Where do we go from here? What can we learn? And you begin to look at these things, and you begin to discover the world. Johanson grants herself the opportunity to try it both ways. Her Ellis Creek Water Recycling Facility in Petaluma, California, clocks in to perform all the progressive landscape-as-infrastructure functions asked of it. June 19, by LAM Staff.
June 15, by zachmortice. The completed Manitoga pavilion. Photo by Vivian Linares. Like this: Like Loading Photo by Simon Devitt. Free Digital Issue: Your Land. Her name was Kate Sessions and she spent more than 50 years importing seeds and plants into Southern California.
Hunter’s Point South Park completes a Queens coastline years in the making - rodzadimices.gq
She is credited with introducing and popularizing more than species in Southern California, including our beloved bougainvillea, birds of paradise, yellow oleander, star jasmine, and, of course, jacaranda trees. Sessions was born a native Californian, a rare breed in , though perhaps not as rare as a woman receiving a degree in the sciences, which she did from Berkeley in Her father and his three brothers had arrived in San Francisco at the height of Gold Rush to try their luck out west. At six, she moved across the bay to Oakland, then "a small village with lots of open space.
It was a good place for a girl to fall in love with the natural world. As a teenager, Sessions made a hobby of collecting flowers, drying and pressing them. For her 15th birthday, her mother gave her a black leather-bound notebook for preserving her specimens. The young Sessions spelled out the word "Herbarium" carefully in leaf fragments across its cover.
After Berkeley, Sessions worked as a teacher, then the only acceptable line of work for an educated young woman. She moved south to San Diego, and after a short tenure in the classroom, she left to do what she loved most—study and grow plants. She sought out plants that needed little water, and began to introduce many of the tropical species that had first caught her eye when she travelled to Hawaii at 18, along with exotic plants and trees from Latin America and others parts of the world that would be suitable for the Southern California climate and landscape.
Sessions opened her San Diego nursery in Then 28, she would soon become the leading plant dealer in the area, her rise coinciding with a time of explosive growth in the region. Through her nurseries she would own a succession of them, in Coronado, City Park, Mission Hills and Pacific Beach , Sessions wielded enormous influence over the physical character of the rapidly developing residential areas of San Diego and its environs.
As environmental historian Vera Norwood explained , families moving into the area "looked not to landscape architects as much as to the local nursery owner to help them design and plant their grounds," and, as Norwood wrote, "hardly any homeowner landscaped her yard without the advice and plants of Kate Sessions.
Influenced by the growing parks movement across the country, San Diego had had the foresight to set aside 1, acres in its center for what was then called City Park, but the city lacked the resources or wherewithal to develop it. By , " the large vacant tract had become something of an attractive nuisance, " with scattered trash, stray animals, and a "pest house" within its bounds. Desperate for space to expand her growing nursery business, Sessions struck up an enterprising deal in she would take over 32 acres of land in the northwest corner of the barren mesa, and in exchange for rent, she'd plant a hundred trees a year in the park, and make an additional trees available to be planted around the city.
The arrangement continued for a decade, with Sessions furnishing the city with an approximate total of 4, trees, including many of her exotic favorites, and, to some degree, inventing Southern California as the tropical Eden we know today. As her acclaim grew, her influence rippled outward from San Diego. As Gabe Selak, public programs manager at the San Diego Historical Society explained, "a lot of what we have today—the lush and tropical experience you have when you come to Southern California, didn't look like that [before her].
At one point, a list was made of all the plants Sessions either introduced or popularized and made widely used in Southern California. It ran four pages long.
