Home Builder Developer - Interior Renovation and Design

A view of the Old Course at St. Andrews.

Courtesy Photo

GOLFs Top 100 course panelists are among the most respected and well-traveled course evaluators in the game. Theyre also keen to share their opinions. In this GOLF.com series, well unlock their unvarnished views on all questions course-related. The goal is not only to entertain you but also to give you a better understanding of how to understand and appreciate golf course architecture. You can see GOLFs latest Top 100 Courses in the World ranking here, and meet all of our Top 100 panelists here.

What is the most underappreciated feature of golf-course design and why? And whats an example of a course where this feature is put to especially fine use?

David McLay-Kidd (panelist since 2004; has played 60-plus of the World Top 100): Golf at its best is an exploration of a landscape. If everything is seen at first glance, then there is no adventure, no exploration, no mystery, no intrigue. The best golf courses offer that exploration most golfers are likely unaware of the journey a great course takes them on. The skill to weave that path through a landscape is an underappreciated feature of golf design.

The best course layouts wander somewhat unpredictably across the landscape. My favorite layouts include Kingsbarns, Swinley Forest and Royal Melbourne. Another subtlety of golf design is the use of light in design. Every golf course architect I know loves to play with shadows. Low light can cast long shadows over the most subtle features while a midday sun can still throw shadow on a deep north-faced bunker. These shadows are key to the visual appreciation of a golf course. Think of all the photos youve seen of the fairways at St. Andrews on a late summer evening. Without the shadows its a different look altogether.

Steve Lapper (panelist since 2009; has played 84 of the Top 100): Smart routing is the least-noticed by the large majority of golfers, and often the most critical task for a golf architect: How to find the best holes, best green sites, how to make the highest use of the land forms, how to make use of natural dunes, how to navigate geological or geographical restrictions. Can it be a walking course, with proximate green-to-tee walks? Does the layout flow across the compass of wind? Will it return to the clubhouse after nine holes? All of these questions, and more, create a puzzle an architect must solve. It is even more so for a bland site that needs vision to transform into something interesting.

Sand Hills is a perfect example of balancing the use of natural land features with its large sandy blowout styled bunkering and innate green sites. Cabot Cliffs, Pacific Dunes and Ohoopee Match Club are also wonderful modern examples. Fishers Island may be the very best example of a routing that maximizes a water aesthetic. Classics like the Old Course at St. Andrews and Royal Melbourne West are both routed across the wind compass keenly and yield 18 wonderful holes in an intimate setting perfect for walking. The list could go on, but almost all the greatest courses have very solid routings. It is the core of their existence.

A look at Pacific Dunes at Bandon Dunes Golf Resort.

Evan Schiller

Brian Curley (panelist since 2011, has played 65 of the Top 100): As far as the required skills of a golf architect, I would offer the ability to transform a difficult site. This has been a modern-day phenomenon as equipment available today makes it feasible. This can vary from a dead flat site with no features or vegetation where everything must be created, to the extreme terrain of rugged properties where severe slope and soil conditions must be overcome. I do not want to sound as if all great properties can be handled by anyone with a good team, but there are very few architects with the experience of dealing with extreme terrain and very few that have managed to produce world-class courses on these sites.

I think there is a misconception that most sites offered to architects start out looking like Sand Hills or Bandon Dunes and that holes are merely found and bunkers added here and there. The reality is that most sites require some manipulation/rough grading, etc., to create playable terrain, long before there is discussion of features. On a few occasions the site bears no resemblance to natural golf terrain. For instance, I did Mission Hills in China, where I guarantee over 95 percent of the site was not even walkable, covered in severe rocky slopes. After massive cuts and fills and the coordination of thousands of pieces of equipment and labor, sites like this begin to resemble playable golf terrain. At that point, the detailed design process begins and is followed by a massive re-vegetation effort. In the case of Mission Hills, world-class golf was created and world-class events are held (such as the WGC-HSBC Championship, The World Cup of Golf and more).

I have also seen courses that attempted this but failed for lack of proper design and construction, usually for a lack of enough rough grading, and the result is a lost-ball fiasco. Designers lacking the vision, skills or experience can produce woeful courses. A great example of transforming a flat, nondescript site into a stunning, creative masterpiece would be Tom Fazios Shadow Creek in Las Vegas.

For those who argue that these sites should not be transformed to begin with, the reality is that in many countries, the only properties available are these extreme sites. The good, well-located sites are protected for farmland or other purposes. Unfortunately, this also adds to the extreme cost of construction and deters many beginning golfers in new markets.

Read the original:
What is the most underappreciated feature of golf-course design? - Golf.com

The Alpha Link spans 1.75 miles, crossing Haynes Bridge Road and following Georgia 400 west to Encore Parkway. From Encore, Alpha Link will head south to North Point Parkway and cross to the Big Creek Greenway trails. (Screenshot via Zoom Meetings)

This is part of the North Point Area and Alpha Loop Feasibility Study, said Donny Zellefrow, a designer for MKSK Studios, during the May 4 Alpharetta City Council meeting. MKSK is a landscape architecture, urban design and planning firm that is working with the city on designs for Alpha Link.

