Lamb of God

Alcatraz - Milano

07 Gennaio 2014

 

ph ©Mairo Cinquetti

All rights reserved

 

There are metal bands and then there is Lamb of God.

 

A new breed of modern American metal was erected in the 2000s, with Lamb of God serving as an architect, designing the blueprint that would become the standard by which bands that came after them would be judged. So often, the European metal scene has set the tone and established the creative high watermark of the global metal scene, providing the template that their American brethren would follow. Then Lamb of God came along and all bets were off.

 

It was Lamb of God who rewrote the rules, devised a new playbook and raised the standard. The genre was forever and irrefutably changed by what the band has done.

 

By the mid-00s, there was a full metal Renaissance, if you will, in America, with the genre enjoying several years of renewed success and critical respect. Lamb of God worked to establish themselves without question as the scene's alpha males, dominating at every turn, leaving a parade of other acts to merely feast on their leftovers and scraps. Mind you, this was not a scene, style or era populated by middling acts. The era was filled quality bands and still, it was Lamb of God who defined the time period and that quickly ascended as the game changers and torch bearers. No. Questions. Asked.

 

Turns out, they've merely nicked the surface of what they can do and plan on accomplishing.

 

In 2012, Lamb of God remain the pre-eminent metal band and not by default, either. The scene is still healthy, even if some of the peers who stood shoulder-to-shoulder with them during that period of growth have fallen by the wayside. Lamb of God still reign atop of the genre thanks to their consistent ability to feed fans with only the best extreme metal there is. Their seventh album Resolution finds the band firing on all cylinders and doing things their way. As if we'd expect anything less from this Virginia wrecking crew.

 

With a rich history including three Grammy nominations, an invitation to tour with Metallica (which they did in 2008 through 2010 on the World Magnetic trek); multiple debuts in the Top 10 on the Billboard Top 200 (2009's Wrath debuted at No. 2 while 2006's Sacrament debuted at No. 8); multiple Platinum-selling DVDs (Killadelphia and Walk With Me in Hell); an arena tour with Slipknot (which took place in 2005); the main stage of OZZfest (2006) and wearing the fact that they were banned in Los Angeles (the Forum had a problem with their name and booted them off the bill of two shows, one with Slipknot and one with Metallica) as a badge of honor, there's no question that Lamb of God rule the metal roost. Everyone else is left to watch and marvel, and choke on their dust. However, they're not resting on past successes or what they've done. For Lamb of God, what happened in 2002 happened in 2002. It's about the right now and what's next: Resolution.

 

With Resolution, Lamb of God emerged from their haven in the South as powerful, as hungry and as extreme as ever. While most bands are running on fumes or coasting and sputtering to album No. 7, Lamb of God are reinvigorated. They still have something to say and more to prove…to themselves and no one else. This sonic terror squad has come along way from playing squats in basements as Burn the Priest with one constant element: the instinct to make legit, honest music their way, which is just what they've done with Resolution.

 

“The first and foremost thing that you have to realize about LOG is that we do exactly what we want, when we want, and how we want to," declares vocalist Randy Blythe. "We always have and we always will. That’s why each record is a snapshot in time. We never consciously sit down and say 'We’re going to keep it heavy. We’re going to keep it metal.' We just do that because that’s what we want to do. If we felt like putting out a polka record tomorrow, we would. We’re trying to make 'smart' heavy music.”

 

Point taken and mission most certainly accomplished with Resolution, a 100 percent trend-free and intelligently constructed album that could power a small country with its unstoppable energy and potent riffery. In a scene littered with "here today, gone tomorrow" bands, Lamb of God have survived because nothing stops them from staying the course they've purposely chosen to embark upon. They're not here to collect a check or respond to a label exec's request to pen a "radio song." It's none of the above for Lamb of God. The men that comprise the band are a little older now, a lot wiser and have families to support. Yet despite all those realities, making this music and making it their way is something that compels them, drives them and sustains them.

 

“You can still be a band that goes to the practice space, actually writes music together and then records. Being an actual band is still a viable option," Blythe says. "Bands are disappearing with digital recording today. Things are progressing to the point where people are just playing a riff or pattern and programming the drums, and at the end of the day, they have a technically perfect record, but it isn’t a real record. We didn’t do that. Our record is a REAL record.” Indeed, there is blood and adrenaline coursing through every vein of Resolution and its pulse will be felt by all who listen. It's an incredibly human record.

 

"We're not spitting out a Lamb of God template record," guitarist Mark Morton says. "If it's uninspired or you have nothing left to say, you stop. We're all putting other things in life off to do this, and we're not going to do it if gets boring to us. It's still exciting on our seventh studio record. We're still gaining momentum and getting better." That's not a quality you come across often with aggressive bands. Playing physically taxing music at full tilt leads to wear and tear on the body and the mind, but Lamb of God are not affected by such issues. They're like mutants made stronger by challenging themselves. While 2009's Wrath was sonically forceful enough to shift tectonic plates, Resolution finds the band knocking out their songs with the signature groove and swagger that made them heir apparent to Pantera's throne --an accolade left at LOG's doorstep by critics over time-- but with a little more refinement and attention to dynamics.

 

Overall, Morton feels that Resolution is the natural next chapter in his band's history, albeit one that harks back to the past, saying, "It almost completes the circle. There is a purity in the music, like when you first begin and you don't have those big aspirations, in a business sense, other than to play."

 

Drummer Chris Adler, long regarded as one of the most jaw-droppingly talented and proficient rhythm keepers in metal concurs, "Wrath was a bit of a first round knock-out punch to the face album and was purposefully very aggressive. Resolution is much more of a dynamic album.” He also feels that Resolution is born of the desire to surprise himself along with the fans who are happily along for the ride. He says, “A lot of bands get to the point where they put out seven or eight records and fans start to take them for granted. They aren’t the 'cool guys' anymore. I’m not immune to that, and we wanted to push ourselves and surprise ourselves by not resting on prior successes and by default surprising our fans.” Even so, he's not interested in following any sort of trends. He continued, “The biggest thing is that we don’t all want to be the next 'fill in the blank.' We don’t have a unified influence as a band. Because of that, our approach and our sound is slightly different than most bands. We fight and argue which makes it a more honest process.” As bandmate Blythe said earlier, Lamb of God, as an entity is like a living, breathing creature, not one that is plugged in.

 

The desire to maintain a "personal best" also keeps Adler and his bandmates at the very top of their game this deep into an enviable career. “What inspires me is to outdo the 21-year-old that I was," he states. "I have to prove to myself that I am still a player in this game and keep up with the best. As a band it was important to us to prove to ourselves that we have something left to offer. We don’t need to put out records anymore, but we want to put out records. We don’t want to tarnish the legacy of the band, so whatever we do has to be stronger than what we’ve done. And we’ve done it with Resolution.”

