Compliments of John W Harrison III

Transcription

Compliments of John W Harrison III
ISSUE 69
ISSUE 69 $5.95 US
CANADA/FOREIGN $6.95
69
16558 74730
Front of Tear Out Card 1
Kermit the Frog tells us, "It's not easy being green," but he might
change his mind after reading this issue of American Lifestyle
magazine. Warm weather means strolling farmers' markets for the
freshest fruits and vegetables. And Anya Kassoff 's book, The Vibrant
Table, provides plenty of vegetarian recipes for the produce you round
up. The summer bounty salad pops as a side dish, with green beans,
radishes, and spices like coriander, cumin, and chopped dill.
Jennifer Lee Segale sees her harvest from a different perspective:
natural ingredients perfect for a bath and body line. Segale is a
professional horticulturist specializing in organic landscape design.
When inspiration struck after a walk through a farmers' market in San
Francisco, she turned her kitchen into a lab of sorts, creating products
like cacao and cardamom oil for family and friends before venturing
out into the beauty market.
John W Harrison III
President
�
Direct: (913) 827-4588
Toll Free: (877) 663-4123
E-mail: john@harrisoncapitalmanagement.com
Fax: (913) 827-4584
www.harrisoncapitalmanagement.com
�
John W Harrison III
President
Direct: (913) 827-4588
Toll Free: (877) 663-4123
�
Harrison Capital Management
11111 NALL AVE STE 202
LEAWOOD, KS 66211
Architect James Rill respects the environments in which he builds
structures. In the house in the woods, Rill made great attempts to work
with the existing landscape. The few trees he had to take down were
used in the construction of the house, like the wood floors. Spray foam
insulation, a geothermal hot water system, and an irrigation system
that uses rain water were among the green features for this project.
LEAWOOD, KS 66211
Harrison Capital Management is an independent firm with securities offered through Summit Brokerage
Services, Inc., Member FINRA, SIPC. Advisory services offered through Summit Financial Group Inc., a
Registered Investment Advisor.
Back of Tear Out Card 1
Harrison Capital Management is an independent firm with securities offered through Summit Brokerage Services, Inc., Member FINRA, SIPC.
Advisory services offered through Summit Financial Group Inc., a Registered Investment Advisor.
Dear Bill
and&Judy,
Bruce
Caroline,
There are countless ways to enjoy and celebrate the bounties of the
environment. Let this issue inspire you to explore the nature in your
own neighborhood. As always, it is a pleasure to send you American
Lifestyle magazine. Thank you for your continued support through
referrals.
John W Harrison III
John W Harrison III
referrals.
HISTORY
C ONTENTS
6
Yellow Owl Workshop
STAMPS AND CARDS AND TOTES, OH MY!
Avid printmaker and owner of a craft workshop, Christine Schmidt waxes
poetic on the versatility of stamps, creative childhoods, and ice cream
within walking distance.
12
Homage to Nourishment
20
California Greening
24
Painting the Pedestrian
32
Into the Woods
38
Bourbon with a Twist
44
Treasure on Couch Street
VEGETARIAN RECIPES FOR A HEALTHY LIFESTYLE
Fresh and seasonal ingredients abound in the recipes from The Vibrant Table:
Recipes from My Always Vegetarian, Mostly Vegan, and Sometimes Raw
Kitchen by Anya Kassoff (Roost Books, 2014).
AN ORGANIC HORTICULTURIST’S TALE
Garden Apothecary founder Jennifer Lee Segale has made organic
gardening and design her life’s work, including a bath and body
product line.
THE ART IN THE ORDINARY
Artist Michael Ward paints to document and bear witness to life, and
chooses subjects often overlooked to force people to see.
BUILDING AMONG THE TREES
James Rill’s architecture is informed by the environment, integrating
outdoor elements into the design of the home.
THE ART OF SALVAGING OAK
Craftsman Tony Davis transforms Kentucky bourbon barrels into
useful household items, like cutting boards, lazy Susans, and art easels.
HOODOO ANTIQUES IN PORTLAND, OREGON
Mike Eadie’s extroverted personality and love of people’s stories make
him an ideal shop owner of a much-loved antiques store on Portland’s
Couch Street.
12
HOMAGE TO NOURISHMENT
AMERICAN LIFESTYLE
executive
chief executive officer: STEVEN ACREE | chief operating officer: STEVE HUSSON
Handcrafted Rugs and Furniture
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print production specialist: bRyAN MATHES
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PETER wETzEl, MiCHAEl CAMPANilE, liSA MAyS, TiMOTHy bUSHNEll,
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ElizAbETH MACON, JASON byRNE, JENNy FUSCO,
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NiCk biANCO, JOHN SCHEiRER, ERik wAlz, THOMAS SCHwARz,
JOHN HOFFACkER, lARRy GRANOFF
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WHAT WAS YOUR CHILDHOOD LIKE? WAS
CREATIVITY ENCOURAGED?
I remember my house being full of creative
things. I have three sisters, and my mom was
active in making us do crafts. Year-round, we
were always making things with our hands.
My mom actually ended up becoming an art
teacher after that, and taught me in school
(she was also the only teacher to send me to
the principal’s office). Just having those options and creative resources readily available
really gave me the confidence to make art
my career.
HOW DID GEOGRAPHY INFLUENCE
YOUR INTERESTS?
Yellow Owl Workshop
S TA M P S A N D C A R D S A N D T O T E S , O H M Y !
text: CHRISTINE SCHMIDT
photography: AUBRIE PICK
Avid printmaker and owner of a craft workshop, Christine Schmidt waxes poetic on the
versatility of stamps, creative childhoods, and ice cream within walking distance.
6
I grew up in the Midwest (I am from Kansas
City) before moving to Washington, D.C. to
go to art school. Once I was in Washington
D.C., there were so many amazing museums, many of which were free. Even a broke
art student could go in and explore all of the
wonderful treasures there. Once I moved to
the coast, I became more interested in coastal
imagery and would spend my time exploring the shores of Maryland. I then moved to
New York, which was a big change from D.C.
because everything in D.C. has to be smaller
than the Capitol building. It was there where
I finally found more verticality in my work.
While living in this denser population, elements like bikes and little corner stores became an influence. Now that I’m on the West
Coast, I find the landscape to be just staggeringly beautiful. There is so much drama to it
that isn’t present on the East Coast.
WHAT ART SCHOOL DID YOU ATTEND?
I went to a small, four-year art school in
Washington, D.C. called Corcoran School
of Art and Design. I studied fine art and did
everything from photography to ceramics
to printmaking. I really wanted to try my
hand at everything I could while I had the
facilities available.
AL 7
DID YOU ALWAYS SEE YOURSELF PURSUING
HOW WOULD OTHERS DESCRIBE YOU?
THE FINE ARTS?
I am really not the most organized. I laugh a
lot. I am pretty outgoing, but I can also be an
introvert. I come from a big family, and everyone just laughs all the time. I tend to surround myself with creative people who like to
have a good time.
I did, thanks to my mom. I think a lot of
parents are probably not that excited that
their kid is going to art school. It isn’t necessarily the greatest career move. But my mom
has always been very supportive of that. I
have had a lot of random jobs trying to support myself while I got this business started.
I was a cake decorator and a mural painter
and finisher. I worked as a gallery attendant. I
like to think that each of those random experiences did help to inform my creative work
and also my entrepreneurial sense as a small
business owner.
WHAT ART MEDIUMS DO YOU FIND
YOURSELF DRAWN TO AND WHY?
I am most drawn to printmaking because it
is amazing that with these humble materials,
you can create so many different looks using
so many different techniques. With printmaking, you can do surface design and textile
design. You can adorn three-dimensional objects with two-dimensional designs through
image transfer. Printmaking, for me, is the
most flexible, and I can do it in a confined
space. It doesn’t require a lot of facilities, like
a ceramic studio or a traditional photography
studio would.
DO YOU FIND YOU ARE MORE CREATIVE
WHEN GIVEN GUIDELINES OR WHEN YOU
ARE GIVEN A BLANK CANVAS?
I actually work both ways. I create a lot of custom goods for Crate and Barrel, for instance.
They will come to me with a specific holiday in mind or a specific event or function
in mind, and that can be a good jumpingoff point. For my own work, I usually find
that I take a meandering path. Maybe I am
spurred on by a specific image, or I am really
enjoying a specific technique and I want to
see what that looks like on a different scale.
I tend to look at a drawing and think, “What
would this look cool on?” and then I try to
figure out a way to make that happen.
8
You can use the entire
motif and create a really
large scene, or you can use
just one of the stamps and
create a gift tag. I think
stamps are also really
accessible because people
are familiar with them. It is
an approachable medium,
and when people sit down
and allow themselves
to play with it, they can
come up with a variety of
different things.
WHAT DO YOU LOVE ABOUT STAMPS?
I love the versatility of the medium, especially
the way I create my stamps. It is more fun for
me to see what other people make with them.
I use individual units—for instance, my landscape stamp set that is made up of five stamps.
You can use the entire motif and create a really large scene, or you can use just one of the
stamps and create a gift tag. I think stamps
are also really accessible because people are
familiar with them. It is an approachable
medium, and when people sit down and allow themselves to play with it, they can come
up with a variety of different things. It really
excites me to see what other people create
with them.
