Bees in for a treat as special garden in Kapiti Village expands

Bees living in two hives in a garden area of Kapiti Village in Paraparaumu are in for a treat this spring and summer.

A wild flower meadow has been sown in the eco-diversity garden and an orchard and 100 small native trees are under way.

The native trees were donated by Gus Evans Nursery, which has been involved in the village for many years, and Metlifecare sponsored the seven fruit trees.

Thriving garden allotments add to the diversity of the area too.

“It is an exciting opportunity and project to be involved in,” said Dane Jensen, from Bark Ltd, which also donated wild flowers and 100 plant guards.

“Since Bark took over the [village] grounds this has always been an area that has needed redevelopment.

“Now with kind donations and the eco initiative and Fay Chedzoy’s enthusiasm pushing it forward, we can turn the space into a beautiful and diverse environmental asset for both residents and wildlife while also teaching our apprentices about revegetation processes.”

More work is planned for the area which could include further plantings and irrigation.

The eco-diversity garden, named the birds and bees planting project, is part of a range of environmental projects at the village.

Other projects include a predator elimination project involving the tracking and trapping of rats, stoats and so on.

The Dell Gardeners group is going strong and, over a few years, has redeveloped what was a garden waste collection area into a planted, paved area, with potting shed.

The group has also extended into development of more native plantings into established woodlands and an area featuring daffodils is looking impressive.

And the 25th anniversary planting project has seen a rhododendron bank and specimen trees planted while more garden benches and picnic tables have been handmade in the village.

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Two NYC Artists in Their Once-Bohemian Village Garden

Painters Pat Steir, 80, and Francesco Clemente, 68, have been neighbors for three decades and friends for even longer. They’re from a generation of artists who came into their own during the 1970s and 1980s and settled in then-raffish parts of town which have since become almost unbearably polished. Steir, who once wryly told the New York Times that she’d been “forgotten and rediscovered many times,” has a new documentary about her life and work. Clemente has had a steady and successful career. They live across from one another at the MacDougal-Sullivan Gardens, a courtyard in Greenwich Village that you can only access from the townhouses surrounding it. Inside, you’ll find a stone path looping around a lawn and very tall trees.

“When we moved in there in 1990, I sort of elbowed my way into controlling the garden,” Steir says. “So I planted, with the help of two other neighbors, shrubs and grass and we made it what we thought was beautiful.”

It’s one of those old New York spaces that seem like they should’ve disappeared years ago, and in some ways it already has. Condos are now adjacent to the historic townhouses (a few years ago, Anna Wintour, another famous resident of the Gardens, railed against them at a community board meeting) and the area has steadily changed from a Beat-era enclave — Bob Dylan and Alexander Calder were residents — into something much less bohemian.

As new residents have moved in, the fences around the private gardens have grown taller, and the plants more cookie cutter. Some residents hired professional landscapers and gardeners. Things became more “normal” looking, as Steir describes.

“They wanted privets, I wanted flowering shrubs,” she says. “I’m in a constant battle with the new tenants. I had to ward off people who wanted to plant fake grass. And I said, ‘No! It will kill your children. It will off-gas!’ They thought I was an old coot.”

Painter Francesco Clemente’s watercolor, titled 5-8-2020, is part of an exhibition at Lévy Gorvy, which includes over three decades of his work. Clemente works across many different mediums, and watercolor is one he returns to time and again because of his itinerant lifestyle.
Farzad Owrang; courtesy Lévy Gorvy

Meanwhile, life has become much quieter. The annual May Day dinner parties, which were once organized by Alexander Calder’s late daughter Mary, no longer take place. Clemente and his wife Alba, a costume designer, raised their family in the garden and recall days when all of the kids would just run around playing together. But now children aren’t as common.

The strangeness of this summer struck some residents as familiar: “When the pandemic started, all of a sudden Soho was all boarded up and looked exactly as it did when I moved to New York 50 years ago,” Clemente says. “So for me it was not a shock; it was a sense of tenderness and ‘oh the past is coming back.’ Now it’s not like that. But you

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Cottonmouth restaurant in Village of the Arts announces opening date

Cottonmouth is the newest restaurant by Chef David Shiplett, who also owns Birdrock Taco Shack, around the corner in Bradenton’s Village of the Arts.

Wade Tatangelo
| Sarasota Herald-Tribune

BRADENTON – The most highly anticipated Sarasota-Manatee restaurant opening to be planned since the start of the pandemic should take place a bit earlier than expected.

Chef/owner David Shiplett aims to unveil Cottonmouth Southern Soul Kitchen to the public Sept. 30 after announcing earlier this summer he would open in October. The restaurant occupies a historic cottage on the main road through Bradenton’s Village of the Arts, near Shiplett’s other eatery Birdrock Taco Shack. 