 

As Blythe decreed, the fact that the band owns the same goals since their humble beginning is what makes the album so real. Bassist John Campbell says, “Putting out heavy music has been our aim since we started this. We wanted to be a great, heavy band. It was never a thought to us that this would be conceptual commercially. We’re all the original members and this is what we do. This isn’t a contrived business thing to get famous and make money. Our core value is to write heavy music, and I think that’s what makes a great band.”

 

Amen to that!

 

So with that mindset firmly and collectively in place, when it came time to write and record Resolution, and to get into the meats and the guts of the album, the band elected to let producer Josh Wilbur become involved sooner, to direct what was flowing out of them, egos be damned. "We did incorporate Josh [Wilbur] a bit earlier in the process this time around," guitarist Willie Adler says. "To have an objective ear early on in the process allowed us to sideline our egos at times and really drive for the best shit possible. We also wanted, as far as guitars are concerned, to really capture our live tone to record.”

 

Morton also revealed that the band did try something new and different with Resolution. “Unlike any other album before, this album was written over the course of a couple of years, at least with the guitars. Willie and I starting songwriting as soon as we started touring with Wrath," instead of their usual M.O. of touring writing upon their return from the road. "Due to having the recording software, we were able to take down ideas," he says about the head start. As a result, Resolution boasts some of the most punk rock moments and some of the bluesiest moments of the band's recorded career, perhaps fostered along by the liveliness of the writing-on-the-road process.

 

The album may display some of the band's deeper and less obvious influences, but Chris Adler is quick to assess the album's frantic energy. You can feel tension and release in the songs, making the album as a whole a truly cathartic experience. He says, “We really were living on a bit of the edge of our capabilities. There are some frantic moments in the music; they sound almost panic-inducing. The album is overwhelmingly aggressive and will definitely get people off their asses and driving fast.”

 

Blythe, he of the booming, bellowing voice, is known for spitting out provocative verses in a militaristic, almost drill-sergeant style bark. His voice and his style demand and command your attention. What he declares in the space of his lyrics isn't always comfortable –for him or for you- but he will always make you think about what he is saying. "I’m 40 years old, and I’m just now really getting some clarity on where my place in my life is," Blythe admits. "This is about me getting clarity after partying for a long amount of time, looking at my life and saying 'This is where I am, where do I want to go now?'"

 

Asking that question, which is something more than a fair share of the band's red-blooded, average American fans are likely to pose to themselves, allowed the singer to enter an entirely different zone on Resolution. While he may have experienced discomfort, LOG ended up with a better and more honest record for it. He continues, "It’s an introspective record and goes over some uncomfortable things for me. I hope people that hear those lyrics will look at themselves and look at the world around them and say 'This is where I am, I don’t like this.' and try to invoke a change in themselves. My overall feeling for this record is 'awakening.'"

 

The singer admits that he was attracted to underground, aggressive music in his youth because it offered a voice of dissent, one that he could relate to, so he attempts to distill that same feeling into Lamb of God. "That’s what I’m trying to put forth in my music," he says. "Not everything is really okay. You can have your cable TV and Xbox in your car or whatever, but that doesn’t mean that everything is okay and you can just stop because it’s easy. The root of what I try to put forth lyrically is 'Think for yourself.' Do something, do anything.” And that's precisely what bonds Lamb of God to their legion of loyal fans that have stuck with them for seven albums. Well, that and those bludgeoning riffs and technically proficient grooves have something to do with it, as well!

 

While Resolution admittedly contains some of "the swampiest, sludgiest stuff" of their career, according to Morton, as well as some of the aforementioned "most punk" songs they've ever laid to tape, the album also boldly goes elsewhere and features strings, orchestral movements and bluesy, acoustic guitars living among the band's patented, potent groove and swagger. The song "Insurrection" is a signature, natural and instinctive moment for Chris Adler, who revealed the song was born when the group was locked together in a room and tasked with seeing what it could come up with.

 

Album closer "King Me" is a real showpiece on an album full of showpieces. As Resolution's punctuation mark, it's a beautiful piece of music from grizzled, meat-and-potatoes-peddling veterans. It was purposely placed at the end of the album, as an unexpected pay off for the fan who spent an hour of his or her life listening to what came before it. Even though Lamb of God make music that could put hair on your chest, underneath the buzz of the guitars, the thunder of the percussion and the ferocity of the vocal declarations, this is still thinking man's metal.

 

""King Me' is an epic song," Blythe declares without hesitation. "It fits that definition, there’s no way around it. When a song is an epic song, you want to make it as big as possible, which is what we did with the opera singer and the string incorporation." Morton shared a little more about the process and how they arrived at such an "epic" moment, saying, "This isn’t necessarily us changing our songwriting approach or the method, but we really stretched out in the way we 'treated' the songs. Those are things that are added to the song after the fact, but they have a very impact on the overall sound. I don’t think we looked at it as 're-inventing' ourselves; it’s really as simple as that we’re continuing to strive to make music that we’re interested in and that we’re challenged to play, and that we enjoy performing.”

 

Now that Resolution is in the books and has asserted its rightful place as one of the most cohesive, dynamic and boot-to-the-throat heavy albums in Lamb of God's already extensive body of work, complete with epic and provocative moments, the goal remains singular: to move fans and connect with them, all the while creatively stimulating themselves. Lamb of God are pleased with the album. The only question mark is the fans and judging from the heft and the intensity of Resolution, there will be nothing but pleased fans once they get a load of the album.

 

Willie Adler said, "To see someone who has really been touched by the music is inspiring to me. Regardless of what emotion they’re feeling, what they’re going thru in their life at that moment, as long as they feel something, I feel as though I’ve done my job.” It's true that Resolution has the capacity to connect with its listener on multiple emotional levels, in addition to the sonic one.

 

Perhaps Morton sums up Resolution the best: "If it doesn't make you want to push the accelerator to the floor a little harder, flip off a cop or throw a bottle against a brick wall, then I haven't have done my job."

 

Few bands can craft an album that's as thoughtful as it is visceral. One is often sacrificed in favor of the other. But such is not the case here. Lamb of God have managed to create a masterwork that allows the listener to unlock layers of sound and meaning on each consecutive listen.

 

There's a whole host of reasons that Lamb of God remain at the top of their game in 2012, while others have faded and fallen away. Resolution is evidence of the band's stronghold on heavy metal in 2012. None can match it, nor do they come close.

 

In 2012, and with Resolution, Lamb of God has earned their place in the metal pantheon.

Designing Worlds 2015-01-26

Premaster students attending the Designing Tomorrow seminar at the Paris Campus in September 2022.