WHICH PART OF THE PROCESS DO YOU
ENJOY MORE—CREATING THE PATTERNS
OF THE ACTUAL STAMPS OR USING THE
STAMPS TO CREATE DESIGNS/ART?
I think they go hand in hand because I am
always thinking about how they will be used
by the person who is stamping. I always try to
keep versatility in mind. I would say, for me,
seeing the finished product is really fantastic,
especially when the finished product is something I wouldn’t have thought of myself. That
is the most rewarding aspect. Making something that allows someone else to be creative
is the best prize.
DESCRIBE THE ATMOSPHERE WHERE YOU
WORK. WHAT KIND OF ENVIRONMENT DO
YOU TRY TO FOSTER?
The team is made up of all women who are
very friendly. We get all of our goods from local suppliers and small, US-based companies.
All of our products are then assembled on
WHERE DO YOU FIND INSPIRATION FOR
YOUR STAMP DESIGNS AND NOTECARDS?
two long tables in our San Francisco studio.
You are very likely to hear a food radio show,
Radiolab, or This American Life playing as we
work. A lot of the people we employ are creative folks themselves, so it is a plus for us to
know that we are creating employment that is
supporting other people’s creative lives while
they support mine.
It really varies. Most recently, I have been
working on getting more texture into my
work. In the previous seasons, I was playing
around with watercolors, and this season, I
have been using mark making to create added depth into the two-dimensional pieces. I
put out seasonal designs that interest me at
the time. I recently put out stamps that work
with two-color ink pads. You can ink different areas of the stamp with varying colors to
create different looks. I had a fun time playing around with the color palette on that.
WHERE DO YOU GO WHEN YOU ARE
FEELING CREATIVELY BLOCKED? IS THERE A
DO YOU HAVE A LARGE STAFF?
TRAVEL DESTINATION THAT INSPIRES YOU?
Currently, we have a staff of five, which sometimes increases during the holiday orders.
They are all tremendous people. Although I
often work from home—I have a two-yearold, so I work by myself at times—it is always
fun to be in the studio in this communal atmosphere. Everyone has become friends, and
we are this little community. We have old employees stopping by for lunch. It is a pretty
positive place, and I feel lucky. It also helps
to have people with different skills surround
me, which is a tremendous plus because I
tend to be a little disorganized.
I wish it was a travel destination! I will take
my kid to Dolores Park, which is a great
big open park. I will just take a break, walk
around, and go shopping there. There are so
many cool shops, specifically in the Mission
District of San Francisco, which is where my
studio is. There are a ton of cool stores run
by other small makers from around the country. I find it inspiring to know that people are
supporting handmade American goods. Just
looking at something that isn’t my own work
is a treat too.
AL 9
WHAT DOES A TYPICAL DAY LOOK LIKE
FOR YOU?
My daughter gets up at six thirty or seven
o’clock, and we get her ready for school. My
husband works at City Hall downtown. He
takes a train down there, and that is when
I start my day. I will check e-mails and Instagram, have way too much tea, and pretty
much just work until around one or two
o’clock before stopping for lunch. I might go
out for a burrito. Then I will come back and
finish working until about five o’clock, and
then make dinner. After dinner, I just crash.
DESCRIBE YOUR “HAPPY PLACE,” EITHER
AS A TANGIBLE PLACE OR A SET OF
CIRCUMSTANCES:
Besides spending time with my family,
friends, and my daughter, I am most happy
when I am in the middle of working and I
get that feeling that I am in the zone. You can
feel it, but you’re not working for it—it is just
flowing with you. That is my happy place, and
that can happen anywhere—sketching at a
park bench, while I am in my studio, or even
on an airplane as an idea strikes me.
FAVORITE FOOD PLACE IN YOUR
favorite thing is to stamp on fabric. We have
these ink pads that work on paper and fabric,
and they are very vibrant colors that work on
a variety of different surfaces. Because you
can stamp on a T-shirt or a canvas lunch bag
or a table runner or a napkin, it becomes the
most versatile surface to work with. It is good
for occasions and small events. It is kind of a
way of branding yourself.
NEIGHBORHOOD:
La Palma is delicious. It’s a taqueria that specializes in making their own tortillas, which
results in serving amazing tacos and burritos.
DESIGNERS OR ARTISTS YOU ADMIRE AND
HAVE SHAPED YOU:
I think that changes so frequently. Today, I
was looking at Paul Klee, Agnes Martin, and
the paintings of Henri Rousseau. It really varies. Since I am in the business of always having to create new products, I have to get new
inspiration just to keep myself interested, and
to keep the attention of the people who buy
my wares.
IF YOU WEREN’T THE OWNER OF YELLOW
OWL, WHAT WOULD YOU BE DOING?
Getting a lot more sleep than I currently do!
I think I would still be doing something in
a creative field. But I just can’t imagine not
doing this right now, especially since I have
been working nonstop the last three months.
Maybe I would like working in the kitchen. I
also like science, so maybe I would be a scientist. (Oh, I could never be a scientist!)
DO YOU HAVE A DREAM CAREER GOAL?
I am living it. I feel really lucky to have the
job that I have. I can’t imagine anything better, except more time off.
HOW DO YOU FILL YOUR FREE TIME?
WHAT’S PLAYING ON YOUR IPOD?
Running a business takes up a lot of time, so
often my free time is watching terrible television. We will go walk around North Beach on
the weekend, or we will go to the beach. We
Right now, Radiolab, but it changes frequently. I listen to a lot of talk radio when
I’m working, so I love public radio shows. I
am also listening to a band called Architecture
in Helsinki.
WHERE DID THE NAME YELLOW OWL
COME FROM?
I don’t have a good answer for that. I oddly
had the business name before I had the business. I just knew I wanted to do something
with my hands. I liked the repetition of the
letters. Yellow owls don’t exist (that I know
of). Yellow Owl just suited me. I wasn’t thinking that it would be the longest website name
ever. And now that I have to say it twenty
times a day, it was perhaps not the best business decision I’ve ever made, but it suits me.
WAS THE TERM WORKSHOP CHOSEN
ON PURPOSE?
Yes, I knew I was going to make stuff myself.
It wasn’t going to be a design studio. It was
going to be an approachable workshop where
we took care of business.
WHAT IS YOUR FAVORITE STAMP SET AND
YOUR FAVORITE THING TO STAMP?
That is tough. It is always the one that I just
did. I have a rose stamp that is new that I really like. I have been into florals lately, and
it makes me happy to look at it. I think my
10
WHERE DO YOU SEE YELLOW OWL
will go back to Kansas City where my family lives, or head to New Jersey and visit my
husband’s family.
WHAT IS IT LIKE LIVING IN SAN
FRANCISCO? CAN YOU IMAGINE LIVING
ANYWHERE ELSE?
I have lived in a bunch of places. And since
San Francisco has no winter, it is hard to beat.
It is a really great, very vibrant town that is
very supportive of small business. It is an
ecologically aware town, so they also pride
themselves on local produce and locally produced goods.
WORKSHOP IN FIVE YEARS?
We had a tremendous response with our
Carve-a-Stamp kit, which is a product I was
making myself for use. It is two river blocks
glued to a stamp block for even carving and
impressions for solid printing. We also just
released these stencil kits that allow people
to use drawing stencils on totes and decals.
I find myself thinking more and more about
craft kits.
AL :: www.yellowowlworkshop.com
It is changing a lot. We are seeing a second
wave of technology moving in that is pushing the younger creative people out. But it is
a great place in general. I think that I would
always want to live in a walkable city. If I can’t
walk to the corner store and get a pint of ice
cream, I don’t want to live there.
AL 11
Homage to Nourishment
From The Vibrant Table by Anya Kassoff, © 2014. Photographs by Masha Davydova. Reprinted by
arrangement with Roost Books, an imprint of Shambhala Publications Inc., Boston, MA.
www.roostbooks.com
FOOD
V E G E TA R I A N R E C I P E S F O R A H E A LT H Y L I F E S T Y L E
text: ANYA KASSOFF
photography: MASHA DAVYDOVA
Fresh and seasonal ingredients abound in the recipes from The Vibrant Table:
Recipes from My Always Vegetarian, Mostly Vegan, and Sometimes Raw
Kitchen by Anya Kassoff (Roost Books, 2014).
I love cooking with tofu, as its texture
and ability to absorb any flavor allow
so much creativity in the kitchen.
The flavor of this marinade is
sensational—the combination of
cardamom and citrus is vibrant and
sunny, perfect for a summer meal.
citrus broccolini
with cardamom tofu
cooking instructions:
ingredients:
1 package (14 ounces) firm tofu
1 bunch (about 10 ounces) broccolini
For the marinade
Juice and zest of 2 limes
Juice and zest of 1 lemon
Seeds of 7 cardamom pods, crushed in a mortar
and pestle
1/8 teaspoon red pepper flakes
2 tablespoons coconut sugar
4 tablespoons olive oil, plus more for greasing
the baking dish
¼ teaspoon sea salt
1 bunch cilantro, leaves and stems (about 1 cup)
1 tablespoon purified water
Handful almonds, toasted and chopped
SERVES 4
1. Drain the tofu, and place it on a plate. Cover with another plate, and put some weight on it, such as a glass jar filled with water. Let it drain for
about 2 hours.