Alpha Link will offer direct access to the North Point area, which the city is working on redeveloping, and to a future proposed MARTA bus rapid transit station as well as to other destinations and neighborhoods along the Alpha Loop and Big Creek Greenway, said Darren Meyer, principal landscape architect for MKSK Studios.

The Alpha Link alignment begins at the intersection of Haynes Bridge Road and the Georgia 400 southbound ramp, continues parallel to GA 400 to Encore Parkway, crosses to North Point Parkway and routes to the Big Creek Greenway trails from there.

"There's been a really interesting demand for our parks and public spaces during this time [while the coronavirus pandemic continues]," Meyer said during the meeting.

The virtual public meeting is the first step in the project's second phase out of four, total, with the goal of wrapping up the feasibility study this fall, Zellefrow said. Participants can answer questions about what types of bike paths, road crossings, art, seating and other aspects of the project they would like to see implemented.

To participate in the survey, visit http://www.visionalphalink.com.

"The current environment ... has really brought home to a lot of folks how important our walking trails, parks and greenway are to our city and how lucky we are to have the various options that we have," Council Member Karen Richard said during the meeting. "I think that's going to make this feasibility study a major priority for all of us going forward."

See the original post:
Virtual public meeting open through May 25 for community input on trail connection between Alpha Loop, Big Creek Greenway - Community Impact Newspaper

Architect Richard Leplastrier's house in Lovett Bay.Credit:Leigh Woolley

"Sophisticated camping," Lambert calls it in a new documentary on the gold-medal-winning architect, Framing the View.

A series of four modest corrugated iron roof buildings set on large wooden decks, Leplastrier's home has no "flash carpets", no pull-down blinds, no TV. And, most noticeably, no glass windows.

"Glass would be nice occasionally," Lambert says wistfully to camera.

"It's better with wine in it," the architect retorts. "Glass sucks the colour out of things," Leplastrier explains. "You can't hear the birds. It's better to be able to remove walls and have them open and clear to the outside. I learnt that from the Japanese."

But the Japanese don't have to contend with two-metre pythons falling on their bed an incident Leplastrier laughs off.

Instead of glass windows, his Lovett Bay house has large portholes and hatches reflecting not just a Japanese influence, but his lifelong pursuit of sailing. Walls lift up, enveloping the interior in nature. The main plywood building has just one room (4.8 x 9.6m), doubling as bedroom and office where he draws. The documentary captures the rich familial bonding that such intimate living provides. As the children grew, Leplastrier enclosed one side of the veranda. Outside on the deck, underneath three-metre eaves, is a Japanese style wooden bath and the exposed kitchen.

"We tend to live on the floor a lot," says Leplastrier. "We sleep on the floor. We eat on the floor. And that's a lesson learned not only from Japan, but most Pacific Islanders live like that. It makes a lot of sense. You can do with a house half the size. It's good fun to live like that. Our real room is the whole bay and our real walls are the cliffs on the other side."

Leplastrier, who turns 81 in November, has built more than 30 houses and a handful of public buildings, including the Birabahn Aboriginal and Torres Strait Islander Centre at the University of Newcastle (with Peter Stutchbury and Sue Harper). Currently, he's collaborating with Architectus and landscape architect Craig Burton on the National Herbarium of NSW at Mt Annan.

One of Australia's most respected architects and teachers, Leplastrier received the Australian Institute of Architects' highest accolade, the gold medal, in 1999. Intensely curious and generous with his knowledge, the softly spoken architect eschews publicity and rarely appears in the architectural press. So why agree to a film?

"You value your own work, but you shouldn't have any pretences about it," he says. "Work shouldn't be judged for 20 years and see how it fared over time. But if it has any value, it's good that it's recorded properly at least once."

Framing The View director Anna Cater, who spent15 years filming Leplastrier.Credit:Mark Rogers

Aside from Leplastrier's modesty, director Anna Cater says the architect wanted a record for his three sons as he started his family late in life.

Cater spent some 15 years filming Leplastrier. One hundred hours had to be edited. At the centre of the observational documentary, she records the two-year process of building a house in Blackheath. The architect describes his houses as "pure theatre" or a "film set" stages for living. Yet one of the most striking aspects of Leplastrier's process is the flexible, collaborative approach he applies on site. He adjusts ideas and details as he goes, based on the input from builders and clients. If there's one regret with the film, it doesn't feature enough of his builders and makers, Leplastrier says.

He shares this love of craftsmanship and working in small teams with his early mentor Jorn Utzon. Just 25 when Utzon hired him in the late stages of his Sydney Opera House commission, Leplastrier and the great Dane bonded over sailing. After working a couple of weeks on the Opera House, Utzon asked his young acolyte if he'd like to work on his house at his Palm Beach studio.

Leplastrier's Palm Garden House (1974) in Bilgola.Credit:Michael Wee

After Utzon was forced off the Opera House, Leplastrier spent five years studying in Japan and travelling. From the Japanese he learnt the value not just of the flexible space, but anticipation and timing. "The framed view was part of Japanese culture," he says.

These influences coalesce in the Palm Garden House, Bilgola (1974) his most important work, according to Pritzker prizewinner Glenn Murcutt. "It's probably one of this country's finest works of any architect in this country," Murcutt asserts.