Aniruddha Sharma, Co-Founder and Chief Executive Officer, Carbon Clean Solutions (CCS), India, Yang Fuqiang, Senior Adviser, Energy, Environment and Climate Change, Natural Resources Defense Council, People's Republic of China; Global Agenda Council on the Future of Electricity, Gary Wong, Editor, The New England Journal of Medicine, Hong Kong SAR and Linda P. Fried, Dean and DeLamar Professor of Public Health, Mailman School of Public Health, Columbia University, USA; Global Agenda Council on Ageing at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China 2015. Copyright by World Economic Forum / Jakob Polacsek

Pre-Master students at the ESCP Europe Paris campus took part in the Designing Tomorrow seminar, raising awareness of the importance of fighting climate change.

I'm in the final stages of designing my employer's catalog. The layout is 90% complete and now I'm taking the last of the pictures. This shot isn't for the catalog though. Our lobby has a bunch of old photos, most are faded. They hired a professional photographer back in the 90's and I'm sure the shots are his. Our CEO asked me to shoot some replacement pictures and this is the first one that I've liked. It's tough because knowing where it will hang makes the task as much about interior design as it does about photography. Plus there's added pressure because it's our lobby and everyone will see it for the next 10+ years. All of this causes me to second-guess my shots. This one I like though so I'm posting it here. I'd love to know what you all think.

 

On another note... the saga of my broken 7D is about to come to a rather surprising end. As you may remember, I was out with Konejita and Greg-0 last November at the Grist Mill. My camera took a header off the bridge, crashing into the rocks below. I've been meaning to throw the thing away but last week I thought instead I'd put it on eBay. I thought someone might buy it for parts and be happy to get it for $25. What the camera has going for it is that it still works. The case is broken and the lens sheared off but the LCDs light up and it wants to take a picture. Bidding went kind of crazy and it sold for... are you sitting down? It sold for $821. I was about to throw it away but instead it sold for $821. Amazing.

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Quapaw Quarter, Little Rock Arkansas. This was the house used in the television show "Designing Women".

Some background:

The Bentley 4½ Litre was a British car based on a rolling chassis built by Bentley Motors. Walter Owen Bentley replaced the Bentley 3 Litre with a more powerful car by increasing its engine displacement to 4.4 L (270 cu in).

Bentley buyers used their cars for personal transport and arranged for their new chassis to be fitted with various body styles, mostly saloons or tourers. However, the publicity brought by their competition programme was invaluable for marketing Bentley's cars.

 

At the time, noted car manufacturers such as Bugatti and Lorraine-Dietrich focused on designing cars to compete in the 24 Hours of Le Mans, a popular automotive endurance course established only a few years earlier. A victory in this competition quickly elevated any car maker's reputation.

A total of 720 4½ Litre cars were produced between 1927 and 1931, including 55 cars with a supercharged engine popularly known as the Blower Bentley. A 4½ Litre Bentley won the 24 Hours of Le Mans in 1928. Though the supercharged 4½ Litre Bentley's competitive performance was not outstanding, it set several speed records, most famously the Bentley Blower No.1 Monoposto in 1932 at Brooklands with a recorded speed of 222.03 km/h (138 mph).

 

Although the Bentley 4½ Litre was heavy, weighing 1,625 kg (3,583 lb), and spacious, with a length of 4,380 mm (172 in) and a wheelbase of 3,302 mm (130.0 in), it remained well-balanced and steered nimbly. The manual transmission, however, required skill, as its four gears were unsynchronised.

 

The robustness of the 4½ Litre's lattice chassis, made of steel and reinforced with ties, was needed to support the heavy cast iron inline-four engine. The engine was "resolutely modern" for the time. The displacement was 4,398 cc (268.4 cu in): 100 mm (3.9 in) bore and 140 mm (5.5 in) stroke. Two SU carburetters and dual ignition with Bosch magnetos were fitted. The engine produced 110 hp (82 kW) for the touring model and 130 hp (97 kW) for the racing model. The engine speed was limited to 4,000 rpm.

A single overhead camshaft actuated four valves per cylinder, inclined at 30 degrees. This was a technically advanced design at a time where most cars used only two valves per cylinder. The camshaft was driven by bevel gears on a vertical shaft at the front of the engine, as on the 3 Litre engine.

 

The Bentley's tanks - radiator, oil and petrol - had quick release filler caps that opened with one stroke of a lever. This saved time during pit stops. The 4½ was equipped with a canvas top stretched over a lightweight Weymann body. The hood structure was very light but with high wind resistance (24 Hours Le Mans rules between 1924 and 1928 dictated a certain number of laps for which the hood had to be closed). The steering wheel measured about 45 cm (18 in) in diameter and was wrapped with solid braided rope for improved grip. Brakes were conventional, consisting of 17-inch (430 mm) drum brakes finned for improved cooling and operated by rod. Semi-elliptic leaf springs were used at front and rear.

  

Building the kit and its display box:

I normally do not build large scale kits, except for some anime character figures, and I especially stay away from car models because I find it very hard to come close to the impression of the real thing. But this one was a personal thing, and I got motivated enough to tackle this challenge that caused some sweat and shivers. Another reason for the tension was the fact that it was intended as a present - and I normally do not build models for others, be it as a gift or on a contract work basis.

 

The background is that a colleage of mine will retire soon, an illustrator and a big oldtimer enthusiast at the same time. I was not able to hunt down a model of the vintage car he actually owns, but I remembered that he frequently takes part with his club at a local car exhibition, called the "Classic Days" at a location called Schloss Dyck. There he had had the opportunity some time ago to take a ride in a Bentley 4.5 litre "Blower", and I saw the fascinationn in his eyes when he recounted the events. We also talked about car models, and I mentioned the 1:24 Heller kit of the car. So, as a "farewell" gift, I decided to tackle this souvenir project, since the Bentley drive obviously meant a lot to him, and it's a quite personal gift, for a highly respected, artistic person.

 

Since this was to be a gift for a non-modeler, I also had to make sure that the car model could later be safely stored, transported and displayed, so some kind of base or display bon on top was a must - and I think I found a nice solution, even with integrated lighting!

 

As already mentioned, the model is the 1:24 Heller kit from 1978, in this case the more recent Revell re-boxing. While the kit remained unchanged (even the Heller brand is still part of the molds!), the benefit of this version is a very nice and thin decal sheet which covers some of the more delicate detail areas like gauges on the dashboard or the protective wire mesh for the headlights.

 

I had huge respect for the kit - I have actually built less than 10 car models in my 40+ years of kit building. So the work started with detail picture research, esp. of the engine and from the cockpit, and I organized appropriate paints (see below).

Work started slowly with the wheels, then the engine followed, the steerable front suspension, the chassis, the cabin section and finally the engine cowling and the mudguards with the finished wheels. Since I lack experience with cars I stuck close to the instructions and really took my time, because the whole thing went together only step by step, with painting and esp. drying intermissions. Much less quickly than my normal tempo with more familiar topics.