A casual dining destination, Cottonmouth has indoor seating adored with local artwork as well as al fresco options including a spacious, fenced in backyard area with sprawling trees providing shade and dangling Edison lights. There will also be a covered stage in the back, too, where musicians will begin performing when Sunday brunch launches with the Brown Bag Brass Band on Nov. 8, followed by nationally acclaimed Bradenton-based blues artist Doug Deming on Nov. 15.

Cottonmouth’s tightly constructed menu focuses on Dixieland dishes such as fried green tomatoes, collard greens, and shrimp and cheese grits. “Those are the three things I knew I needed to have on the menu when I started thinking about the concept,” Shiplett said earlier this week. “And fried chicken. I also knew I had to have fried chicken.” 

Before attending California Culinary Academy, before working at fine-dining establishments such as Michael’s On East in Sarasota and the old Poseidon on Longboat Key, before opening Bradenton restaurants Ezra and Soma, and before opening Birdrock Taco Shack five years ago; Shiplett began his culinary career at a Kentucky Fried Chicken located just a few miles from where he was born, at Manatee Memorial Hospital in Bradenton 61 years ago.

“KFC was the first restaurant I worked at, at age 15, making two dollar hours, and I was lucky, I had friends working at other restaurants making $1.60 an hour in the early ’70s,” Shiplett said with a laugh. “I got to meet the (Colonel Harland Sanders) twice and I was awestruck. And I always wanted to do fried chicken, but, I wanted it to be worthy of the Colonel, you know?”

Gazing at the new Cottonmouth menu, one’s eyes are immediately are pulled to the Big Plates section and the Cast Iron Southern Fried Chicken Breast dish that comes with collard greens and mac and cheese.

“Uncle Jim, before he passed away, gave me a whole collection of cast iron, a lot that he used over an open flame,” Shiplett said. “And ever since he gave it to me I knew it was the perfect vehicle to cook chicken in; at a nice low temperature, after doing a buttermilk brine overnight so that it’s tender and juicy.”

Other Big Plates include the Bradentucky Meatloafburger with melted cheddar and tomato on Texas toast served with a side of tater tots. While Shiplett originally planned to

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Latest tenant at Salem’s Tuscan Village sells high-end home decor | Business

Leasing executives for the 170-acre mixed-use Tuscan Village development in Salem have named a new major retail tenant with the introduction of Arhaus, an Ohio-based high-end home decor store.

The 15,000-square-foot store will be the first in New Hampshire for the chain, which operates over 70 stores nationwide.

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Changes made to Bridgnorth garden village plan

The Stanmore Consortium has come up with an amended plan for its Bridgnorth proposal, although the proposal is still facing rejection after Shropshire Council opted to back a rival development on the other side of the town.

Under the amendments the consortium said it would not develop on the Hermitage Ridge, which sits between the development and Bridgnorth’s Low Town, and that 92 acres around the Hobbins would not be set aside for future housing – with a pledge for no future development, unlike the previous plan where it was safeguarded for new homes

The plans have also added routes to allow people to walk or cycle between the scheme and Low Town, and the consortium said that business units included in the proposal would be for small or start up businesses.

The consortium has also reiterated its previous comment that there would be no development on Stanmore Country Park.

The proposal has attracted considerable criticism from the Save Bridgnorth Green Belt group, which has campaigned against the plan.

Shropshire Council had initially supported the scheme as part of its local plan review, but has now switched its support to an alternative proposal from Taylor Wimpey at Tasley.

The local plan is currently out for consultation before it goes back to council for final approval.

Lord Hamilton of the Apley Estate, which is part of the Stanmore Consortium, said they would look to provide local services as part of the proposal, including a primary school.

He said: “Our revised masterplan reflects consultation feedback we’ve received from local people and the best examples of sustainable, imaginatively designed garden communities from across the country.


“We want to create a community of character that is fully in step with the way we will all live and work in the future.

“Unlike volume housebuilders we have changed the phasing of the building work so that it matches demand.

“This is a plan covering over 25 years, but we will only build what’s needed when it is needed. This is possible because all of the land is – and will remain – within our ownership.

“We recognise that a project like Stanmore puts pressure on the town. We will therefore provide local services at Stanmore from the outset, and where improvements are needed away from the site, we will agree them with the council – including on areas such as highways and education, and the Clinical Commissioning Group on healthcare – and ensure that we make the right provision.

“Provision of a park and ride service will enhance and protect tourist visits to the town.

“We want to create a place where people are firmly at the heart of our proposals, where houses, shops, leisure facilities and the places where we work are within walking or cycling distance, reducing our reliance on cars.

“Great design and good architecture are also central to our development philosophy.

“We will not develop an identikit housing estate but rather homes and buildings designed by Shropshire-based architects and built

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Inside a Light-Filled Town House in New York’s Historic Greenwich Village

From the street, this elegant 19th-century brick house looks like many of its neighbors in New York’s historic Greenwich Village. But when you open the front door, you realize that the soaring, light-filled space you’ve entered is very much of the present. That was precisely what the house’s owners sought when they hired New York architect Lee Skolnick and the San Francisco–based AD100 designer Steven Volpe to transform what had been a traditional interior into something much more modern.

