it could be restored with a some effort.
West Adams Heights
“Nowadays we scarcely notice the high stone gates which mark the entrances on Hobart, Harvard, and Oxford streets, south of Washington Boulevard. For one thing, the traffic is too heavy, too swift; and then, again, the gates have been obscured by intrusions of shops and stores. At the base of the stone pillars appears the inscription “West Adams Heights.” There was a time when these entranceways were formidable and haughty, for they marked the ways to one of the first elite residential areas in Los Angeles. . . In the unplanned early-day chaos of Los Angeles, West Adams Heights was obviously something very special, an island in an ocean of bungalows—approachable, but withdrawn and reclusive—one of the few surviving examples of planned urban elegance of the turn of the century.”
- Carey McWilliams, “The Evolution of Sugar Hill,” Script, March, 1949: 30.
Today West Adams Heights is still obviously something special. The past sixty years, however, have not been kind. In 1963 the Santa Monica Freeway cut through the heart of West Adams Heights, dividing the neighborhood, obscuring its continuity. In the 1970’s the city paved over the red brick streets and removed the ornate street lighting. After the neighborhood’s zoning was changed to a higher density, overzealous developers claimed several mansions for apartment buildings. Despite these challenges, however, “The Heights,” as the area was once known, has managed to regain some of its former elegance.
The West Adams Heights tract was laid out in 1902, in what was then a wheat field on the western edge of town. Although the freeway now creates an artificial barrier, the original neighborhood boundaries were Adams Boulevard, La Salle Ave, Washington Boulevard, and Western Avenue. Costly improvements were integrated into the development, such as 75-food wide boulevards (which were some of the first contoured streets not to follow the city grid), lots elevated from the sidewalk, ornate street lighting, and large granite monuments with red-brass electroliers at the entrance to every street. These upgrades increased the lot values, which helped ensure the tract would be an enclave for the elite.
One early real estate ad characterized the neighborhood stating: “West Adams Heights needs no introduction to the public: it is already recognized as being far superior to any other tract. Its high and slightly location, its beautiful view of the city and mountains make t a property unequaled by any other in the city.”
The early residents’ were required to sign a detailed restrictive covenant. This hand-written document required property owners to build a “first-class residence,” of at least two stories, costing no less than two-thousand dollars (at a time when a respectable home could be built for a quarter of that amount, including the land), and built no less than thirty-five feet from the property’s primary boundary. Common in early twentieth century, another clause excluded residents from selling or leasing their properties to non-Caucasians.
By the mid 1930’s, however, most of the restrictions had expired. Between 1938 and 1945 many prominent African-Americans began to make “The Heights” their home. According to Carey McWilliams, West Adams Heights became known “Far and wide as the famous Sugar Hill section of Los Angeles,” and enjoyed a clear preeminence over Washington’s smart Le Droit Park, St. Louis’s Enright Street, West Philadelphia, Chicago’s Westchester, and Harlem’s fabulous Sugar Hill.
West Adams Heights, now also known as Sugar Hill, played a major role in the Civil Rights movement in Los Angeles. In 1938 Norman Houston, president of the Golden State Mutual Life Insurance Company, and an African-American, purchased a home at 2211 South Hobart Boulevard. Legal Action from eight homeowners quickly ensued. During that period, other prominent African-Americans began to make Sugar Hill their home – including actress Hattie McDaniels, dentists John and Vada Summerville, actress Louise Beavers, band leader Johnny Otis, and performers Pearl Baily and Ethel Waters, and many more. On December 6, 1945, the “Sugar Hill Cases” were heard before Judge Thurmond Clark, in LA Superior Court. He made history by become the first judge in America to use the 14th Amendment to disallow the enforcement of covenant race restrictions. The Los Angeles Sentinel quoted Judge Clark: “This court is of the opinion that it is time that [African-Americans] are accorded, without reservations and evasions, the full rights guaranteed them under the 14th Amendment.” Gradually, over the last century people of nearly ever background have made historic West Adams their home.
The northern end of West Adams Heights is now protected as part of the Harvard Heights Historic Preservation Overlay Zone (HPOZ). The Historic West Adams area of Los Angeles (which includes West Adams Heights) boasts the highest concentration of turn-of-the-century homes west of the Mississippi, as well as the highest concentration of National Historic Landmarks, National Register of Historic Places, National Historic Districts, State Historic Landmarks, Los Angeles Cultural-Historic Monuments, and Historic Preservation Overlay Zones in the city. The entirety of West Adams Heights should be nominated as a National Register Historic District, for the quality of homes, the prominence of the architects, notoriety of the people who lived in the neighborhood, and the role it played in civil rights.
Perhaps a quote adapted from a fireplace mantle in the Frederick Rindge mansion best symbolizes the optimism which exists in West Adams: “California Shall be Ours as Long as the Stars Remain.”
Never underestimate the importance of tracking.
This is one example of a way I track a client's progress.
Dessert bar for a client's launch event.