 

The kit remained basically OOB, and I must say that I am impressed how well it went together. The car kits I remember were less cooperative - but the Heller Bentley was actually a pleasant, yet challenging, build. Some issues I had were the chrome parts, which had to be attached with superglue, and their attachment points to the sprues (the same green plastic is used for the chrome parts, too - a different materiallike silver or light grey would have made life easier!) could only hardly be hidden with paint.

 

The plastic itself turned out to be relatively soft, too - while it made cleaning easy, this caused in the end some directional issues which had to be "professionally hidden": Once the cabin had been mounted to the frame and work on the cowling started, I recognized that the frame in front of the cabin was not straight anymore - I guess due to the engine block which sits deep between the front beams. While this was not really recognizable, the engine covers would not fit anymore, leaving small but unpleasant gaps.

The engine is OOB not über-detailed, and I actually only wanted to open the left half of the cocling for the diorama. However, with this flaw I eventually decided to open both sides, what resulted in having the cowling covers sawn into two parts each and arranging them in open positions. Quite fiddly, and I also replaced the OOB leather straps that normally hold the cowling covers closed with textured adhesive tape, for a more voluminous look. The engine also received some additional cables and hoses - nothing fancy, though, but better than the quite bleak OOB offering.

 

Some minor details were added in the cabin: a floor mat (made from paper, it looks like being made from cocos fibre) covers the area in front of the seats and the steering wheel was wrapped with cord - a detail that many Bentleys with race history shared, for a better grip for the driver.

 

Overall, the car model was painted with pure Humbrol 239 (British Racing Green) enamel paint, except for the passenger section. Here I found Revell's instructions to be a bit contradictive, because I do not believe in a fully painted car, esp. on this specific Le Mans race car. I even found a picture of the real car as an exhibition piece, and it rather shows a faux leather or vinyl cladding of the passenger compartment - in a similar dark green tone, but rather matt, with only a little shine, and with a lighter color due to the rougher surface. So I rather tried to emulate this look, which would also make the model IMHO look more interesting.

As a fopundation I used a mix of Humbrol 239 and 75 (Bronze Green), on top of which I later dry-brushed Revell 363 (Dark Green). The effect and the gloss level looked better than expected - I feared a rather worn/used look - and I eventually did not apply and clear varnish to this area. In fact, no varnish was applied to the whole model because the finish looked quite convincing!

 

The frame and the engine were slightly weathered with a black ink wash, and once the model was assembled I added some oil stains to the engine and the lower hull, and applied dust and dirt through mineral artist pigments to the wheels with their soft vinyl tires and the whole lower car body. I wanted the car to look basically clean and in good shape, just like a museum piece, but having been driven enthusiastically along some dusty country roads (see below). And this worked out quite well!

  

Since I wanted a safe store for the model I tried to find a suitable display box and found an almost perfect solution in SYNAS from Ikea. The sturdy SYNAS box (it's actually sold as a toy/Children's lamp!?) had very good dimensions for what I had in mind. Unfortunately it is only available in white, but for its price I would not argue. As a bonus it even comes with integrated LED lighting in the floor, as a rim of lights along the side walls. I tried to exploit this through a display base that would leave a 1cm gap all around, so that light could be reflected upwards and from the clear side walls and the lid onto the model.

 

The base was created with old school methods: a piece of MDF wood, on top of which I added a piece of cobblestone street and grass embankment, trying to capture the rural atmosphere around Schloss Dyck. Due to the large scale of the model I sculpted a light side slope under the pavement (a Tamiya print with a light 3D effect), created with plaster and fine carpenter putty. The embankment was sculpted with plaster, too.

The cobblestone cardboard was simply glued to the surface, trimmed down, and then a fairing of the base's sides was added, thin balsa wood.

Next came the grass - again classic methods. First, the surface was soaked with a mix of water, white glue and brown dispersion paint, and fine sand rinsed over the surfaces. Once dry, another mix of water, white glue and more paint was applied, into which foamed plastic turf of different colors and sizes was dusted. After anothetr drying period this area was sprayed with contact glue and grass fibres were applied - unfortunately a little more than expected. However, the result still looks good.

 

At the border to the street, the area was covered with mineral pigments, simulating mud and dust, and on the right side I tried to add a puddle, made from Humbrol Clearfix and glue. For some more ambiance I scratched a typical German "local sight" roadsign from cardboard and wood, and I also added a pair of "Classic Days" posters to the mast. Once in place I finally added some higher grass bushels (brush fibres) and sticks (dried moss), sealing everything in place with acralic varnish from the rattle can.

 

In order to motivate the Bentley's open cowling, I tried to set an engine failure into scene: with the car abandoned during the Classic Days' demo races along the local country roads, parked at the side of the street, and with a puddle of engine below and a small trail of oil behind the car (created with Tamiya "Smoke", perfect stuff for this task!). A hay bale, actually accessory stuff for toy tractors and in fact a square piece of wood, covered with straw chips, subtly hint at this occasion.

 

Finally, for safe transport, the model was attached to the base with thin wire, the base glued to the light box' floor with double-sided adhesive tape and finally enclosed.

  

Quite a lot of work, the car model alone took four patient weeks to fully materialize, and the base in the SYNAS box took another two weeks, even though work proceeded partly in parallel. However, I am positively surprised how well this build turned out - the Heller kit was better/easier to assemble than expected, and many problems along the way could be solved with patience and creative solutions.

 

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The 11th International FDSS Cup Floral Designing Competition at the Meadow, Gardens by the Bay during Singapore Garden Festival 2018.

I've been trying out different needle sizes and stitch patterns in preparation for knitting my youngest granddaughter a cardigan type sweater. I'll knit it big so that it will fit for back-to-school in September. I have to start early since the older granddaughter will want one too.

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Or if you have unsightly stumps from

previously felled trees, we can grind

them out and reinstate your lawn.

                 

Remoção dos Tocos

Specialist Pruning including Fruit Trees

With over 20 years experience, we have

the expertise and equipment to carry out

all aspects of tree pruning, particularly where technical knowledge is required in order to maximise crop production or improve the health and appearance.

             

Poda Especializado

Tree-Pest Treatment ,Control Diseases especialized team for control and detection of diseases or plague, which can be detected in every kind of plants in your garden.

If you need further information, contact us! (Rhynchophorus Ferrugineus)Pine Trees Caterpillar

The annual infestation of Pine Trees (Pinus Pinea) by the processionary caterpillar begins to take effect in the end of summer.

This pest, which is found mainly in Mediterranean and Atlantic regions, causes extreme damage to the pine trees and also worrying skin irritations on humans and animals.

ECOSSISTEMAS has devised a biological product composed of bacteria, “Bacillus Thuringiensis”, which has no toxicity to people and the environment.