2. In a medium bowl, mix the citrus juices, cardamom, red pepper flakes, coconut sugar, olive oil, and salt. Pour into a food processor, add the cilantro and water, and pulse to incorporate. Reserve ½ cup of the dressing for later.
3. Pour away the water drained from the tofu. In a medium dish, crumble the tofu with your fingers. Pour the remaining dressing over the tofu, and leave to marinate for 30 minutes to 1 hour. (You can do these steps in advance and marinate the tofu overnight.)
4. Preheat the oven to 425°F.
5. Blanch the broccolini in a large pot full of well-salted water for 4 to 5
minutes. Transfer to an ice-water bath to stop the cooking. Remove the
broccolini from the water once cool, squeeze out the excess water, and pat dry with paper towels.
6. Place the broccolini in a lightly oiled baking dish, drizzle the reserved ½ cup of dressing over it, and top with marinated tofu. Bake for 10 minutes.
7. Sprinkle with the toasted and chopped almonds, and serve immediately.
12
AL 13
When I first made this salad, it was
nothing more than an attempt to put
together the produce I had on hand
into one meal. It turned out so well
that everyone who tried it declared it
was one of the best salads they’d ever
had. I don’t think anyone has changed
their mind since.
summer bounty
salad
SERVES 4-6
ingredients:
Sea salt
About 10 ounces young green beans or French
beans, ends trimmed
About 6 ounces fresh shelled green peas
1 small carrot, shaved with a vegetable peeler
1 small head radicchio, thinly sliced
About 10 radishes, thinly sliced
Zest and juice of 1 lemon
3 tablespoons chopped fresh parsley
3 tablespoons chopped fresh dill
2 teaspoons whole coriander seeds
1 teaspoon whole cumin seeds
1 teaspoon whole yellow mustard seeds
½ teaspoon whole fenugreek seeds (optional)
2 tablespoons olive oil
1 garlic clove, peeled and crushed with a knife
Handful of berries, such as cherries and
raspberries (optional)
14
1. Blanch the green beans in a pot of well-salted boiling water for about 4 minutes, until crisp-tender, and shock them in an ice-water bath. In the same water, blanch the peas for about 20 seconds, until crisp-tender, and shock them in the ice water. Remove the vegetables from the ice water when cool,
and gently dry them with a dish towel or paper towels.
2. In a large bowl, combine the green beans, peas, carrot, radicchio, radishes, zest of the lemon, parsley, and dill. 3. In a mortar and pestle or coffee grinder, coarsely grind the coriander, cumin, mustard, and fenugreek seeds. Heat the olive oil in a small skillet over medium-low heat, add the crushed seeds and garlic, and cook for 2 to 3
minutes, until fragrant. Pour the hot oil over the salad, season with salt, and add a generous squeeze of lemon juice. Mix gently, add the berries, if using, and serve immediately.
AL 15
I have a deep fondness for vegetable
pancakes or fritters; they were one of the
tastiest and simplest meals of my
childhood. My mother made them with
zucchini in summer and pumpkin in fall
and winter.To make them with zucchini, just
squeeze out the excess water, eliminate the
sage and nutmeg, add 1 tablespoon each
minced mint and dill, and use almond flour
rather than hazelnut flour.
ingredients:
1½ tablespoons olive oil, divided
½ medium yellow onion, finely chopped
1 large garlic clove, minced
2 cups packed finely shredded butternut squash
1 large egg
Large pinch of sea salt
Freshly ground black pepper
1½ tablespoons minced fresh sage (from about
5 sage leaves)
1 tablespoon minced fresh flat-leaf parsley
¼ teaspoon smoked paprika
Dash of freshly grated nutmeg
1½ ounces feta cheese, preferably goat’s milk
and/or sheep’s milk feta, crumbled
½ cup hazelnut flour or almond flour
16
butternut squash
and sage fritters
MAKES 12
1. Warm ½ tablespoon of the olive oil in a small sauté pan over medium-low heat. Add the onion and garlic, and sauté for 4 to 5 minutes, until translucent. Set aside to cool.
3. Wrap the shredded butternut squash in several layers of paper towels, and squeeze gently so the paper towels can absorb the excess liquid. Remove the paper towels, and place the squash in a medium bowl with the egg, salt,
pepper, sage, parsley, paprika, nutmeg, cheese, and hazelnut flour. Add the onion and garlic, and mix to combine. 4. Line a baking sheet with lightly oiled parchment paper. With your hands, shape the squash mixture into patties, and arrange them on the baking sheet about 1½ inches apart. If the batter doesn’t stick together or is too wet, add a little more flour. Brush the patties with half of the remaining olive oil, and bake for 10 minutes. 5. Remove the sheet from the oven, and flip the patties using a thin
spatula. Brush the other side of the patties with the remaining olive oil, and bake for another 10 minutes. Serve with sour cream or yogurt, and/or a simple green salad on the side.
AL 17
Halva is one of my favorite desserts.
Whenever I see those irregularly
shaped blocks of nuts and sugar at
Middle Eastern markets, I lose all
willpower. I can’t ever pick just one
kind—sesame, sunflower, pistachio—
they are all delicious in their own way.
It’s no surprise that I wanted to create
a healthier alternative so I wouldn’t
feel a sugar overload after every burst
of indulgence.
everything
halva
MAKES 24 SMALL BARS
ingredients:
5 large soft dates
1 cup raw walnuts
1 cup raw hazelnuts
½ cup raw sunflower seeds
½ cup rolled oats
½ cup raw Brazil nuts
Pinch of sea salt
2 tablespoons maca powder (optional)
3 tablespoons coconut butter or coconut oil
2 tablespoons sesame tahini
¼ cup pumpkin seeds
¼ cup unhulled or hulled raw sesame seeds
¼ cup hemp seeds
¼ cup chia seeds
2 tablespoons quinoa puffs
1/3 cup goji berries
1 heaping tablespoon cacao nibs
½ tablespoon bee pollen
3 tablespoons honey
18
1. Place the dates in a medium bowl, and cover with purified water. Let them soak while you follow the next few steps. Make sure your dates are very fresh, soft, and moist; if they’re not, soak them for several hours.
3. Spread the walnuts and hazelnuts on a baking sheet, place it in the oven, and toast the nuts for 10 minutes. Remove from the oven, and let cool.
Meanwhile, spread the sunflower seeds on a separate baking sheet, and toast them for 5 minutes. Remove from the oven, and let cool. Rub the toasted walnuts and hazelnuts with a kitchen towel to remove their skins.
4. Pulse the rolled oats in a food processor to partially grind them, about 10 pulses. Transfer into a large bowl. Add the walnuts, hazelnuts, sunflower seeds, Brazil nuts, and salt to the food processor, and grind to the consistency of breadcrumbs. Drain the dates, remove the pits, and add to the nut mixture in the food processor, along with the maca powder, if using, the coconut
butter, and tahini. Grind until well combined and as smooth as possible.
5. Add the remaining ingredients to the large bowl with the rolled oats,
followed by the nut-date mixture. Using your hands, combine everything very well. The mixture should be sticky and hold together when pressed between your fingers.
6. Line an 8-by-8-inch baking pan with parchment paper extending up the sides. Press the mixture into the pan in an even layer, and freeze for 1 hour. Remove the pan from the freezer, lift the halva out with the parchment paper, and place the halva on a cutting board. Carefully slice it into bars with a large, sharp knife. It will keep refrigerated in an airtight container for up to 3 weeks.
You can also store the bars in the freezer; they don’t harden completely, so you can eat them straight from the freezer.
AL 19
GARDENING
much as possible. I also work with my clients
long after to maintain their landscapes so
the gardens stay chemical-free, sustainable,
and beautiful!
WHAT KIND OF SCHOOLING IS
INVOLVED TO BECOME A
PROFESSIONAL HORTICULTURIST?
Like a lot of professions, horticulture can be
self-taught hands-on or by going to school
and getting a degree or degrees. I have done
all of the above, but I find that nothing is a
better teacher of nature than nature. My favorite quote is, “Study nature, not books.”
HOW WOULD YOU DESCRIBE THE VIBE OF
HALF MOON BAY?
California Greening
A N O R G A N I C H O R T I C U LT U R I S T ’ S TA L E
text: JENNIFER LEE SEGALE
photography: ROB CO
Garden Apothecary founder Jennifer Lee Segale has made organic gardening and
design her life’s work, including a bath and body product line.
Half Moon Bay, California, is a chill coastal
town, deeply rooted in an agricultural community. I can walk to the beach and coastal
bluff, and I can look out my window and see
horses, cows, and a tractor pulling hay. Our
biggest crops here are artichokes, pumpkins,
and brussel sprouts, so there are always great
fresh vegetables here. It’s heaven!
WHAT CONSTITUTES ORGANIC
LANDSCAPE DESIGN?
Organic landscape design is when you design and implement a garden, using organic
practices. I grow my own plants organically,
and buy from organically certified companies. I fertilize with compost that is certified organic. When I design a garden, I am
sure to study the natural habitat and climate
before we come in and work with it. I look
for a shady, soggy area on the property, and
plant accordingly. I plant drought-tolerant as
20
WHAT ARE YOUR IDEAL CIRCUMSTANCES
TO WORK WITH?
My favorite jobs are when I work privately
with most or all of the creative freedom. I like
to see inside a person’s home or office to get a
sense of their taste and color choices, but other than that, my job is to design with the land.