7 types of candy and 5 types of dessert. In a red white and blue theme to match their logo.
The light in this home is incredible. As you can see, the kitchen great room looks out over the client's lovely pool. The room itself has high ceilings, a creamy golden white paint color, and warm wood tones and sofa colors to compliment the green natural stone tile floor.
We had the couch fabricated, in sort of a George Smith style, at an incredible steal! The pillows and trim reflect my client's love and adoration for fabrics and trims, but I think we showed admirable restraint in that capacity...
A longterm client's daughter wanted this design. I think her name is Sarah, but then the name Olivia keeps popping into my head. Anyway, I titled it Sarah.
Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Hornchurch, Essex*. Here are the details of the project
The Platform Garden in Hornchurch, Essex RM11 1JD
The existing space is overused and tired, sloping and un-level, posing a danger to the client’s two small children and making the space unattractive and problematic.
The re-design divides the space into several distinct areas, utilising a series of decking walkways and platforms to create a multi-use, family oriented space. The terrace outside the back door will be decked with attractive and durable Yellow Balau hardwood decking, which will extended beyond the existing terrace to allow ample seating and dining space. Running across the width of the garden directly in front of this decked terrace will be a gabion wall, filled with plum slate paddlestones and topped with a lavender hedge to increase its height and prevent children from climbing over the top.
A set of steps to the right of the decked terrace will lead down to a 1 metre wide decked walkway runing down the right-hand side of the space. Halfway down this walkway, a Flanked either side by a trellis to for safety in time climbers will grow along here to make it a green screened walkway, at the point where the steps lead down to the lawn the wire trellis becomes a caged box.
From this gabion wall a water blade will be cited which will appear out of the gabion and extend out across the garden by 100cm and fall the 125cm to the lawn below. It will be self circulating and collect in an gabion trough filled with cobbles so there is no body of water at any point that could pose a potential danger, The children will however be able to interact with the water by being able to walk behind the waterfall and play with the falling water.
The user then has the option to turn left and follow the fight of steps down to the artificial lawn below which has been encased in a railway sleeper to allow it to become level, or they can continue along the decked walkway down some steps to the tree two thirds of the way down the left hand side of the space. The decking opens out at this point and you can pass either side of the tree and continue on your journey or you can pass round to the right of the tree where a small flight of steps leads you to a platform above you at a height or 1.7m above ground level which partially covers the decked area 2m below and partially covers the ground. Upon this decked platform a Wendy house will be cited to create a tree top house for children and adults. This area will be surrounded with a wooden balustrade
Should you continue of the lower decked level you pass under the decked area above and climb another couple of steps so you are then 1.5m above ground level and continue onto the bottom left hand corner of the garden where a 3 x 4 decked area awaits you, again enclose by a wire cage to allow a real dynamic architectural feel to the space.
Running under the last decked walkway is a tunnel 1.5m in height and reach via a small set of steps from the lawn. This tunnel allows you to pass along it and arrive in an area towards the bottom of the garden where a small children’s play area awaits. This will have a swing cited under the tree top platform along with a rope climbing net and a slide. A ladder will allow the child back up to the area above.
Storage will be provided under the main area of decking by the house and doors will be cited by the lawn. A smaller storage area will be available in the children’s area to store things out of site, again under the large area of deck.
Planting in the space will be primarily around the boundary and around the lawn. Coupling big leafy architectural evergreens with herbaceous perennials in a contemporary style. The use of grasses and prairie style plants will add to movement and texture in the space and introduce some showy flowers. Large bamboos to mask a reveal certain areas will afford some intrigue in the space and a clever use of climbers will add vertical interest throughout the space. Artifice lawn will help keep maintenance to a minimum and keep the garden looking good all year round.
Lighting in the garden will be dynamic. The gabion wall with have flat plight placed into the vertical side to illuminate the decking below, whilst stylish bollards will light each corner of the main terrace. The decked walkway will have micro led light running down either side of the walkway and step risers. A spotlight placed in the tree will illuminate the treetop platform. Rope lighting will be cited along the underside of the decking platform to give it the feeling of floating and all the beds will have LV spots light running through them to give the planting a soft glow. The water feature will be lit from the underneath to create drama when sitting on the terrace at the end of the garden. The caged areas will have a net light over the top to add a magical sparkle to the space created.
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you wan and are looking for a landscaper London to come and visit your garden, please get in touch.
Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.
Earth Designs is located in East London, but has built gardens in Essex, Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
Custom order using the client's own emeralds and diamonds. Set into 14kt. gold-fill settings.
Resin Enchanted doll by Marina Bychkova
I've been working on a client's landscape for a week and I think I'm finished!
They were looking for a modern tropical style, with interactive elements. This landscape is complete with a walking path from the house down to the beach, a long road, custom driveway and gate structure, tennis court, taco stand, bonfire on the beach, and Jet-ski dock.
The front and back are lit with accent lighting controlled by a switch to be turned on and off.