It is advisable that this treatment is initiated in the autumn to prevent the caterpillar from hatching in January and causing maximum damage.

If you are interested in treating your pine trees then please do not hesitate to contact us.Red Palm Weevil

A phyto-sanitary team from ECOVIVEIROS Garden Centre, was called out after concerns from a worried client that their majestic palm tree (a Phoenix Canariensis, 8mtrs tall), was showing extreme signs of wilting and distress. On examination, it was discovered to be slowly dying due to an infestation of Red Palm Weevil (Rhynchophorus Ferrugineus), an extremely preoccupying situation, as this shows that this pest which originated in India in 1891, and has over the last two centuries, been found in Egypt, Arabian Gulf countries, Spain (2004) has now arrived to Portugal, most notably, Albufeira and Silves area in the Algarve.

The Red Palm Weevil is the most dangerous and deadly pest of Date, Coconut, Oil, Sago and other Palms. There is no cure, only prevention.

Until the 1970´s, the pest was found only in the tropics.

Since then it has destroyed the following:

1984 - Arabian Emirates – 200,000 palms

1987 - Saudi Arabia – 200,000 palms

1993 - Egypt – 270,000 palms

1995 - Malaga – 2000 palms

2004 - Valencia – 220 palms

This is an extremely worrying situation, as a large proportion of this insect arriving to the European continent is due to the importation of palm trees from Egypt, where 22 out of 26 regions of the country are affected by the red palm weevil. In Spain, in 2004, an embargo was declared, prohibiting the sale of Valencian palm trees, which is the capital of Palm tree production in Europe.

The transport of palms from already infected areas has contributed to the spread of this pest. Strict quarantine at international and national levels should be applied.

The weevil, of which in adult stage can be recognised by its very reddish, orange colour, commences flight when temperatures reach between 25º - 40º. It dislikes light, therefore it is difficult to detect, as it buries itself into the interior of the palm tree, where the female then lays between 200 – 300 eggs, which are the size of a grain of rice.

All stages (life cycle) are spent inside the palm. After the female lays the eggs, they hatch in 2-5 days into larvae (1.4cms in length), which then feed on the soft interior tissues of the palm. This larval period varies between 1-3 months, where the larvae then pupate inside an oval, cylindrical cocoon, made from fibrous strands, and dark brown in colour. After about 14 – 21 days, the adult weevil emerges.

There is no effective biological cure for this pest. The best method is preventative. The crowns of palm trees should be cleaned regularly, to prevent the accumulation of dead and decaying leaves. Avoid cuts and injuries to the palm. When cutting green leaves, cut them about 120cm away from the base. All dead palms or palms beyond recovery should be cut and burned to eradicate the pest inside.

The weevils can also be trapped by luring them into a trap bucket called a “Saudi Trap.” This is a 15lt bucket with sturdy walls with a 4cm diameter opening which contains a 5cm solution of water, sugar and a carbolic based insecticide and pieces of palm stem. This is then fixed to the trunk of the palm about 1.5m from the base. This pest is extremely difficult to detect without a thorough examination of the tree. We can be alerted to its presence by a sad, wilting appearance of the palm and new leaves showing a reddish colour.

have a team on hand to deal with all enquiries, and have already alerted the Ministry of Agriculture, where they are working in close conjunction to devise a plan on the controlling of this pest.

     

during the Summer of 1991. It is currently being renewed and modernized to keep up with an expanding and competitive market. produces most of the plants for sale in its garden center. Other than ornamental shrubs, ornamental trees, a wide variety of fruit trees, annuals, indoor plants, cacti, tropical plants, palm trees, rosebushes, seasonal plants, climbers and others, we also market compost for pots and garden, pine bark, peats and organic as well as specific chemical fertilizers, plastic, glazed and terracota pots.este viveiro passou a fazer parte da durante o Verão de 1991. Neste momento está a ser renovado e modernizado para poder dar resposta a um mercado competitivo e em expansão. produz a maior parte das plantas à venda no seu garden center. Para além de arbustos e árvores ornamentais, uma grande variedade de árvores de fruto, anuais, plantas de interior, cactos, plantas tropicais, palmeiras, roseiras, plantas de época, trepadeiras e outras, também comercializamos composto para vasos e jardim, casca de pinheiro, turfas, fertilizantes químicos e naturais, e vasos de terracota e plástico.

SCHEDULEHORÁRIO

Monday to Friday: Open from 8am to 1pm and from 2pm to 6pm. Closed on Saturdays, Sundays and Holidays. Segunda a Sexta: Aberto das 8h00 às 13h00 e das 14h00 às 18h00. Encerrado Sábado, Domingo e Feriados.

  

Ecossistemas leads the market in garden maintenance and garden services. Skilled gardeners with all the the necessary tools for professional work offer you a wide range of services always with outstanding results. Our regular garden maintenance costumers benefit from a weekly gardening service on a fixed schedule - every week the job gets done on the same day at the same time. Other casual garden services can be scheduled in advance. A ecossistemas lidera o mercado em manutenção de jardim e serviços de jardinagem. Jardineiros profissionais munidos com todas a ferramentas necessárias oferecem-lhe um vasto leque de serviços sempre com os melhores resultados. Os nossos clientes habituais beneficiam de uma manutenção de jardim semanal num horário fixo - todas as semanas os serviços são prestados no mesmo dia à mesma hora. Outros serviços de jardinagem casuais podem ser marcados com antecedência.

SOME OF OUR SERVICES INCLUDE:ALGUNS DOS NOSSOS SERVIÇOS INCLUEM:

•Palm tree treatment against Rhynchophorus ferrugineus (Red Palm Weevil)

•Pine tree treatment against Thaumetopoea pityocampa (Pine Processionary)

•Lawn treatment against Spodoptera cilium (Lawn Caterpillar) and other lawn pests/diseases

•Lawn verticut

•Pruning or removal of big trees or palm trees

•Irrigation system revision

arvores .centro de jardinagem, projectos de jardins

arqitectura paisagistica algarve ,garden centre algarve

•Tratamento de palmeiras contra Rhynchophorus ferrugineus (Escaravelho da Palmeira)

•Tratamento de pinheiros contra Thaumetopoea pityocampa (Processionária do Pinheiro)

•Tratamento de relvados contra Spodoptera cilium (Lagarta da Relva) e outras pragas/doenças