<div class="caption"> A table and chairs from <a href="" rel="nofollow noopener" target="_blank" data-ylk="slk:Munder Skiles" class="link rapid-noclick-resp">Munder Skiles</a> sit on the garden terrace. </div> <cite class="credit">Thomas Loof</cite>
Thomas Loof

The owners told both Skolnick and Volpe that they wanted “an urban oasis, a place of quiet and repose.” Moreover, they, like Skolnick (whose monograph Skolnick Architecture + Design Partnership: Public/Private will be published next month), wanted the house to open to views of neighboring gardens, a particularly pleasant feature of the area. Having designed houses for both artists and collectors, the architect responded with a design that he calls “a vertical loft” and “a light machine.” 

<div class="caption"> The rear garden features limestone retaining walls and flooring. Table and chairs by <a href="" rel="nofollow noopener" target="_blank" data-ylk="slk:Munder Skiles" class="link rapid-noclick-resp">Munder Skiles</a>. </div> <cite class="credit">Thomas Loof</cite>
The rear garden features limestone retaining walls and flooring. Table and chairs by Munder Skiles.

Thomas Loof

<div class="caption"> A pair of chaise longues by <a href="" rel="nofollow noopener" target="_blank" data-ylk="slk:Richard Schultz" class="link rapid-noclick-resp">Richard Schultz</a> for <a href="" rel="nofollow noopener" target="_blank" data-ylk="slk:Knoll" class="link rapid-noclick-resp">Knoll</a> on the penthouse terrace. </div> <cite class="credit">Thomas Loof</cite>
Thomas Loof

Skolnick, whose team included Paul Alter, a partner in the firm, and Joern Truemper, the project architect, likens the individual floors—two of which end in mezzanines—to “trays” that are surrounded by light, which comes down from the top of the stairway of the five-story house to the first floor. The all-glass rear façade also illuminates the lower level, with its open kitchen and formal dining area looking directly into a tree-lined courtyard.

<div class="caption"> In the main bedroom, a <a href="" rel="nofollow noopener" target="_blank" data-ylk="slk:Holland & Sherry" class="link rapid-noclick-resp">Holland & Sherry</a> fabric covers the upholstered bed. Custom cover of a <a href="" rel="nofollow noopener" target="_blank" data-ylk="slk:Scalamandré" class="link rapid-noclick-resp">Scalamandré</a> wool and silk damask; bench by Bruno Romeda; cyanotype by <a href="" rel="nofollow noopener" target="_blank" data-ylk="slk:Meghann Riepenhoff" class="link rapid-noclick-resp">Meghann Riepenhoff</a>. </div> <cite class="credit">Thomas Loof</cite>
Thomas Loof

Volpe is known for sophisticated interiors that mix cutting-edge 20th-century and antique pieces with understated chic. Fittingly, he and Ralph Dennis, his firm’s design director, orchestrated a deft blend of furnishings by icons like Jean-Michel Frank, Eyre de Lanux, and Madeleine Castaing, pieces by noted contemporary designers like Pierre Charpin, Martin Szekely, and Ronan and Erwan Bouroullec, and custom upholstery and cabinetry. Responding to the owners’ wish for “open spaces, lots of light, and an emphasis on tones of white and sumptuous textures,” Volpe explains, “We tried to create rooms that are modern, but not cold.”

<div class="caption"> In the dining room of the Greenwich Village town house, a custom light fixture by <a href="" rel="nofollow noopener" target="_blank" data-ylk="slk:Ronan & Erwan Bouroullec" class="link rapid-noclick-resp">Ronan & Erwan Bouroullec</a> hangs above a table designed by <a href="" rel="nofollow noopener" target="_blank" data-ylk="slk:Studio Volpe" class="link rapid-noclick-resp">Studio Volpe</a> and vintage chairs by Tobia and Afra Scarpa. </div> <cite class="credit">Thomas Loof </cite>
In the dining room of the Greenwich Village town house, a custom light fixture by Ronan & Erwan Bouroullec hangs above a table designed by Studio Volpe and vintage chairs by Tobia and Afra Scarpa.

Thomas Loof

The two-story living room is the house’s centerpiece; extending from front to back, it ends in a mezzanine that overlooks the kitchen-dining area and out to the rear garden. In this space, with its oak floors and walls of white hand-­troweled plaster, Volpe and Dennis used pale, neutral, and luxurious fabrics, some of them custom-made by the Brooklyn-based weaver Tara Chapas. Since the front door opens directly into the space, it is partly obscured by a screen, of Murano glass and metal, which Volpe commissioned from the artist Ritsue Mishima. On the wall opposite the screen, a mirror by Line Vautrin hangs above a marble console by Charpin. A corner of the room with

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