One job that I maintain each month (in San
Francisco, California) is located near the bay,
so we deal with a lot of salt, wind, and sun.
We have a beautiful layer of native perennials, shrubs, and trees, and every few months,
I plant containers around their house to hold
the high-flowering annuals. We have a lovely
patchwork mix of sustainable natives, as well
as pockets of color and texture.
DO YOU HAVE A DREAM PROJECT?
My dream job is to work on an estate where
I can plant hillsides of lavender. How gorgeous would 1,000 lavender plants in full
bloom look each summer? I’d love to be on a
property that had some history and some established trees, as well as areas for transition
and new plantings. Masses of lavender always
intrigue me. Vegetable gardens are always fun
to install too.
AL 21
My dream job is to work on an estate where I can plant
would 1,000 lavender plants in
full bloom look each summer?
I READ THAT YOU RAISE BEES. HOW DID
YOU GET INVOLVED IN THAT?
I do raise honeybees. I have just a small hive
(less than 20,000 bees) in my back garden,
close to where I make my organic bath and
beauty products. From my office, I can hear
the buzzing! I wanted to work with bees because of the amazing beneficial properties of
honey. I also wanted to help support our local bee colonies, and add biodiversity to my
garden and neighborhood.
DO YOU TAKE CARE OF OTHER ANIMALS?
I have four rescue mutts from various rescue
organizations—Sprout, Patootie, Lucky, and
Whiskey. They are all adorable, and a giant
pain in the rear! They each have a different,
entertaining personality, so they always keep
me on my toes!
I also own chickens, though they don’t have
special names; I call them all Mama. They
are sweet little pets, but we mostly have them
for egg production. I have four chickens, so
we (pretty regularly) get four eggs a day. My
friends and neighbors reap the benefits, and I
always have eggs on hand for cookie making.
WHAT INSPIRED YOU TO LAUNCH
GARDEN APOTHECARY?
I was inspired to start Garden Apothecary
about six years ago. My sister and I were
walking through the Ferry Building Farmers’
Market in San Francisco, and I saw a plethora
of bath products, but none were organic or all
that interesting. I decided it would be fun to
make products for the body from the plants I
knew and loved and researched. Plus, it was a
perk to be able to get dirty from one company
(my landscaping) and clean up with another!
My cacao body scrub was created for getting
22
hillsides of lavender. How gorgeous
the dirt out from under my nails after gardening, but it’s ended up being fabulous for
so much more!
DID YOU HAVE WILLING FRIENDS TO TEST
YOUR PRODUCTS?
Early on, I made my products in my kitchen
and did a lot of family and friend testing!
It really started as something indulgent for
myself and a few close friends. But after a
holiday season of everyone wanting some, I
decided to turn it into a business. It was off
to the races from there! I noticed a hole in
the beauty market, as none of the products
I could find had actual plants or flowers in
them—just oils and chemicals. I find that
Garden Apothecary’s best sellers and most
indulgent products are the ones I add a lot
of botanicals to, like our vanilla and balsam
scrub that includes one whole organic vanilla bean in the jar.
DID YOU ALSO CREATE YOUR OWN LABELS
AND PACKAGING?
I created all of my labels and packaging. It’s
been a painstaking process that took me
about two years, but I love the outcome and
find the labels to be very fitting for the products and my brand. I work with a designer
and printing company who I give my ideas to.
They make sure it’s printable, and constantly
help with my perennial grammar issues!
WHERE DID YOUR LOVE OF TRAVEL
STEM FROM?
My love for travel came when I met my husband, Matt. He has always been a constant
traveler, and after we took our first monthlong trip, I was hooked. If I don’t make it
to Belize a couple times a year, I get pretty
antsy. I tend to tailor my trips around what
type of plant research I can do in whatever
country we are traveling to. Belize is perfect
since Matt loves to scuba dive while I am
trekking in the jungle. I’d say that is where
we have had our best memories—jumping off waterfalls, cave exploration, riding horses in a mahogany farm, and eating
great local foods at the Belizean farmers’
markets. My favorite times are just driving
for hours down the Hummingbird Highway in Belize and listening to our favorite
podcasts. We speed by the beautiful landscape, stop whenever there is something interesting to see, and enjoy our time together.
FAVORITE PRODUCT:
It’s tough to have favorites since I handcraft
each product, but if I had to choose, it would
be our cacao and cardamom oil. It’s a rich,
grounding scent that feels luxurious on the
body; it’s our best-selling item.
football shaped. The taste and scent from the
beans is incredible—even magical. It’s found
to have a tremendous amount of antioxidants
and other medicinal properties for the body,
mind, and spirit.
AL :: www.gardenapothecar y.com
WHAT IS CAPTURING YOUR ATTENTION
THESE DAYS?
Right now, I have been doing a lot of
hands-on studying of theobroma cacao.
This is the namesake of chocolate. It’s a small,
tropical tree that loves to grow in the underbrush in jungles. The pods are large, almost
AL 23
Painting the Pedestrian
ART
T H E A RT I N T H E OR DI NA RY
text: MICHAEL WARD
paintings: MICHAEL WARD
Artist Michael Ward paints to document and bear witness to life, and chooses
subjects often overlooked to force people to see.
TELL US ABOUT YOURSELF AND YOUR
DID YOUR CAREER TAKE OFF FROM THERE?
JOURNEY AS AN ARTIST:
I got distracted with a girlfriend (later wife)
and stepson, and put my brushes down for
a decade or so. I regretted selling Pink Elephant, and one day decided to get it back
by painting it again. Then I painted another
work and another, and haven’t stopped since.
I draw from my now-ancient archive of slides
from the ’70s and ’80s, and more recent images as well.
I’d like to say I knew from an early age I
wanted to be an artist, but that’s not quite the
case. In my youth, I wanted to be an architect,
and got as far as studying architecture in high
school before diverting into creative writing
in college. In 1974, I spent a summer with my
cousin in Maine, who put me to work doing
pen and ink sketches of houses for friends. I
earned $15 a drawing, and by summer’s end,
I had a couple hundred bucks in my pocket.
That led me to do more pen and ink drawings of historic architecture, which abounds
in Maine.
Back home in Long Beach, California, I went
searching for more historical buildings to
draw. Pickings were slim, but in the course
of my wanderings, I photographed whatever
caught my eye, old and new. I was friends
with a couple professional photographers,
who encouraged my amateur efforts. In the
early ’80s, I tried painting some of these.
I used gouache on illustration board, just
because that’s what I had on hand from my
day job as a graphic artist. The results were
encouraging, and I even managed to sell a
painting (Pink Elephant) for a modest price.
24
I went along the typical amateur path, showing in community art shows and county fairs,
gradually climbing the emerging artist ladder
to group shows at galleries, then a solo show
in 2008, and then gallery representation and
more group and solo shows. Though I still
have a day job, painting occupies more and
more of my time.
AS AN ARTIST, WHAT IS YOUR MOTIVATION
FOR CREATING?
For me, painting is about bearing witness.
It’s about documenting the life I live and
have lived, the places I’ve been, and the
sights I have seen. I concentrate on what is
normally overlooked: the everyday, the commonplace, the stuff we take for granted. Alan
Watts calls it, “The mystery of the ordinary.”
AL 25
I concentrate on what is normally
overlooked: the everyday, the
commonplace, the stuff we take
for granted. Alan Watts calls it,
“The mystery of the ordinary.”
I believe there is a grace in
everyday things that we
usually overlook.
I believe there is a grace in everyday things
that we usually overlook. My paintings are a
way of making people pay attention to what’s
around them. My hope is that people look at
my paintings and see something of their own
experience in them, and that prompts them
to look at something they’ve never seen before and say, “I know this.”
HOW HAS YOUR ART EVOLVED OVER
THE YEARS?
In the early days, I was copying my photographs exactly, only leaving out stuff that was
too complex to paint. At some point, I began
adding figures to images that needed them,
or other elements such as cars or trees. And
I might change the color of a building or reposition things for the sake of composition.
I have dabbled with wholly fictional scenes,
but always come back to a more documentary approach. Over the years, I’ve learned to
become braver in cropping tighter and making changes for the sake of composition. So
I’m probably somewhere between documentary and reality TV.
26
HOW WOULD YOU DESCRIBE YOUR WORK?
TALK US THROUGH THE PROCESS OF
In art historical terms, you’d probably call
what I do photorealism. I’d be happy just
calling it realism. The paintings look photographic to the untrained eye, but my level of
detail is not as great as some. And though I
sometimes wish it were looser, it never quite
gets to an impressionist level. A curator once
described my work as “abstract realism.” That
may explain my affinity for Richard Diebenkorn. My fascination with the ordinary might
put me in the Ashcan School, though it would
have to be updated to the Plastic Recycling
Bin School.
CREATING YOUR AVERAGE WORK OF ART:
WHEN IT COMES TO YOUR WORK, ARE
THERE ANY BOUNDARIES THAT YOU ARE
I start by picking an image from my archive,
either a slide from the ’70s or ’80s, or a digital
shot from this century. I crop it in Photoshop,
and do any necessary editing—removing or
adding elements, moving stuff around, modifying colors. Then I make a full-size printout
that gets traced onto the canvas. I work back
to front, and top to bottom. A small piece
takes a couple weeks, working two to three
hours a day. A more complex piece may take
two months. One painting took me a year, but
that was in my early days when I was slower
and less devoted to painting. I generally don’t
varnish my paintings, so when the last detail
is painted, they’re done.