•Escarificação de relvados

•Poda ou remoção de árvores ou palmeiras de grandes dimensões

•Revisão de sistemas de rega

,ECOSSISTEMAS e oLIVEIRAS DE PORTUGAL COM A ECOVIVEIROOS pela sua actividade. O proprietário dos conhecidos viveiros ECOSSISTEMAS tem vindo a ganhar crescente notoriedade, por força do seu profissionalismo e pela forma apaixonada como defende as suas causas..E a mais importante de todas é, sem dúvida, a preservação das oliveiras portuguesas, consideradas por OLIVEIRAS DE PORTUGAL como uma das “espécies mais fantásticas da paisagem mediterrânica”. Lamenta que esta árvore não esteja protegida pela legislação nacional e seja, hoje em dia, preterida nos jardins portugueses por palmeiras ou buganvílias, estranhas ao nosso ambiente natural e que necessitam, inclusive, de mais manutenção e grandes quantidades de água.E a que se deve este desencanto por uma das árvores seculares da nossaflora. ECOSSISTMAS aponta, por um lado, a mentalidade das pessoas, rendidas às espécies exóticas, e por outro o desleixo com que as árvores autóctones – de que as oliveiras fazem parte - são tratadas. O trabalho é mal feito desde o início, a árvore não é bem trabalhada”, observa. “Há muitos particulares que desistem de comprar oliveiras,porque as vêm sem qualidade plantadas pelas câmaras municipais em rotundas. São árvores muito feias, porque foram mal podadas, e isso influencia negativamente as pessoas”. Admite que as contenções orçamentais acabem porcondicionar a compra de árvores mais bem cuidadas por parte das autarquias, mas aponta as vantagens desta espécie. Não precisa de água, é muito resistente e até dá frutos.,Designing a garden with ECOSSITEMAS means introducing the concepts of good garden planning to achieve the most practical and aesthetically pleasing results, taking account of the natural environment and eliminating unnecessary water consumption wherever possible.After first contact with Natura and a visit to the garden or site, a plan is prepared to show how the transformation, whether big or small, will be carried out. Using hand sketched layouts and computer

generated plans for every element - such as irrigation, lighting, levelling, planting and unusual features - our multi-lingual staff can explain the works required and agree the desired final effect with the client.An estimate is prepared detailing every plant that will be introduced; the cost of saving and transplanting certain plants where required, and the cost of labour, machinery and extra materials. To present ideas and estimates, a nominal fee is made for complex projects requiring detailed architectural expertise from our in-house designers. For smaller projects, our qualified gardeners can provide free preliminary quotes.A typical project would include the following stages

,Plantas ornamentais e florestais. Árvores de fruto projectos, construção e manutenção de jardins,Projectos e instalação de sistemas de rega ,Calçada, Carvão e lenha, Lagos e cascatas, Materiais de construção, Muros, Pedra decorativa, Relva em tapete ,Serviços, Abate de árvores, Camiões, Escavações, Terraplanagem,Limpeza de terrenos. Terraplanagem e escavações. Aluguer de máquinas. Camiões. Construção civil. Materiais de construção,Pavimentos. Calçada. Pedra regional. Pedra rolada. Lage,Muros. Carvão. Cascas de pinho. Tratamento de palmeiras. ,Limpeza e abate de árvores. Sulipas,Terra,Limpeza de terrenos, terraplanagem e escavações,Aluguer de maquinas,Construção e renovação de jardins,Construção de lagos e cascatas,Construção de muros,Construção Civil,Venda de pedras decorativas,regionais,roladas e lage,de jardim,ECOSSISTEMAS é uma empresa capaz de responder com eficácia a qualquer necessidade no âmbito da construção e manutenção de jardins e espaços verdes. A ECOSSISTEMAS trabalha com um conjunto de fornecedores de materiais para construção de Jardins. Esta empresa não funciona apenas como empreiteira de jardins, mas como consultora de todo o tipo de espaços verdes. Fazemos a Plantas ornamentais e florestais. Árvores de fruto projectos, construção e manutenção de jardins,Projectos e instalação de sistemas de rega ,Calçada, Carvão e lenha, Lagos e cascatas, Materiais de construção, Muros, Pedra decorativa, Relva em tapete ,Serviços, Abate de árvores, Camiões, Escavações, Terraplanagem,Limpeza de terrenos. Terraplanagem e escavações. Aluguer de máquinas. Camiões. Construção civil. Materiais de construção,Pavimentos. Calçada. Pedra regional. Pedra rolada. Lage,Muros. Carvão. Cascas de pinho. Tratamento de palmeiras. ,Limpeza e abate de árvores. Sulipas,Terra,Limpeza de terrenos, terraplanagem e escavações,Aluguer de maquinas,Construção e renovação de jardins,Construção de lagos e cascatas,Construção de muros,Construção Civil,Venda de pedras decorativas,regionais,roladas e lage,de jardim

  

Graphic Designing – Student Works #Graphicdesign #graphicdesigncourses

#WiztoonzAnimation

www.wiztoonz.com

Caroline Baumann, Director, Cooper Hewitt, Smithsonian Design Museum, USA; Cultural Leader,.speaking during the Session "Designing for Everyone" at the Annual Meeting 2019 of the World Economic Forum in Davos, January 22, 2019. Congress Centre - Betazone

Copyright by World Economic Forum / Mattias Nutt

Graphic Designing – Student Works #Graphicdesign #graphicdesigncourses

#WiztoonzAnimation

www.wiztoonz.com

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From the Moors to the Sea - a celebration of RHS Britain in Bloom

 

Alan Titchmarsh designs RHS Britain in Bloom 50th anniversary garden at Chelsea Flower Show.

Alan Titchmarsh is celebrating his own 50th year in horticulture by designing a special Chelsea garden for RHS Britain in Bloom.

 

RHS Vice President, Alan Titchmarsh MBE VMH DL, is designing the garden at this year's show, sponsored by M&G Investments, to celebrate the 50th anniversary of RHS Britain in Bloom and Alan’s own 50 years in horticulture.

 

It is almost 30 years since Alan has designed a garden at the world’s most famous horticultural event. He was awarded a Gold medal in 1985 for his Country Kitchen garden. This year Alan is joining forces with another RHS Chelsea Flower Show Gold medal winner, Kate Gould, to create ‘From the Moors to the Sea - a celebration of RHS Britain in Bloom’, which will be a garden feature.

 

Currently, after 50 years, there are 300,000 Bloom volunteers who look after 200,000 acres of public land and save the UK millions of pounds annually by cleaning up and greening up their neighbourhoods. The enthusiasm and drive of Bloom volunteers helps create communities that make better places to live.

 

The garden feature will demonstrate how the 300,000 volunteers help to make Britain bloom as well as exploring Alan’s relationship with horticulture through his life.

 

The journey starts in the Yorkshire Dales where more than 50 Bloom groups work year round to transform their local streets and neighbourhoods, and where Alan was born. It finishes with a seaside scene to depict the Isle of Wight where civic pride has united Bloom volunteers, schools and businesses, and where Alan has a home and garden.

 

RHS Director General, Sue Biggs, said: “By bringing people together across Britain to enhance their surroundings, Bloom makes an immense difference to the UK, from promoting planting for bees and butterflies and making beautiful and social places for people to live to boosting communities financially through encouraging tourism.