Set among a grove of palms, the building's high semi-circular roof rolls back and opens to the elements. When required a drape folds up in origami-like pleats to fill the arch and form a wall.

"[The house] demonstrates a way of falling in love with landscape actually disappearing into it," says Adrian Carter, professor of architecture at Bond University and author of a forthcoming monograph on Leplastrier. "It's much closer to an Indigenous way of living in this environment."

Among Leplastrier's high-profile clients are filmmaker George Miller and his editor partner Margaret Sixel, politician Tom Uren and novelist Peter Carey.

"He won't work with people unless he has a rapport with them," says Carter. "And they all become his friends."

Carey has known the architect for some 30 years and had "years of pleasurable conversations that informed Illywhacker and Oscar and Lucinda". The novelist says he "paid tribute" to the architect in his 1988 Booker-prize-winning novel, naming his heroine Lucinda Leplastrier.

Leplastrier says Carey "was having a go at me [because] I'd never build a glass church in a million years", he laughs. "I was always telling him how crook glass was."

Framing the View may be the documentary's title, but how should one frame a view? Floor-to-ceiling glass windows or a row of window frames capturing vistas like cinematic film aren't the only solutions. Subscribing to the Japanese concept of ma', Leplastrier creates anticipation by glimpsing views through slits in walls, oculi, and small windows. The part tells the whole.

"Implicitness is far more alive and rich and experiential than explicitness where everything is on the table," he says. "Select what it is you want to refer to outside."

But what if you live in a more urban environment than the Blue Mountains or Lovett Bay? "The sky is the free faade in the city," Leplastrier reassured Miller and Sixel. The roof of their Watson's Bay house (1997) is, like the Palm Garden house, a convertible'. This time a hydraulic roof lifts and opens to the trees and sky.

"His buildings make you feel happy," says Sixel. "It makes you feel connected that's really what he's about. It's incredibly elemental."

Richard Leplastrier: Framing the View, screens on the ABC, Tuesday, May 12, 9.30pm.

See original here:
Falling in love with landscape - The Age

The National Capital Commission (NCC) is telling Ottawa tulip admirers not to stop and take photos of flowers this year over fears it could cause crowds to form and put people at risk of spreadingCOVID-19.

No stopping and no photography signs have sprouted upat theNCC's flower beds, just in time for the start of the Canadian Tulip Festival Friday.

Corey Larocque, a spokesperson for the NCC which owns and maintains the tulips said it's neitherthe stopping nor the photography that poses a risk in terms of COVID-19,but the gathering of people.

"The small signs are part of our effort to limit crowding or gathering around the tulip beds and to ensure that people getting to the park on foot or by bike can do so safely, with enough space for physical distancing," Larocque said in an email to CBC.

The signs appeared asboth the City of Ottawa and the NCC announced they would resume allowing people to linger in greenspaces to play catch or have a picnic, for instance.

Park amenities are still off limits, like benches and basketball courts, and Ontario bars groups of more than five people but, aside from around tulip beds owned and maintained by the NCC,it's OK to stop and take photos. Health officials are still urging Canadians keep a two-metre distance between themselves and others they do not live with.

Ottawa Mayor Jim Watson said he disagrees with the no-photo policy and hopes the NCC will reconsider.

"The whole purpose of going and seeing the tulips is not only to see the beauty in person but also to snap a quick picture," said Watson.

For its part, the Canadian Tulip Festival which celebrates a gift of tulips given by theDutchafter the Second World War, honouring Canada's role in the liberation of the Netherlandsis also trying to encourage people to stay away from the flowers.

"What we have done is come up with every possible way of bringing the tulips to you," Jo Riding, the festival's general manager,told Ottawa Morning's Robyn Bresnahan Thursday.

"We're asking folks to stay home and stay safe and help us save lives."

The Canadian Tulip Festival is offering a range of virtual experiences this year, including aerial photography, musical performances, virtual gardens and a behind-the-scenes look at the festival with NCC's landscape architectTina Liu.

Riding said people who live near thefestival grounds at Commissioners Park and other NCC tulip gardensare welcome to walk through, butNCC conservation officers will be on hand to encourage people keep moving and keep their distance.

"There is signage basically everywhere, saying please do not stop, don't take photos, keep walking and join us online to celebrate," she said.

In Japan, authorities mowed down tens of thousands of tulips near Tokyo to ensure crowds stayed away. That's something Riding said the officials here don't want to do.

That being said, Riding said people also need to exercise some discretion.

"If you're there bright and early and if it is your local park, and you want to take a photo, and you're all by yourself, you know, use common sense," she said.

See the rest here:
No photos allowed at this year's Canadian Tulip Festival - CBC.ca

Daniel Tabone is an architect by education, graduating in 2018 with a master's degree in architecture and urban design from the University of Malta

Architects arent of much use during a pandemic. Internationally, some firms have been redesigning face masks or entering competitions for hospital or open market concepts mainly boosting their websites or creating a false sense of essential service vibe to justify years of study and sacrifice when what is required is the continuous manufacture of that which has been tried and tested ages ago.

Locally, weve been even less useful to the public just look at the news. There are, however, some problems which could be tackled or at least observed at this point, namely the issue of open or buffer enclaves within the spaces we design.