NOT AFRAID OF CROSSING?
If there are any boundaries, they are ones I’ve
set myself. I shy away from painting “pretty”
pictures—touristy scenes, flowers, pets, carousel horses, etc. (though I have done all of
those at some point, and they’ve been well
received). But I would rather not paint the
stuff that’s already been painted over and
over. There is so much in the world that is
overlooked—I feel a duty to document it.
WHAT INSPIRES THE SUBJECT MATTER OF
YOUR ART?
I’m always looking for subject matter, but it’s
hard to articulate exactly what I’m looking
for. It usually boils down to, “I know it when
I see it.” People sometimes send me images
they think could be Michael Ward paintings.
AL 27
They may be way off base, but sometimes
they’re right on. That’s satisfying—to know
that other people share my aesthetic.
WHERE ARE SOME OF YOUR FAVORITE
PLACES TO DRAW INSPIRATION FROM?
Museums are always energizing for me, as
is the study of other artists in general. And
travel, of course. Lately, I’ve been traveling
repeatedly to the same places (because of
family): Montana, Michigan, and Mexico.
I’ve gotten a lot of material from all of them.
WHAT IS YOUR FAVORITE ASPECT OF THE
CREATIVE PROCESS?
I like the entire process: finding an image,
preparing it for the canvas, and executing the
work. I guess a favorite aspect for me is finding the unexpected and overlooked details in
an image as I paint it. For instance, I found
a slide in my archive that had a girl leaning
against a light pole at an odd angle. When
I began painting, I noticed she was wearing
roller skates, so that painting became Rollin’
Down Pico after the location, Pico and Western in Los Angeles. Another image I painted
contained a bank building in downtown Long
Beach built in the twenties; a couple of old
cars appear in the slide I took in the 1970s,
and an elderly woman in the foreground is
clutching her sack lunch. That became the
painting called Persistence.
28
In art historical terms,
you’d probably call what
I do photorealism. I’d
be happy just calling it
realism. The paintings
look photographic to
the untrained eye, but
my level of detail is not
as great as some.
AL 29
My most recent revelation came when I
did a painting of a VW bug parked outside
an art deco apartment building, based on a
slide I took back in the 1970s. I discovered
that the VW had snow tires, not usually
needed in Southern California. The VW was
a 1968 model, the same one my father had
when he left Montana in the 1960s to resettle in Long Beach. So there was a personal
symbolism for me, though I didn’t realize it
when I took the photo or started the painting.
These themes often only present themselves
after hours of study, which painting allows
me to do.
“
IT TOOK ME A LONG TIME TO REALIZE THAT IF SOMETHING DIDN’T COME OUT RIGHT,
I could repaint it. That has freed me up, which means I can paint faster.
There’s no pressure to get it right the first time.
HOW WOULD YOU SAY YOUR ART DIFFERS
FROM OTHER CONTEMPORARY ARTISTS?
I’m self-taught, so I haven’t been influenced
much by art schools or art trends. I don’t feel
the need to express any inner demons. I don’t
think I’m consciously emulating anyone,
though there are many contemporary artists
I admire, such as Robert Bechtle, Richard Estes, Ralph Goings, and John Register.
DESCRIBE FOR US THE ATMOSPHERE WHEN
HOW DO YOU CONTINUE TO CHALLENGE
YOU ARE AT WORK:
YOURSELF AS AN ARTIST?
I can paint anywhere, and have, but I have a
purpose-built studio attached to my house
where I do most of my painting. My cat, Milo,
keeps me company, and I listen to podcasts
(mostly current affairs programs) to engage
that part of my brain not engaged in painting.
For a long time, I resisted doing commissions, though I’m often asked to do them.
Somehow, it seems too much like work. But
lately, I’ve been more open, as commissions
often take me in directions I would not otherwise have gone. And as my skills improve,
I have tackled images that I once considered
too hard to paint.
TALK ABOUT THE HOME IS WHERE THE
TALK ABOUT YOUR LIFE OUTSIDE OF
HOUSE IS SERIES:
YOUR WORK:
I am currently working on a series of paintings of simple, ordinary houses—ones without grand architectural pretensions. Rather,
their importance derives from the lives lived
within them, of which we see very little. The
paintings are all of a common size, fourteen inches by eighteen inches. The houses
are from a variety of locations in the United
States and Mexico. They are, in a sense, the
places we all grew up in—places of nurture,
experience, trial, memory, and forgiveness.
Lately, I’ve tried to include more people in
my paintings, which often means combining
images. Having a person in a scene changes
the dynamic entirely.
There’s travel, reading, taking care of cats,
and being a graphic designer. But I’m always
thinking about painting—whether it is the
project I’m working on at the moment or
what I want to paint next.
WHAT HAVE BEEN THE MOST VALUABLE
WHERE WOULD YOU LIKE TO BE IN
LESSONS LEARNED?
TEN YEARS?
It took me a long time to realize that if something didn’t come out right, I could repaint
it. That has freed me up, which means I can
paint faster. There’s no pressure to get it right
the first time. Another thing I’ve learned is
that often a composition can be improved
by cropping the original image. I found this
out more or less by accident while trying to
fit the image of one of my paintings onto a
business card.
I’d like to still be above ground, painting full
time in some picturesque location (or several), reluctantly jetting off for the occasional
museum retrospective.
30
Los Angeles, and Orange County. Just as a
walkabout is a coming of age, these paintings
represent my ongoing journey of discovery
and maturation as an artist, and simultaneously, my examination in detail of where I’ve
been, and by extension, who I was and who I
have become.
AL :: www.tmichaelward.com
TALK ABOUT THE WALKABOUT SERIES:
These paintings are from my 2008 solo
show, with ongoing additions. They are all
city scenes, based on photographs taken
while roaming the streets of Long Beach,
AL 31
DESIGN
WAS THERE A DISTINCT MOMENT THAT
HELPED DETERMINE YOUR PASSION
FOR ARCHITECTURE?
I don’t think there was a specific moment.
There was nothing so glorious as getting hit
in the head with an apple and coming up
with a theory. I was always interested in tinkering and building with things, and had really liked being around construction as I was
growing up.
Into the Woods
BUILDING AMONG THE TREES
text: JAMES RILL
photography: JAMES RAY SPAHN
James Rill’s architecture is informed by the environment, integrating
outdoor elements into the design of the home.
INSPIRATION FOR A HOME’S DESIGN?
The environment around you provides context, which includes factors like the views,
the sun, the wind, the trees, and the terrain.
There are next-door neighbors, backdoor
neighbors, and front-door neighbors. There
is streetscape. All of these elements play into
how you respond and how you begin the process. You need to know all the pieces so you
can incorporate it into your design.
I played football while attending an Ivy
League college to earn a liberal arts degree.
I pursued a pretty well-rounded degree because I didn’t know exactly what I wanted to
do—at that time, my mind-set was fixated on
pretending that I might be able to play professional football in the future. I started out
studying engineering, but found that I was
more interested in putting things together
and seeing how they were modeled rather
than learning about how things stressed. So
I ended up becoming a visual arts major,
which I excelled at but wasn’t focused on.
Although I did end up getting signed by a
professional football team, I got cut fairly
quickly. Returning home, I took a job as a
do-everything gofer with an architecture
firm, just to see if I would like it, and coached
football for a high school team. Through that
experience, I was offered a couple teaching
positions from a local high school; however,
I decided to follow my father’s advice and
attend graduate school before jumping into
a teaching position. I applied and got into
graduate school to study architecture, and it
became my passion.
WHAT ABOUT ARCHITECTURE WERE YOU
DRAWN TO?
I think it was the ability to make functional
artwork with my hands. There were reasons
to do things a certain way, whereas art was
too wide open for me. There was context with
architecture, like wind, sun, and landscape.
There were buildings next door and views to
take into account. All of these variables had
to be considered and integrated in order to
create a story or an experience as you move
through the space.
32
HOW DOES LOCATION TRANSLATE INTO
The other context is the client. Our clients
have a lot to say about what they want in their
homes. We want to base our design off of how
they live, and not how I live or anyone in our
firm lives since we are not the people who are
going to live in the project. We find out whatever their needs and wishes are and incorporate those into our plan as we are designing a
project. If you came to us with your house, we
would ask questions like, “How do you entertain? Who wakes up first? How much space
do you have for your closets? Who cooks?”
These are a lot of personal questions. By taking your cues from the site and the clients,
every project you work on is different—every
site is different, every personality is different—so it never gets old.
ONCE YOU’VE SELECTED A DIRECTION FOR
HOW WOULD YOU DESCRIBE YOUR
THE DESIGN, WHAT IS YOUR PLANNING
DESIGN AESTHETIC?
PROCESS LIKE?
Naturesque, which to me means it responds
to its environment. It brings nature into the
house and the house out into the natural environment. Our firm dedicates itself to creating spaces that are connected to the views
and vistas of the outdoors. Every house you
design creates outdoor rooms as well, and the
outdoor rooms are some of the most wonderful rooms in the house. Our clients really like
to feel connected to nature while they are inside their home, but they also like to feel that
they are not all alone when outside.