 

“Alan is one of the most powerful forces in horticulture, reaching out to and promoting gardening to millions of people. He has also been one of the biggest supporters of the RHS and, as this garden demonstrates, continues to generously support and promote horticultural campaigns that transform lives and reinforce our great position as a nation of gardeners.

 

“As the world’s most famous and best horticultural event, RHS Chelsea is the perfect place to celebrate both Alan’s and RHS Britain in Bloom’s 50th anniversaries.”

 

Alan Titchmarsh, said: “I can think of no better way of celebrating 50 years as a professional gardener, and 50 years of RHS Britain in Bloom, than by creating a garden for the RHS at the Chelsea Flower Show. I began my career in horticulture on the edge of Ilkley Moor and now garden on the Isle of Wight - a fact which is reflected in my Chelsea garden and in Bloom itself which celebrates the importance of life-enhancing floral displays from one end of the British Isles to the other. 'From the Moors to the Sea' is a joyous celebration of our floral heritage and the people who do their bit to conserve our islands' plants and flowers and realise the importance of beautifying our surroundings whether in village, town or city.”

 

Kate Gould is working closely with Alan to deliver the garden with the contractor, Mark Gregory, of Landform Consultants. It will be located next to the RHS stand, at the bottom of Main Avenue opposite the triangle. As it is an RHS garden feature it will not be judged.

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Grandnephew Finny, age 8, at work.

 

Photo by Niece Mare.

 

Finny's father is a jazz drummer, but his day job is carpentry.

Finny helps his father with carpentry on Long Island and has

worked with his grandfather in Denmark.

Billy Knights, a retired farmer began designing and creating the Water Gardens in 1970 in his 70th year. The site was a damp meadow which became too wet for cattle to graze. Mr Knights' son jokingly suggested he should have a water garden, which prompted him to draw out plans (on the back of a piece of wallpaper) and he soon had machines digging out the ponds and waterways. He worked on his garden with love and enthusiasm until he died aged 93. For over 20 years the gardens had been open to the public.

 

Both Billy and his wife Florence loved their gardens and sharing them with others. With this in mind and as a tribute to her parents Coral Hoyos began restoration in April 2002. Having been unattended and closed for five years, the Gardens had become quite derelict. However they were re-opened again in June 2003, with a new car park, refurbished tea-room / gallery, a toilet for disabled people and an 8 acre nature trail. There has since been the addition of a bird hide and a new plant sales area, bamboo grove, scented arbour and rustic roundhouse.

 

To help you find your way round, the bridges are numbered and when you have walked enough rest on one of the many benches provided, or perhaps visit the tearoom in the south-east corner where you can enjoy a relaxing cup of freshly brewed tea or coffee, soft drinks, ice-creams and delicious home made cakes.

Exposición

UNIVERSO ROSSEEMBERG

Del 9 de marzo al 26 de mayo de 2013

 

Rossemberg Rivas cumple diez años de trabajo como diseñador por lo que el MARTE le cede espacio en sus salas para que ofrezca una muestra de su inagotable creatividad, en una exposición que podrá ser vista por el público del 9 de marzo al 26 de mayo del 2013.

   

“El objetivo de la exposición es mostrar el trabajo de Rossemberg, sin prejuicios, sin etiquetas, solo proponemos descubrirlo, disfrutarlo y sumergirnos en su mundo a través de su mirada y comprobar que ¨la mejor manera de clasificar a Rossemberg es no clasificarlo.¨ Tenemos que intentar comprender su universo en el que se mezclan imágenes lúdicas, oníricas y mágicas, con otros aspectos más críticos, reflexivos y comprometidos con la sociedad”.

   

“…….. sus aportes conceptuales dentro del diseño de vestuario y de escenografía se consolidaron en innumerables obras para: La Luna Casa y Arte, la Compañía Nacional de Danza de El Salvador, el Teatro Nacional de San Salvador, la Universidad José Matías Delgado, La Universidad Don Bosco de El Salvador y el Teatro Luis Poma, entre otros. A este bagaje de conocimientos se suma la experiencia adquirida en los viajes a Estados Unidos, México, Cuba, Costa Rica, Guatemala, Nicaragua, Colombia, Brasil, Ecuador, Perú…, y la oportunidad de realizar colaboraciones de diferente índole, con su sensibilidad artística, en espacios internacionales como Alegríadel Cirque du Soleil, el Designing Hollywood Awards en New York, el Carnaval de Río de Janeiro en Brasil, Danza Abierta de Costa Rica, el Real Ballet de San Marcos de Lima, Perú, a cargo de Francisco Centeno o el Ballet Nacional de Cuba, dirigido por Alicia Alonso”.

   

“En lo que respecta a su trabajo profesional podemos analizarlo dentro de tres especialidades, como diseñador de indumentaria poética, de espacios efímeros y diseño de experiencias, pero realmente en sus proyectos todas estas clasificaciones del diseño se funden entre sí y convergen en un espacio único y creativo, que se desarrolla con un lenguaje tan personal que rompe los moldes establecidos”.

 

Marcelo Leslabay

Comisario de la exposición

Madrid, febrero de 2013

 

MARTE Museo de Arte de El Salvador

 

Colonia San Benito Final Avenida. La Revolución San Salvador, El Salvador Centroamérica

Tel.: (503) 2243-6099 Fax: (503) 2243-1726 info@marte.org.sv

www.marte.org.sv

 

Horario

 

Martes a Domingo: 10:00 a.m a 6:00 p.m.

Lunes (Cerrado)

 

Todos los domingos la entrada al MARTE es GRATIS.

 

De martes a sábado entran GRATIS: Adultos mayores, niños menores de 8 años, grupos de escuelas públicas, estudiantes del Centro Nacional de Artes (CENAR), Estudiantes de la Escuela de Artes de la Universidad Nacional, Miembros de Asociación de artistas Plásticos de El Salvador (ADAPES), Miembros de North American Reciprocal Museums Program (NARM), Miembros de El club de lectores de El Diario de Hoy, Visitantes del Museo Forma, Estudiantes y Docentes Universidad Tecnológica, Turistas hospedados en Hotel Hilton Princess San Salvador

 

Tarifa: (Martes a Sábado 10:00 am a 6:00 pm)

La tarifa normal es:

Adultos $1.50

Estudiantes $0.50

 

Facilidades para Discapacitados:

 

MARTE es accesible a personas con discapacidad móvil. Dos sillas de ruedas se encuentran además en la recepción para uso de visitantes que las requieran.

   

Interior Designing - Aashainteriors.com

デザイニング展 2010 IMS会場

Poster motive variation for the upcoming "Designing Seeds" exhibition at Sheffield Institute of Art and Design (18/02/09 - 04/03/09).