These spaces not only serve as a point of contact with the outside, but if designed with some sense, they can offer so much to the dwelling. Such as the integration of services like waterpoints at dwelling entrances or hallways and porches, where it is more practical to sanitize oneself prior to entering ones own sanctuary: essentially, its useless entering directly through the living area and washing hands in the bathroom at the end of the corridor, as with common apartment layouts these days. Typical of older dwellings, entrance halls were commonplace and even though not primarily designed as such, they could offer this amenity and separate the heart of the dwelling from the street.

Present policies and laws on internal and back-yard size give minimum open space allowances for light and ventilation, but cannot always promise adequacy. They are also very restrictive, not allowing designers to get truly creative. Lets face it, in a rogue free market, these minimums have become a rule of thumb. In a society facing calls to stay inside, any architect should be studying these spaces and others like balconies, terraces, front gardens, roof airspaces and even solar rights.

On an urban scale, we should kindle solutions for the distribution, and creation, of pavements and other public routes that integrate public services, re-thought to suit the human scale beyond the sardine-like hoarding of people. Internationally, traditionally congested cities are finding it necessary to open roads for pedestrians on major thoroughfares, allowing for actual social distancing while not necessarily closing shop. In Malta, where healthcare has been so far more successful in COVID-control, this might be even more effective.

Rather than seeing the empty roads solely as an opportunity for more road construction, now would be the time to test the waters on tactical alternatives, and who knows, we might like it.

Its not only architects who are at fault. If youre selling you should be responsible for a good product and if youre buying, youd know your priorities and what youre investing in. If a garage is more important than the size of your terrace, theres always the promenade to visit when not in lockdown. However, pandemic or not, a building which falls short of providing adequate buffer and contact with the outside, can just as well be classified as a container with a nice gypsum soffit ceiling.

Even when outside, the car is an excellent capsule to sit comfortably in, but youd have to get out eventually. Think about all this whenever you feel stuck at home or when you try to understand why there are still people on the streets. Remember, these thoughts will come in very handy as we next tackle climate change.

Read the original:
An open letter to architects: how shall we plan the post-COVID landscape? - MaltaToday

Three white-brick chimneys rise from this house in Virginia, which US studio T W Ryan Architecture designed to reference a modernist Mies van der Rohe house and a nearby plantation.

Three Chimney House comprises a series of structures that are organised in a Y-shape on a 45-acre (18-hectare) property outside of Charlottesville in horse country.

The slender, white chimneys reach 30-feet (nine-metres) high in the sky, enhancing the home's varied construction. Two double-height structures have gables while a low-slung, single-storey volume is topped with a slanting roofline and links to a flat-roofed portion.

Unifying the design are brick walls with flush mortar joints painted white and copper roofs that extend down to form exterior walls and which will patinate over time.

T W Ryan Architecture designed the residence for a young family with deep roots in the region that wanted the house to link with the natural landscape and the area's historic colonial homes.

"We wanted to create a house that is pure and primitive in form, defined by chimneys, walls and roofs," said studio founder Thomas W Ryan.

"The hope was that the construction success of the house would be measured against the nearby colonial forbearers rather than the modern houses under construction today."

In response, the studio took cues from a variety of local sources such as Thomas Jefferson's nearby Monticello house, which has as a natural copper roof, and the chimneys of the 18th-century plantation Stratford Hall not far from where the clients grew up.

"The architecture takes inspiration from traditional Southern colonial houses," Ryan added.

"Abstracting and re-interpreting these materials and archetypal elements, both the client and architect envisioned finding a timeless yet contemporary voice for Southern architecture in America."

Ludwig Mies van der Rohe's Brick Country House that he conceived 1924 but never built also formed a precedent for the project. It influenced the white barrier walls that extend from the house to mark the sloping terrain.

"It serves as an inspiration for how the natural landscape can be made clearer by the built construction, while not being tamed," Ryan added.

Upon entering via the single-storey structure, called the Main Hall, is a large room with a soaring ceiling. A fireplace divides a sitting area on one side and a shared kitchen and dining area opposite.

Sliding glass doors access a patio and provide unobstructed views of the Shenandoah Mountains and the sunset. A powder room, two closets, a laundry and a living room are nearby.

Connected to the Main Hall to the south is a volume with two bedrooms on the ground floor and a master suite upstairs called the Residential Wing. A detached volume is on the north side and contains an art studio and a guest suite.

Interiors are pared-down with white walls and pale wood floors. Vertical cedar boards with a black stain clad feature walls as a nod to the property's black cedar post fencing, as well as barns and farmhouses.

A variety of window sizes in square and rectangular shapes frame country views and usher in natural light.

Other homes in Virginia include Deep Point Road residence by BFDO, a black home by Architecturefirm and Buisson Residence by Robert Gurney.

T W Ryan Architecture has also renovated a black home Surf House in Montauk, New York for a family from Ireland.

Photography is by Joe Fletcher.

See the rest here:
Modernist and Southern colonial styles meet in Three Chimney House - Dezeen

From Zombie flicks to handlebar moustaches, miniskirts to macram pot plant holders, and winklepicker shoes to paisley ties, every fashion trend eventually makes a comeback.