It is always evolving. There is no selection to
the design. There is something called a parti,
which is a French word for an organizing element from an architectural standpoint. You
begin by creating organizing elements that
are reviewed with your clients and reviewed
by your staff. And you pull together how you
want to expand the project. From that point,
you start designing the details, and you review it again with your clients and staff every couple of weeks. You keep pushing along
in baby steps until you get something that
is morphing into a design that is physically
AL 33
The client was looking for a place to live
nature both from
within nature so they could experience
within the house and from outside the house.
beautiful and functionally beautiful, but not
constructable at this point. These are not construction drawings, but rather drawings that
give you a sense of what the design is.
At that point, you take it to general contractors for pricing because you want to make
sure you are not building the Taj Mahal when
you don’t have a Taj Mahal budget. All architects are accused of going overbudget. It’s
crucial to find out the budget early so you can
modify and tailor the project to meet your financial and aesthetic needs. There are ways
to design and masterplan, get some pricing,
get a shopping list, and then tailor it to meet
your needs, budgetwise.
or hollowed out a log and lived in that. But
the wife insisted on including the amenities
of modern-day lifestyles.
They wanted their house to sit within the
context of the neighborhood from an architectural standpoint—they didn’t want it to
be so rustic that it didn’t fit with the other
houses in the neighborhood—but they also
wanted it to sit on the site as a piece of the
landscape. They wanted the design to be a
little more sleek, clean, and made of glass,
stone, and wood so that it appeared to grow
out of the landscape.
DESCRIBE THE LOCATION BEFORE
YOU BEGAN:
YOUR FAVORITE ARCHITECTURE SECRET:
There is no real secret. We spend a lot of time
thinking about natural light. I think one of
the biggest things we do differently from others is we design the house as if it owns everything it can see. If you have a five-acre site, we
are designing a five-acre project, although the
house may be only 3,000 square feet. There
will be trails, gazebos, and outdoor rooms.
We think of the entire site as the project. We
help with the landscape architecture, and we
also work all the way to the interiors where
we’ll coordinate to design the kitchen cabinets, the built-ins, and everything up to the
furniture and fabrics—which we can coordinate as well if you want us to. I think our secret is that we are not just thinking about the
house as a structure. We are thinking about
it as a home.
It was on a steep slope in the middle of the
woods with vistas toward valleys and river
valleys. The houses on each side were contemporary in nature, and the neighborhood
as a whole was more English traditional. It
was a wonderful site. There was nobody behind you for miles that you could see, and
you could easily screen out your neighbors to
the sides.
SUM UP THE THEME AND INSPIRATION
BEHIND THIS PROJECT IN A COUPLE OF
SENTENCES:
Live within your surroundings without having an adverse affect on the surroundings.
Influence the site versus ripping it apart and
disturbing it.
HOW DID YOU NAVIGATE THROUGH
NATURE TO ACHIEVE YOUR DESIGN?
GIVE US AN OVERVIEW OF THIS
WHAT SORT OF CHALLENGES DID THE
PARTICULAR PROJECT. WHAT WAS YOUR
LANDSCAPE PROVIDE?
CLIENT LOOKING FOR IN TERMS OF
We chose to work with the surrounding materials so that the house didn’t appear like an object in the landscape, but rather it blended in
with the green of nature. We relocated mountain laurels, which we were advised not to do
but were successful at anyway. We worked
with the existing positioning of the trees,
AESTHETIC AND FEELING OF THE SPACE?
The clients were looking for a place to live
within nature so they could experience nature both from within the house and from
outside the house. If the husband had his way,
he would have pitched a tent on the property
34
taking down as few as possible and spending
lot of money saving the ones that were tight
to the house. When we did have to take down
a tree, we would utilize the wood within
the construction materials so that nothing
was wasted. You will notice that some of the
trees are actually used as the wood floors in
the house.
TELL US ABOUT THIS HOUSE IN
GENERAL TERMS:
It is a four-story, 4,200-square-foot house.
The lower level consists of an indoor pool,
which opens up to nature as well as a guest
room, workout room, and rec room. The first
floor is the living, eating, and cooking space,
and also boasts a glass room which is ideal for
sitting in the environment and looking out
at the nature that passes by. On the second
floor, there is the master bedroom and another bedroom. And on the third floor, there is
an office and a bird sanctuary for the owner’s
parakeets. When the client walks around up
there, the birds perch on his shoulders, so we
had to make sure the materials up there took
care of themselves. If you notice on the front
of the house, the dormers are made of glass.
We treated the dormers as hatches; when you
are standing inside a dormer, you feel like
you have lifted up the hatches of the roof and
are looking around in all directions.
EXPLAIN SOME OF THE ECO-FRIENDLY
DESIGN MATERIALS, SYSTEMS, AND
BUILDING TECHNIQUES USED IN
THIS PROJECT:
We put a lot of thought into living green and
living within your environment. The main
features were the insulation, the indoor air
quality, and the hot water heat that runs
from a geothermal system. We utilized Icynene spray foam insulation, duel flush toilets, and ENERGY STAR appliances. We also
incorporated cisterns, which take the water
from the roof and the site and filter it into
two ten-thousand-gallon tanks for irrigation.
AL 35
WHAT SORT OF DESIGN DETAILS CAN BE
the satisfaction of being able to say that we
had a little something to do with its creation.
That is how our clients feel too. They are doing this because they love it. They are doing
something for the future, but for their own
satisfaction and simplicity in life too.
FOUND IN THE HOME’S INTERIORS?
The interior of the house is made up of all
exposed timbers and wood, which plays on
the idea that the trees and limbs have moved
into the house. We really focused on using
these timbers and wood as a way to relate
to the same timbers and wood in nature,
but utilizing them as structure. The exposed wood creates a textured and organic
design, even though the lines are clean
and straight. The walls are mostly floor-toceiling glass to allow for wonderful views.
The marble granite that we used for the kitchen emulated a force like you were looking up
through the trees.
WHAT IS THE AVERAGE TIMEFRAME FOR
A PROJECT?
It takes about a year to design, and a little
over a year to build. You can design it in six
months, but it would be stressful. It is a very
hard question to answer because every project is different. Depending on the size of the
project, it can be six to eight months for an
addition, or twelve to sixteen months for a
new home. If you are building on a ninetydegree slope, it is a lot harder to build. Every
project is different.
HOW DID THE CLIENTS REACT TO THE
FINAL DESIGN?
Our clients are very involved in the early
stages, the middle stages, and again when it
is done. Some are pleasantly surprised with
the beginning siting, confused with the construction, and then pleasantly surprised that
it comes out as wonderful as we planned for
in the end. Envisioning the project when it
is done is a little tough, and people end up
thinking that rooms are too small or too big
during the construction phase. But the final
results are worth it in the end. There is some
trust there, but we do bring them along with
every step. In general, I think our clients
expect to be wowed when it is done. In this
36
SHED SOME LIGHT ON YOURSELF OUTSIDE
OF THE DESIGN WORLD:
particular case, the clients were ecstatic with
the final results. They helped design it and
loved every detail because it is personal to
them—from the kitchen pantry fit for a gourmet cook to the garage’s special fittings to
hold up kayaks and bikes.
HOW DO YOU CONTINUE TO CHALLENGE
YOURSELF AS AN ARCHITECT?
Every project is different, and every client is
different—that is what keeps us on our toes.
The sites themselves are always different, as
are the budgets. Everybody has a budget and
a wish list, and 100 percent of the time, the
wish list is more than what the budget allows.
It doesn’t matter the number. If you have two
dollars in your pocket, you will want three
dollars worth of architecture. If you have one
million dollars in your pocket, you will want
1.5 million dollars worth of architecture.
Each project comes with its own set of parameters that keeps things interesting.
I coach Special Olympics basketball and softball. That is out of the fact that my youngest
son, who is twenty years old, has special needs.
He is very athletic, and I like that. I played
sports my entire life, and I like to continue to
work out, swim, run, and bike. I also find that
running an office is much like running a great
team, which I find to be enjoyable. Although
architecture isn’t an inherently team-oriented
process, I really preach the teamwork. A lot
of architects think of themselves singularly;
there are a lot of Frank Lloyd Wrights of the
world who think that they did it all and do
not need any help. But our philosophy in this
firm focuses on being very team-oriented.
I constantly look for advice and people to
inspire me. I also like to inspire others. For
that reason, I really like coaching in the
off-season and working with kids who have
special needs.
AL :: www.rillarchitects.com
WHAT DO YOU FIND TO BE MOST
FULFILLING ABOUT THE FIELD?
The fact that we are doing something that will
last forever (in our opinion). We are molding
the environment—our environment, yours
and mine—into something wonderful that
will stay there for a long time. We are creating
something, and making somebody’s dream
come true. When we drive by, we can enjoy
AL 37
CRAFT
Bourbon with a Twist
THE MASTER DISTILLER EYES THE CHARRED
T H E A R T O F S A L VA G I N G O A K
text: BRADLEY D. SAUM
photography: BRADLEY D. SAUM
Craftsman Tony Davis transforms Kentucky bourbon barrels into useful household
items, like cutting boards, lazy Susans, and art easels.