Designing Worlds Slideshow - Episode of 2015-09-28

The 11th International FDSS Cup Floral Designing Competition at the Meadow, Gardens by the Bay during Singapore Garden Festival 2018.

oldest restaurant in Memphis • Greek immigrant Speros Zepatos bought Paris Cafe, a small, one-story wood-frame building, 1919 • renamed Arcade Restaurant • cooked on pot belly stove • tore down cafe, built (and apparently participated in designing) present Greek Revival building, 1925 • “His original plan was to put a seven-story hotel on top, and they structurally designed it at that time to do that, but money was running short, the Depression was around the corner and they opted to quit with the single story,” -Harry Zepatos, Jr., grandson -Memphis Daily News • across street from Grand Central Station, business thrived on train passengers

 

Harry Zepatos Sr. took over, 1955, remodeled façade & interior • mid-century design remains, with neon signs, & boomerang formica • rock star Elvis Presley (1935-1977) frequently a breakfast customer • was open 24/7; after King assassination riots doors locked first time ever • used as location for movies Mystery Train (1989), Great Balls of Fire (1989), The Firm (1993), The Client (1994), 21 Grams (2003), Walk the Line (2005), others • arcaderestaurant.com • sample menu

 

Marker: On this South Main Street corner in 1988 the modern wave of Memphis moviemaking was born, in great measure through the efforts of Memphis and Shelby County Film Commissioner Linn Sitler and Shelby County government official Alonso Woods. Until Mystery Train Memphis, had not posted a nationally-distributed feature since King Vicor's Hallelujah!, which had been based in the city in 1928 to shoot much of its principal photography here. An independent feature, Mystery Train later won producer/director Jim Jarmusch a major award at the 1989 Cannes Film Festival.

 

"The Mystery Train film was immediately followed in Memphis by Orion Pictures' Great Balls of Fire!, which told the life story of Sun Studio legend Jerry Lee Lewis. Later Memphis-based filmmaking includes such notable and diverse features as The Firm, 21 Grams, Sundance Grand Jury Prize winner Forty Shades of Blue (directed by Memphian Ira Sachs), Academy Award winners Hustle & Flow (directed by Memphian Craig Brewer), and Walk the Line, the life story of yet another Sun Studio legend, Johnny Cash. The Commission's on-going efforts to recruit and develop the film and television industries continue into the 21st century."

Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Greenwich, London*. Here are the details of the project

  

The Low Maintenance Garden in Greenwich, London SE11

 

BRIEF:

 

This client wanted to cram many features into this small space. There was to be a lawn for football kickabouts, an area to place his bbq, ample provision for dining, it needed to be aesthetically pleasing with a clean, uncluttered appearance, and above all it had to be as low maintenance as possible.

 

SOLUTION:

 

The main focus of the space is a seating area in the top right corner consisting of an L-shaped fixed bench backed by an L-shaped raised bed, plus a freestanding square table and several cube stools. The bench benefits from armrests at each end and is framed on either side by low planters containing quirky ‘Buxus sempervirens’. Table, seats, planters and raised bed are all constructed from thick railway sleepers. Flooring in this area comprises Chinese natural slate in a formal lay pattern edged with rectangular granite setts laid in a single ‘soldier’ course (i.e. laid side to side rather than end to end.)

 

Flooring in the remainder of the space is divided between an area of artificial turf with horizontal sunken railway sleeper edging, and ornamental paving directly outside the back door consisting of a series of sunken railway sleepers of decreasing lengths interspersed with a decorative aggregate and occasional granite setts.

 

Planting in the space consists of subtle ferns and big glossy leaves, with a flush bed running along the back of the house and along the left boundary. The walls of the adjoining houses are adorned with a variety of climbers, whilst succulent ‘Fatsia japonica’ and a variety of ferns, including 'Dicksonia antarctica‘ (tree fern) give the garden a soft jungle feel

 

TESTIMONIAL:

 

"Very pleased with the creative use of space and we take every opportunity to use our garden whenever we can."

  

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.

   

In March 2004 I wrote to Haringey's Waste Management officers about the problem of litter shoved between telephone cabinets and walls. These spaces seem to attract cans and fast-food packaging like wasps to a picnic.

 

They advised reporting this in the usual way as a streetscene problem.* Also saying that the Council’s (then) contractors, Haringey Accord would ask their street cleaners to dislodge the debris with a broom handle and sweep it.

 

This didn’t seem to make much difference.

 

I wrote again in September 2004 asking them:

► To remind Haringey Accord that street cleaners should clear this litter regularly.

► To raise the problem with the utility companies (mainly Virgin Media and British Telecom) asking if they use any ‘design-out-grime’ solutions elsewhere which don’t create unintended litter 'storage' space.

► To ask other local authorities what they do about this problem. (For example, on a trip to Cambridge I noticed that phone cabinets seemed much closer to walls.)

 

Things did improve. But early in 2008 litter behind phone cabinets was again noticeable. So I again emailed Waste Management (in Haringey Urban Environment Department). They replied saying they'd asked Haringey Enterprise (now the contractors) to speak to their street cleaners.

 

An Impulse to Tidiness ?

 

Of course, even if my earlier suggestions had been acted on, it doesn’t tackle the main problem. Far too many people drop litter thoughtlessly. Although in this particular case, there's almost a perverse "tidiness" at work. Rather than simply chuck waste on the pavement or in the gutter, people seem to have some impulse to tidiness. They make an effort to "tuck" stuff into a bin-like space behind phone cabinets.

 

We need to find ways to build on this apparently positive impulse.

 

______________________________

* To report litter in Haringey, phone 020 8885 7700.

  

Or online though the Council's website.

My new sewing wall.

 

the sewing machine in the middle is what I use to make button holes and any fancy stitching. the one to the right is my serger.

  

Tattooist free hand drawing a tribal design on a young man's shoulder.

The 1980's and 1990's TV series Designing Women was set in Atlanta, GA. The houses for the characters were actually in Little Rock, Arkansas.

 

Julia's home and the site of Sugarbakers & Associates was the Villa Marre house. It is a Second Empire house built in 1881. It is located in the MacArthur Park Historic District.

 

The house is at 1321 Scott Street.

Yantram will work from a sketch or Cad drawing to provide your company with what you need to stay ahead of the competition.

  

Photo by Luba Kozorezova / Strelka Institute

Image of Anna Sui by Miguel Flores-Vianna, with dress embroidered with armoires and clocks with a necklace by Eric Beamon, 1997, and a kaftan ensemble, 2012, both by Anna Sui.

 

Visit Designing Women: Fashion Creators and Their Interiors at The Museum at FIT, Fashion Textile & History Gallery.

 

On view November 30, 2022 - May 14, 2023

Graphics Designing

Graphic designing