Its just that some trends, such as hanging dried flowers from your rafters or embalming your wedding bouquet, take much longer than others to witness a resurrection.

It has been over a decade since I first predicted a popular revival for dried flowers. I was wrong then, and in 2011, when I gave them a hurry-up in NZ Gardeners special edition, Homegrown Flowers, and again in 2015, when I wrote in my Sunday Star-Times column that it was definitelytime to give botanical taxidermy another go.

In a case of better late than never,my prediction has now come true,as anyone on Instagram can attest.

READ MORE:* This florist's hacks will help you create lovely, long-lasting arrangements* Why dried flowers are back* The best plants to use for a pink garden

Search for #driedflowers and morethan half a million photos of driedflowers and foliage will pop up.

These, however, are not the driedflowers of old, which had all the lifeslowly sucked out of them in trays ofkitty litter or tins of silica gel, so thatthey remained as life-like as possible.

Thankfully, preserved perfection isno longer the ideal. These days, driedflower arrangers tend to celebratetheir subjects lack of uniformity,embracing the beauty of wrinkledleaves, crooked stems and age-spottedpetals that have shrivelled up likecrumpled crepe paper.

In the coastal Wellington suburb ofMiramar, florist Annwyn Tobins weeshop, Floriade, is famous for its driedflower room (one customer describedit as a dried flower fairy cave).

Annwyn, an Australian landscapearchitect, began her floristry businesstwo years ago but when I asked herhow long she has loved dried flowers,she told me all my life.

I grew up in a house with a hugegarden in Sydneys inner-west. ForMum and me, our idea of fun was hanging out at a garden centre thengoing home to plant whatever we hadbought. I made my own potpourriand dried flowers from our garden.

Im passionate about everythingbotanical, adds Annwyn, but unlikelandscape design, where you deal withplans and wait for plants to grow,working with flowers has a wonderfulinstantaneous nature to it.

Her design process now begins, notwith a site visit or brief, but with thematerial she sources from the flowermarkets, growers, the local coastlineor fellow gardeners.

Friends tidyingup their gardens might offer a carloadof hydrangeas otherwise destined forthe compost heap, or shell forage forwild bunny tails (Lagurus ovatus) onthe sea shore, or salvage the skirts ofold fern fronds from her own garden.

I dont like waste, not just from anecological perspective but because itsnot economic for a floristry business.

"If something doesnt sell when fresh,Ill transfer it to the dried flower roomat Floriade so I can reuse or repurposeit in a different way, she says.

Ever since I was a child, Ive likedto make things and to keep them,she adds. I suppose Im a botanicalhoarder. Im always collecting upbranches and offcuts that otherswould probably send off to the tip.

No two dried bouquets are thesame.

Sometimes Im in the moodto make something delicate, soft andairy like a cloud, with limonium andbabys breath, and other times Illcreate something robust and chunkywith proteas or lotus pods.

When the Duke andDuchess of Sussex now betterknown as Archies Mum and Dad visited New Zealand on their RoyalTour, Annwyn was commissioned tocreate some of the official floralarrangements at their functionsupporting youth mental health atthe Maranui Caf in Lyall Bay.

I did a large dried arrangementin a recycled olive oil tin, referencingthe coastal landscape with thingslike native toetoe, leucospermum,craspedia and wattle.

And when American rapper Eminencame to town for his concert in2019, his dressing room and otherentourage-only backstage areas wasadorned with fresh flowers mixedwith dried toetoe and copper beechbranches. (Interestingly, Eminemsmanagement team discoveredAnnwyns work on Instagram.)

BETTER OFF DEAD

When I asked Annwyn to list someof her favourite species for drying, herlist was as long as it was wide-ranging.

She namechecked a few Aussiecompatriots, such as waratahs andbanksias, as well as dainty Englishladies (Alchemilla mollis), tropical lotus pods, dried native ponga frondsand golden sheaths of wheat.

Delicate favourites to give bouquetsan ethereal, everlasting femininityinclude astilbe, dainty gypsophila, Queen Annes lace and so-calledsea lavender, which is actually a typeof statice. Sea lavender (Limoniumlatifolium) has drought-tolerant greenfoliage topped with billowing headsof small, ever-so-pale-blue flowers that lend it the appearance of silvermist. It must have free drainage andsuits a rockery situation in a hot, dryspot, though do keep it wateredduring its first season. Limoniumis available from parvaplants.co.nz,owairakaseeds.co.nz and bmn.co.nz.

Papery-petalled strawflowersor everlasting daisies (Helichrysumbracteatum) dry beautifully andretain their vibrant colours, thoughthe stems tend to weaken as theyshrivel, so larger blooms often needwiring for the vase. But short or evenstemless strawflowers can still be hotglue-gunned to wreaths and othercraft projects, or used as decorationsfor cakes, so simply deadhead thoseto dry in a single layer on an old soilsieve or fine mesh stapled over a box.

Blue delpiniums and larkspursboth hold their colour well duringthe drying process.