As the staves fall to the
floor, the traditional
charred interior is
revealed and generates a
blanket of soot
throughout Tony’s
Studio 300 in the old
James Pepper Distillery
in Lexington, Kentucky.
oak barrels carefully year after year, anticipating just the right maturity to produce the full
essence and classic amber tone of top-shelf
bourbon. Craftsman Tony Davis has his eyes
on those same barrels, but not for the bourbon. Tony seeks the perfectly seasoned wood
barrels to succumb to his creative hands. The
salvaged oak is crafted into functional art
pieces for the home, such as cutting boards,
lazy Susans, and art easels.
His unique designs start with the staves, the
curved wood planks of the barrel that are
bound tightly with metal bands. A grinder
quickly relieves the tension of the band, freeing the pieces of white oak. As the staves
fall to the floor, the traditional charred interior is revealed. The grinding generates
a blanket of soot throughout Tony’s Studio
300 in the old James Pepper Distillery in
Lexington, Kentucky.
The very first staves that Tony Davis reclaimed from a bourbon barrel were not
in his pursuit of crafting in Studio 300, but
many years before when he was young and
simply passing time in the Lexington, Kentucky, summers. The walls of Tony’s childhood clubhouse were fortified with small
wood planks pulled from trash cans behind
a neighborhood store. Those discarded remnants were actually from bourbon barrels
that had already been repurposed once as
planters. “Little did I know I would be doing
what I am doing now,” Tony reflects.
From the little clubhouse and his humble beginnings in Lexington, Tony would take a remarkable journey before picking up another
piece of charred white oak from a bourbon
barrel. Struggling to complete a formal education beyond the seventh grade, Tony started
delivering papers and working at a fast food
restaurant. In 1995, Tony joined the United
States Marine Corps, which would take him
38
AL 39
to eighteen countries around the world. He
put his mind to studying and earned a GED,
the equivalent of a high school diploma. “I always wanted to do better for myself because
of where I came from,” Tony conveyed. “If it
were not for the Marine Corps, I would not
be where I am today.
“The Marine Corps taught me discipline,
integrity, and to be honest. It taught me everything. I can never repay the Marine Corps
for all they did for me,” Tony shared. “I hold
them close to my heart.”
Tony also has the USMC to thank for indirectly introducing him to the art of repurposing barrels. During the time he was briefly
stationed at Camp Pendleton in California,
40
Tony enjoyed Fleet Week, including a tour of
nearby Napa Valley wine country where he
stumbled upon artisans crafting wine racks
and decorative art pieces from the wine barrels. Tony tucked the experience into his
memory while he was still busy serving his
country, but found himself recalling the Napa
Valley artwork during his occasional visits
back home to the Bluegrass Region of Kentucky, when the mere sight of old bourbon
barrels sent him down memory lane. Creative ideas were subtly starting to form.
Tony’s journey came full circle as he eventually landed back in Lexington after his service in the Marines. With the memory of the
artisans still etched in his mind, he found
himself frequently in his backyard barn,
crafting wine racks and art easels from old
pieces of hand-hewn boards, but had dreams
of one day creating something proprietary.
Tony’s moment of creative genius came while
he was stuck in traffic in downtown Lexington, sitting in his truck looking at a sign
for the 2010 Alltech FEI World Equestrian
Games. The World Equestrian Games would
be held in Tony’s hometown, the first time
the International Federation for Equestrian
Sports would host the elite event at a venue
outside of Europe. An idea illuminated. “I
pondered what I could do for Kentucky that
we already had that I could put a twist on,”
recounted Tony as he wanted others to share
in his enthusiasm for Kentucky. The inspiration for an art piece was kindled.
Returning home, he grabbed an old bourbon
barrel that he had purchased at a garage sale
some years earlier for no specific purpose.
With newfound resolution, he cut the metal
bands with his grinder, and the staves fell to
the ground. As he was picking them up, he
saw what could be made into a body and immediately knew. Kentucky Knows was in its
infancy and would gradually develop into his
signature art piece and registered trademark,
as a slightly abstract character crafted to illustrate unique aspects of Kentucky.
He refined his vision with extensive research
into the history of Kentucky, the bourbon industry, and horse racing. “Kentucky Knows
represents the icons of Kentucky,” Tony conveyed as he proudly spoke of his home state.
The body of Kentucky Knows is, of course,
staves from a bourbon barrel. The long corn
“Knows”, a homonym play on nose, represents the required minimum 51 percent corn
content in bourbon. The Commonwealth
of Kentucky joined fourteen other states
in the recently formed Union in 1792, and
that date rests prominently on the end of the
corn nose.
The eyes are a story of their own. The little
thoroughbreds sitting in the eyes are reclaimed bourbon bottle toppers from Blanton’s Single Barrel Bourbon. The eyes of
Kentucky Knows are always facing to the left.
(Anywhere horses race in the world, they
gallop counterclockwise, thus the same for
the horses that form the eyes of Kentucky
Knows.) Tony adds, “Kentucky Knows has visions of a thoroughbred.
“He’s always been inside the bourbon barrel;
it just took us to let him out,” Tony said in
a nearly serious tone. Tony’s entrepreneurial
drive was now inspired and in high gear. He
wanted to use the bourbon barrels to create
marketable items that would appeal to a wide
audience, which led him to a cutting board.
Tony crafts all sorts of items from the staves
of the bourbon barrel, but cutting boards are
the foundation of the business. Initially there
were several unsuccessful attempts to market
the boards. But with his eternally pensive
analysis, Tony said, “I have learned just as
much from a no, as I have from a yes.”
AL 41
According to Tony, “It takes a lifetime to
The cutting boards are made from the head
of the barrel; the individual pieces of wood
are separated and then glued back together
to ensure a solid working surface. The original distillery stamp along with artful charring added by Tony are thoroughly sealed
with shellac approved by the Food and Drug
Administration for use in the kitchen. Some
of his cutting boards are occasionally used to
slice and dice, while many others simply remain hanging on the wall as decor.
With the cutting boards fully crafted, he landed an interview with Brad Williams, Director
of Merchandising for Liquor Barn, a chain
of full service party stores. Tony remembers
that day clearly: August 10, 2011. Tony and
his four cutting boards made quite an impression, and a relationship was sparked. The
first sixteen cutting boards he provided to
Liquor Barn’s stores in the Hamburg area of
Lexington sold out in the first week.
Kentucky Knows and cutting boards are not
the only creations that have emerged from the
bourbon barrels in Tony’s studio. There’s also
a Bits-n-Barrel lazy Susan, a Shoes-n-Barrel
lazy Susan, easels, bottle openers, and the latest addition, Grill-n-Char. In his optimistic
manner, Tony said, “This little business has
brought out the good in me. In my studio, I
am able to be who I want to be as long as I do
what’s right. It’s still a small business, but it’s
really big to me.”
Back at the distillery, each barrel is deeply
toasted and receives a light charring before
the bourbon begins the aging process. Once
Tony frees the thirty-two or thirty-three
42
master your own life. Looking back on it, I’m
passion.”
starting to understand myself and my life. I know how I did it. It was
staves from the ringed barrels, the first task
is to scrape down that charred surface. The
black soot seems to get nearly everywhere,
even on Tony’s face. The little pieces of burnt
white oak that have been soaked in bourbon for many years, generate a unique flavor
when smoked in a grill.
The bourbon barrel char delivers a flavor
suited for all sorts of meats, fruits and vegetables, and nearly anything you can put on the
grill. About eight ounces of the char is placed
in a foil tray and heated among the charcoal.
Just before the cooking begins, splash a little
apple juice on the char, and the grill is filled
with a twist of traditional Kentucky flavor.
All of these handcrafted creations require a
lot of bourbon, or rather the barrels that once
held all that bourbon. Bourbon barrels are
not necessarily easy to obtain, especially to
use those with logos and propriety markings
in a business venture.
Tony has forged a relationship with Buffalo
Trace Distillery in Franklin County, Kentucky. In his humble manner, Tony has always requested permission from Buffalo
Trace prior to using their brand in any of his
handcrafted items. Over the years, Tony has
gained permission to use even the most coveted brands in the Buffalo Trace family, such
as Elmer T. Lee and Blanton’s Single Barrel.
Every item remains crafted and personally
judged by Tony before it goes to market.
Well over a thousand, and possibly over two
thousand, bourbon barrels will pass through
his studio in Lexington this year. Nearly every one of those barrels will be from Buffalo
Trace Distillery, based on a relationship that
he treasures.
“How was I ever so blessed to work with these
great labels?” Tony wonders aloud. “The people make the brand; the brand does not make
the people.”
In the retired James Pepper Distillery, Tony
can be found seven days a week pouring his
passion into the oak barrels, surrounded by
barrels, staves, heads, rings, sawdust, and
soot. Elmer T. Lee, a legendary bourbon
craftsman and longtime Master Distiller for
Buffalo Trace, once walked the very same
concrete floors as a production manager
for the James Pepper Distillery, which was
owned by Schenley Products, predecessors to
the present day Buffalo Trace.
“I am promoting self-worth, not the bourbon,” Tony states thoughtfully.
The artisan in Tony is often overshadowed
by his motivation to succeed, but his terms
of success are certainly not measured simply by how many cutting boards he sells. It
is apparent that Tony reflects on the path
his life has followed, and provides insightful
glimpses into his desire to be a cornerstone of
inspiration for children, especially those that
are struggling.