The prickly pom-poms of perennialglobe thistles (Echinops ritro) andspiky sea holly (Eryngium planum)both retain their eerie colour, dryingto shades of steely-blue, while thehalf-hardy safflower (Carthamustinctorius) has tangerine thistle topsthat are prized as cut flowers eitherfresh or dried. Egmont Seeds sellOrange Grenade, which is easy toraise from seed in spring or summer.

Craspedia globosa, aka billy buttons,has cute yellow bobbles that canbe incorporated, fresh or dried, intofloral arrangements. Source fromEgmont Seeds.

Bachelors buttons (Gomphrenaglobosa), which come in white andpink and have clover-like buds onshortish stems, are also charming,and make natty buttonholes.

For white or green bobbles, seek outthe button bush, Berzelia albiflora(previously known as brunia), whichhas needle-like foliage on slenderstems. Pick it in tight bud. Note thatthis South African shrub has a fairlytemperamental nature; its ofteneasier just to buy bunches fromflorists to take home and dry than totry to grow it yourself. With smallerbobbles, Berzelia lanuginosa is thespitting image of the Australian riceflower, Ozothamnus diosmifolius,which Ive found far easier to keepalive. Prune it hard(ish) to encouragelonger stems as nipping awayat it produces short, stubby growththat isnt much use for picking.

Good luck with love-lies-bleeding (Amaranthus caudatus) in either its traditional blood red or pale greenalternative. Its spectacular dried but,again, easier to buy than grow.

Plant celosias, both the brain-likecockscombs and the fluffy argenteaforms (I planted the latter in a bedwith colourful Rainbow Lightschard over summer).

Dry the seedheads of ornamentalgrasses such as miscanthus, sea oats(Chasmanthium latifolium) and nativetoetoe (our indigenous cortaderiasare known as austroderias).

HUNG OUT TO DRY

Not all flowers dry well overblownblooms will drop their petals andanything too fleshy or green will rot, but theres nothing to be lost bytrying. Keep in mind that anythingthat quickly wilts in a vase (such ascottage annuals in spring) or has alot of sap (like bulbs) wont dry well.

JASON DORDAY/Stuff

DIY: How to make a flower vase sleeve

Its best to cut flowers for dryingwhen most of their buds are on thecusp of opening. Do this on a warmday as soon as the morning dew hasdried off. When harvesting seedpods,wait till after theyve shed their seeds.

Hang largeflowers, such as proteasand delphiniums, individually todry. Slender-stemmed and smallersubjects can be hung in bunches.

Always tie the stems together withrubber bands, rather than string ortwine, before you hang them to dry.

The stems will shrink as they dryand even tightly tied bunches canloosen and fall apart and if they hitthefloor from a height, theyll break.

To retain the best colour, hangflowers upside down in an airy,warm location out of direct sunlight.Condensation is the enemy of driedflowers; keep them away fromwindows. The rafters of a gardenshed or garage are ideal, or geta freestanding coat rack.

MY DEN OF ANTIQUITY

In Hunua, the deep blue shepherdshut in our vegetable garden doublesas a damson-and-dried- flower den.

Its where I house my collection ofplum-themed crockery alongsidean upside-down selection of lastsummersnest floral moments.

Mop-headed hydrangeas, opiumpoppy seedheads, delphiniums,larkspurs and statice in all shades bar white (which in my experience driesto an insipid pale brown) hang froma recycled offcut of steel reinforcing mesh. I painted the mesh the samepale blue as the interior beforehooking it to the curving ceiling.

When the flowers arefirst hungin summer, lying on the bed belowis enough to induce a hayfever attack, but by the end of autumnthat fusty haybarn smell has fadedand I can finally stop vacuumingfallen seeds off the bedspread!

My dried flower choices are fairlyexperimental. Achillea in particularwas disappointing and just madea mess. But having successfully drieda bunch of store-bought ornamentalallium flowers a few years ago,I figured Id have a go at drying someof the gone-to-seed leeks from myvege patch. It worked; their blobby,ball-shaped blooms look groovy.

TRICKS OF THE TRADE

Buy and dry straight away,is Annwyns advice for getting thebest results from storeboughtflowers.

Mix and match exotic fresh flowerswith homegrown foliage, prunedbranches and seedpods. Seedpods that dry well include opium poppies,love-in-a-mist, many grasses, grainssuch as barley and wheat, andornamental corn cobs such as MiniBlack and Strawberry popcorn.

If you have grown your ownflowersto dry, make sure you clear the stemsof as much foliage as possible beforeyou hang them, as this will turnmouldy or rot. Buy flexible rubber rose strippers (the metal ones canbruise the stems, advises Annwyn)from craft orfloristry supply storessuch as oceans floral.co.nz.

Roses and peonies can be driedin bud, or open, but theres an artto it. Annwyn pops hers in the oven, set to the lowest heat. Red, purpleand dark pink hold their colour best.

Original post:
Return of the living dead: How dried flowers made a comeback - Stuff.co.nz

Skyline Champion Corporation (NYSE:SKY) ("Skyline Champion"), will release its earnings results for the fourth quarter and the full year 2020 after the market closes on Wednesday, May 20, 2020. Skyline Champion will hold a conference call to discuss the results the following morning, Thursday, May 21, 2020 at 8:00 A.M. Eastern Time.

Interested investors and other parties can listen to a webcast of the live conference call by logging onto the Investor Relations section of Skyline Champions website at http://skylinechampion.com. The online replay will be available on the same website immediately following the call.

The conference call can also be accessed by dialing (877) 407-4018 (domestic) or (201) 689-8471 (international). A telephonic replay will be available approximately two hours after the call by dialing (844) 512-2921, or for international callers, (412) 317-6671. The passcode for the live call and the replay is 13703501. The replay will be available until 11:59 P.M. Eastern Time on June 4, 2020.

About Skyline Champion Corporation:

OUR COMPANY

Skyline Champion Corporation (NYSE: SKY) was formed in June of 2018 as the result of the combination of Skyline Corporation and the operating assets of Champion Enterprises Holdings, LLC. The combined company employs approximately 7,000 people and is the largest independent, publicly traded, factory-built housing company in North America. With more than 65 years of homebuilding experience and 38 manufacturing facilities throughout the United States and western Canada, Skyline Champion is well positioned with a leading portfolio of manufactured and modular homes, park-models and modular buildings for the multi-family, hospitality, senior and workforce housing sectors.

In addition to its core home building business, Skyline Champion operates a factory-direct retail business, Titan Factory Direct, with 21 retail locations spanning the southern United States, and Star Fleet Trucking, providing transportation services to the manufactured housing and other industries from several dispatch locations across the United States.

Skyline Champion builds homes under some of the most well know brand names in the factory-built housing industry including Skyline Homes, Champion Home Builders, Genesis Homes, Athens Park Models, Dutch Housing, Excel Homes, Homes of Merit, New Era, Redman Homes, Shore Park, Silvercrest, Titan Homes in the U.S. and Moduline and SRI Homes in western Canada.

View source version on businesswire.com: https://www.businesswire.com/news/home/20200506005531/en/

Contacts

Investor contact information: Contact: Sarah JanowiczEmail: investorrelations@championhomes.com Phone: (248) 614-8211

Original post:
Skyline Champion Corporation Announces Fourth Quarter and Full Year 2020 Earnings Release Date and Conference Call - Yahoo Finance

While today wraps up the 2020 Hurricane Preparedness Week, and no tropical cyclones threaten the U.S., now is a great time to develop a written plan for what youd do when a storm does threaten in the future. Image: NWS

Hurricane Preparedness Week, which began last Sunday on May 3, is drawing to a close. On this day, government agencies like the National Weather Service and National Hurricane Center are urging people around the country that live in areas that could be impacted by tropical cyclones to have a written plan of what theyd do should a storm materialize in their area this upcoming season. Central Pacific and Atlantic Hurricane Seasons both start on June 1. Tropical cyclones like hurricanes or tropical storms can impact Hawaii, the U.S. Gulf Coast, the entire U.S. East Coast, Puerto Rico, and the Virgin Islands in or even outside of season.

According to the National Weather Service (NWS), The time to prepare for a hurricane is before the season begins, when you have the time and are not under pressure. If you wait until a hurricane is on your doorstep, the odds are that you will be under duress and will make the wrong decisions. To be prepared, the National Weather Service and National Hurricane Center want people in storm-possible areas to take the time now to write downa hurricane plan.

The NWS further advises: Know where you will ride out the storm and get your supplies now. You dont want to be standing in long lines when a hurricane warning is issued. Those supplies that you need will probably be sold out by the time you reach the front of the line. Being prepared, before a hurricane threatens, makes you resilient to the hurricane impacts of wind and water. It will mean the difference between your being a hurricane victim and a hurricane survivor.

With the COVID-19 Pandemic continuing, its also important that people refresh written plans they may have prepared in the past to reflect this new reality. Follow CDC guidance and be sure to protect yourself from the virus before, during, and after a tropical cyclone strikes. This may mean having more masks or perishable supplies on-hand. It may also mean having more disinfectants and sanitizers as part of your storm preparation stock.

Hurricanes arent the only danger from the tropics: while lacking the potent winds that hurricanes have, tropical depressions and tropical storms can be devastating too.The primary hazards from tropical cyclones (which include tropical depressions, tropical storms, and hurricanes) are storm surge flooding, inland flooding from heavy rains, destructive winds, tornadoes, and high surf and rip currents.

Hurricane Matthew stormed through the Caribbean during the 2016 Atlantic Hurricane Season.

Storm surge is the abnormal rise of water generated by a storms winds. This hazard is historically the leading cause of hurricane related deaths in the United States. Storm surge and large battering waves can result in large loss of life and cause massive destruction along the coast. Storm surge can travel several miles inland, especially along bays, rivers, and estuaries. You dont need to live on a beach to fall victim to storm surge flooding, as residents of New Jersey and New York learned in the wake of Hurricane Sandy.

Flooding from heavy rains is the second leading cause of fatalities from landfalling tropical cyclones. Widespread torrential rains associated with these storms often cause flooding hundreds of miles inland. This flooding can persist for several days after a storm has dissipated.

Aerial views of flooding the day after Hurricane Katrina hit the Gulf Coast. Photo: Jocelyn Augustino, FEMA, katrinadestruction.com

Winds from a hurricane can destroy buildings and manufactured homes. Signs, roofing material, and other items left outside can become flying missiles during hurricanes. Depending on local building codes, many homes may be built to only withstand winds of 100mph; major hurricanes have much higher winds than that and could lead to catastrophic destruction of even strong homes.