It’s what you do with yourself that creates
the story.”
Tony’s future goals are not founded in productivity, efficiency, or dollars. “I see myself
as a community servant,” Tony declared.
“Inspiring kids to do the right thing because
what you do today will follow you. You can’t
let the wrong thing inspire you.”
The desire to give back to his hometown is
a constant thread in Tony’s conversation. “I
want to be able to give back to the community,” Tony said. “Go into the inner city of
Lexington, and show those kids to put heart
into what they do and to stay honest. They
can do what I did; I came from there.”
According to Tony, “It takes a lifetime to
master your own life. Looking back on it, I’m
starting to understand myself and my life. I
know how I did it. It was passion.”
AL :: www.kentuckyknows.com
A photo of Tony when he was about ten years
old in the kitchen of his childhood home,
with his mother and two brothers, is front
and center in his workshop. He shares how
his clothes were provided by Catholic Charities of Lexington, and speaks of opportunities that were not readily available to him. It
serves as a reminder of where he started.
“Nobody in my family has ever graduated
high school to this day,” Tony shared. “I
find it hard to believe I made it out of there.
AL 43
DID YOU GROW UP IN PORTLAND?
I grew up in Northern California and moved
to Portland in 1993.
TRAVEL
I was born on a Friday, the 13th, and it
has always seemed that if pushed from an
airplane, I would land in the forest with
arrow points at my feet. Lucky.
WHAT WAS YOUR CAREER PRIOR TO
HOODOO ANTIQUES?
Prior to Hoodoo Antiques, I was a jack-ofall-trades in the perpetual pursuit of a music
career. After being paid to play music, I
quickly realized that this short life is far better
lived following your bliss. Alas, a record deal
was not in my cards, so I finished school. photo | HOODOO ANTIQUES
WHERE DOES THE INTEREST IN ANTIQUES
COME FROM? WAS THERE SOMEONE IN
YOUR LIFE WHO INTRODUCED YOU
TO ANTIQUING?
photo | HOODOO ANTIQUES
I’ve always preferred
a timeless,
one-of-a-kind,
bullet-proof
something to
Swedish particle
board. Design
transcends time.
Treasure on Couch Street
HO OD O O ANTIQUES IN PORTL AND, OREGON
text: MIKE EADIE
photography: AS NOTED
Mike Eadie’s extroverted personality and love of people’s stories make him an ideal
shop owner of a much-loved antiques store on Portland’s Couch Street.
My interest in antiques grew out of necessity
and the appreciation of past value. As a
student, I was able to furnish a rented house
for pennies on the dollar with beautiful pieces
that had lasted seventy-five to a hundred
years. I’ve always preferred a timeless, oneof-a-kind, bullet-proof something to Swedish
particle board. Design transcends time.
HOW DID THE IDEA OF HOODOO ANTIQUES
COME TO BE? HOW MANY YEARS WAS IT
AN IDEA BEFORE IT BECAME A REALITY?
I remember being dragged to my first garage
sale after a brunch years ago in Pasadena. I
looked down to see a 14 karat gold 1920s men’s
Bulova wristwatch laying in an old coffee can
for a quarter. It just needed winding. Two
weeks later, I sold it to a Japanese antique
dealer who offered me $200 cash while in the
supermarket checkout line.
Treasure is out there, and I was hooked. I knew
I’d have a store, and decided on Portland. I
scouted for a location for about a year until I
settled on Old Town and signed my first lease
without a business name. Nothing I came up
with sounded good until I saw advertising for
the Rolling Stones concert, Hoodoo Voodoo
Lounge, just a day before I opened.
photo | SHELLEY ROSE PHOTOGRAPHY
44
AL 45
Meaning magic of any kind, hoodoo is early
English for voodoo. Old Town Portland has
a New Orleans vibe, and Hoodoo Antiques is
purported to be haunted.
WHAT ERA SPEAKS TO YOU THE MOST
AND WHY?
WHAT IS THE MOST DIFFICULT PART OF
RUNNING A BUSINESS?
Signing on employees means they make
money whether I sell something or not; no
employees means I am an army of one who
is always chasing sticks. It boils down to
trust and control issues that create the most
difficult aspect of running Hoodoo. If I could
trust that someone other than me would do
whatever needs doing as well or better than
me, I could rationalize paying them to do
it. By giving up some control, I could chase
more sticks.
Aside from being swamped most of the time,
running Hoodoo Antiques is the best job
I’ve ever had. I love the boss, the dress code,
and the autonomy. If something needs to get
done, it does. If I need to take a break, I do. If
I need to make some money, I sell it. WHERE DO YOU FIND THE ANTIQUES? DO
PEOPLE BRING YOU ITEMS?
When asked, I tell people that there is a little
house in the woods that I like to go to find all
the treasure. But it really finds me.
I always loved the American Arts and Crafts
movement and had specialized for a number
of years selling original Stickley mission oak
furniture, impressionist landscape paintings,
and tribal Persian rugs. Styles and tastes
change, and currently my focus has been
on timeless design, the unusual oddities,
industrial and modern furnishings, and
folk art. photo | HOODOO ANTIQUES
DO YOU CREATE/MODIFY PIECES
YOURSELF?
I have a full wood and metal shop, and enjoy
repurposing and refurbishing relics by hand.
Industrial lighting is one of my favorite areas;
anything can become a light. WHAT DO YOU LOVE MOST ABOUT
OWNING A STORE?
I am an extrovert. I think I probably get more
excited about the colorful stories and people I
meet than the treasure attached to them. The
stuff (treasure) is like a river always flowing
by. I dunk my Hoodoo in, pull some out,
enjoy it, and then throw it back in.
FAVORITE PLACE TO TRAVEL:
I like to travel to water—beaches, islands,
rivers, lakes, and springs.
WHAT’S PLAYING ON YOUR IPOD OR
RECORD PLAYER?
I have been listening almost exclusively to
Andrew Bird on my iPod.
FAVORITE BREAKFAST OR LUNCH SPOT
WHAT IS THE LEAST EXPENSIVE ITEM IN
IN PORTLAND:
YOUR STORE? AND THE MOST EXPENSIVE?
If I go out to breakfast, my favorite spot in
Portland is Tasty and Sons. The least expensive items in Hoodoo are
dollar keys. The most expensive item is a tenfoot-by-sixteen-foot neon sign that spells red.
As all that remains from the first Fred Meyer
store, the circa 1930s red sign is an Oregonian
Smithsonian piece. WHAT MAKES HOODOO ANTIQUES
WELL-SUITED TO PORTLAND?
Keep Portland Weird is a decades-old
slogan seen on countless bumper stickers.
46
I have a full wood and metal
shop, and enjoy repurposing
and refurbishing relics by hand.
Industrial lighting is one of my
favorite areas; anything can
become a light. TELL ME SOMETHING COMPLETELY RANDOM
ABOUT YOURSELF:
I have never met a cheese I didn’t like.
IF YOU WEREN’T RUNNING AN ANTIQUES
BUSINESS, WHAT WOULD YOU BE DOING?
If I wasn’t running Hoodoo, I’d be out loose
in the world, picking and selling wherever
the adventure took me. I have little baggage,
and places can always be leased, bought, or
sold. That said, I love Portland and would
probably always return here to the place I’ve
laid down roots and built a clientele.
WHAT DO YOU ENJOY IN YOUR FREE TIME?
In my free time, I like to kayak and wrestle
with the ghost of my past guitar-playing life.
AL :: www.hoodooantiques.com
photo | SHELLEY ROSE PHOTOGRAPHY
AL 47
r
Front of Tear Out Card 2
Dear Bruce & Caroline,
John W Harrison III
Kermit the Frog tells us, "It's not easy being green," but he might
change his mind after reading this issue of American Lifestyle
magazine. Warm weather means strolling farmers' markets for the
freshest fruits and vegetables. And Anya Kassoff 's book, The Vibrant
John
W Harrison
Table, provides plenty of vegetarian recipes for
the produce
you III
round
President
up. The summer bounty salad pops as a side dish, with green beans,
Direct:
(913)dill.
827-4588
radishes, and spices like coriander, cumin, and
chopped
President
�
Direct: (913) 827-4588
Toll Free: (877) 663-4123
Fax: (913) 827-4584
�
Toll Free: (877) 663-4123
sees her harvest from a different perspective:
LEAWOOD, KS 66211
� line. Segale is a
perfect for a bath and body
Jennifer Lee Segale
natural ingredients
professional horticulturist specializing in organic
landscape design.
KS market
66211
When inspiration struck after a walk throughLEAWOOD,
a farmers'
in San
Francisco, she turned her kitchen into a lab of sorts, creating products
like cacao and cardamom oil for family and friends before venturing
out into the beauty market.
Architect James Rill respects the environments in which he builds
structures. In the house in the woods, Rill made great attempts to work
Back of Tear Out Card 2
referrals.
John W Harrison III
John W Harrison III
President
Direct: (913) 827-4588
Toll Free: (877) 663-4123
�
LEAWOOD, KS 66211
Presorted Standard
U.S. Postage
PAID
Mechanicsburg, PA
Permit No. 478
John W Harrison III
LEAWOOD, KS 66211
Mr. & Mrs. Bruce Adams
�
B

Compliments of John W Harrison III

Transcription

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