Tornadoes can accompany landfalling tropical cyclones. These tornadoes typically occur in rain bands well away from the center of the storm. While not as strong as tornadoes that form in supercell complexes, these tornadoes add an additional element of danger to a landfalling tropical cyclone.

Dangerous waves produced by a tropical cyclones strong winds can pose a significant hazard to coastal residents and mariners. These waves can cause deadly rip currents, significant beach erosion, and damage to structures along the coastline, even when the storm is more than a 1,000 miles offshore.

BEFORE

Before a hurricane or tropical cyclone threatens your area, you should be prepared and have a plan.

DURING

When a hurricane threatens your home,be prepared to evacuate if you live in a storm surge risk area. Listen to the guidance of local officials; if winds are strong enough, they may encourage you to evacuate too. Otherwise, they may recommend that you shelter in place if you arent in danger of flooding. Be sure to allow enough time to pack and inform friends and family if you need to leave your home.

AFTER

Many dangers remain once a storm passes through.

comments

Read the original here:
NHC: Put a Storm Plan in Writing - Weatherboy

There has always been an inherent danger in the notion of abandoning fossil fuels, especially proposals by governments and institutions to clear their environmental conscience by divesting from oil and gas. After all, we need fossil fuels for everyday life. Now, as communities worldwide continue to deal with COVID-19, the value of fossil fuels has come into even greater focus.

Most of the public knows that fossil fuels such as natural gas and coal remain important parts of keeping the lights on and the economy running. But often overlooked is the role of fossil fuels in other aspects of everyday life. For example, many dont know that natural gas is also a critical feedstock for producing petrochemicals like isopropyl alcohol and polypropylene. Manufacturers cant make much of the personal protection equipment now in high demand without polypropylene. Isopropyl alcohol, too, is an essential ingredient for hand sanitizer and many disinfectants that are currently in scarce supply. In other words, the world needs products manufactured by the fossil fuel industry to help combat the spread of this virus.

A recent Wall Street Journal editorial detailed how ExxonMobil has been focused on COVID-19 relief and support. Its been a hundred years since scientists with Standard Oil of New Jersey, the predecessor of Exxon, invented isopropyl alcohol. Now, more than a century later, Exxon has ramped up IPA production at its Baton Rouge, Louisiana, facility by 3,000 tons per month, enough to produce 50 million 4-ounce bottles of hand sanitizer. The company is also increasing its polypropylene production by around 1,000 tons per month, enough raw material to produce 200 million medical masks or 20 million gowns. By teaming with Boeing, Exxon is helping manufacture as many as 40,000 masks per hour right here in the U.S., avoiding the foreign supply chain hiccups that have led to shortages.

Other fossil fuel companies are pitching in, too. BP has announced it will supply three million gallons of jet fuel to FedEx Express charter flights and Alaska Airlines free of charge to ensure that personal protective equipment and other essential goods get to those who need it most. Chevron-funded Fab Labs has plans to produce more than 20,000 face shields and masks for hospitals, nursing homes and first responders and has donated 100,000 surgical masks to California hospitals. Dow Chemical is collaborating to produce 100,000 face shields in Michigan. Phillips 66, Shell and Marathon have also stepped up in a big way to ease the crisis for communities and help those on the front lines.

Of course, that hasnt stopped some from continuing to bang the divestment drum. In a twist of irony, New York has turned to Exxon to supply isopropyl alcohol, even as New York City Council members introduced a resolution recently to divest the city from banks that invest in fossil fuels. Yet Exxon still intends to provide its hand sanitizer to the Empire State for free.

Fossil fuel companies often make easy targets for those with political agendas, but the reality is that the energy and products they manufacture are part of the solution today for dealing with COVID-19. And they will be part of the solution tomorrow as the American economy begins its steady march to recovery. The oil and gas sector, in particular, has been a bright spot for the American economy in recent years, creating jobs and situating the U.S. as the worlds top producer of these important commodities.

Despite the value of fossil fuels, misguided cries for fossil fuel divestment have only grown louder in recent years. Some universities, pension funds and local governments continue to advocate withdrawing all financial support of fossil fuel companies, a move that helps neither shareholders or the planet. Now, in the middle of this crisis, those voices are more misguided than ever.

Natural gas producers have actually played a leading role in addressing climate change. The Energy Information Administration found that the transition to natural gas for electricity generation has helped reduce carbon emissions by 28 percent between 2005 and 2017. This fuel source should be recognized as a leading climate solution.

Fossil fuel manufacturers arent the enemy; theyre part of the solution by making products consumers want and helping the planet. Theyre also providing vital raw materials for products our nation desperately need right now. We should be embracing companies that are part of the solution, not targeting them.

Paul Griffin is the executive director of Energy Fairness, a nonprofit agency that believes the future of energy must include discussions about the cost of energy choices as well as their benefits. He divides his time between Boulder County, Colorado, and Washington, D.C.

Excerpt from:
Paul Griffin: Fossil fuels are a hidden weapon in COVID-19 fight - The Durango Herald