Sessions died in at He was in the midst of developing the 5 freeway, and she wanted to tell him what sort of things ought to be planted alongside it. Jacarandas, like many of the plants Sessions introduced, were soon planted across the Southland, painting streets and skies purple from San Diego to Santa Barbara. According to McDonough, the trees became truly popular in Los Angeles during the s and '30s, and their population further swelled during the middle of the century. The s and '60s saw a concerted effort directed toward planting more street trees, alongside "the population and commensurate building boom that was occurring," according to the Bureau of Street Services, who report that from to the street tree population in the city more than doubled from "perhaps , trees" to approximately , According to Elizabeth Skrzat of City Plants, street trees serve a number of useful purposes, including energy efficiency shading homes and buildings, which then require less energy to cool , stormwater capture, and a role in combating the urban heat island effect.
As "moderate" water users, jacarandas do well in our climate, and they are also tall enough to provide some energy relief. Interestingly, as Huell Howser pointed out in an episode of California's Gold, despite their prevalence in Southern California along with Australia, South Africa, and of course, South America , jacaranda trees are rare to be found across the rest of the U.
Howser dedicated one of the show's final episodes to the trees, and the question of whether they are "mess" or "miracle. Though the tree's appreciators far outweigh the detractors in number, both camps seem to harbor their opinions with an intensity. Jacaranda foes complain of the trees' endless violet litter, left behind as their petals soil streets and sidewalks, gumming up car windshields and sneaker soles. She was wearing tinted aviators that gave her the look of someone who was about to take a road trip to the beach with some girlfriends, or maybe one bad boyfriend; they signified the opposite of what they actually were, reading glasses.
Weisz gave off the air of a woman fully in command of her life, even her body: Who was going to tell Weisz she could not, as she did a year ago, at the age of 48, give birth to a child?
She also has a teenage son, from a previous relationship with the director Darren Aronofsky. Female control exists, in her world, in a way that was not possible for much of her career. It is one of the first Marvel films directed by a woman — Cate Shortland, a respected Australian independent-film director for whom this job is a massive jump, at least in terms of budget.
Her Viennese mother, a teacher who later in life became a psychotherapist, was intrigued by the opportunity, but her father, an engineer and inventor originally from Hungary, had concerns about Rachel entering the film industry. There was a lot of flamboyance. No stiff upper lip. In her early teen years, she was not particularly riveted by class work or her teachers, which she made evident, and was eventually asked to leave the private school she attended. She clearly looks back at those teenage years with great affection.
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She had smiled, thinking about it. You want to see yourself. Weisz might have seized the chance to work in a Marvel project under any circumstances; a role in one now creates, for an actor, a kind of currency that can help finance other films, films that fall into the struggling category of everything-but-action.
Watching that, as a woman, you know immediately when a character is subject or object — she was always subject. I had never seen anything like it. For that reason, I never forgot it. And she was funny and confident. It was a curious confidence. There is a long history of English male actors emerging from venerated theater institutions at Cambridge or the University of Oxford, forming helpful professional contacts along the way: Ian McKellen, John Cleese and Hugh Laurie all took that path, collaborating for years to come with people they first met just out of their adolescence.
Weisz, too — working with Garnett, Sasha Hails now a successful screenwriter and David Farr who went on to become the associate director of the Royal Shakespeare Company — established a new theater group called Talking Tongues, one with distinct physicality and characters that had a heightened, even clownish quality, sometimes in a style known as bouffon. Talking Tongues created innovative work, such as one piece in which Weisz and Hails formed a metaphorical love triangle with their only prop, a ladder.
The women fell in, then out, of love, with some brutality: In one scene, Weisz swung the ladder round and round, faster and faster, with Hails, on her knees, ducking the massive object whirling around her head. Weisz likes to think that the group, which won a prestigious student theater award at the Edinburgh Festival Fringe, would still exist had Hails not moved on.
The role of a young woman who looks like an English rose but is, in fact, a fierce rebel was the part for which Weisz won her Oscar for best supporting actress in Her acting — in that film, in many of her films — shows enough restraint that the emotions that surface inspire all the more ache. One sees the psychological nuance, perhaps, of someone raised by a therapist, the commitment to the layers of complexity and conflict.
Weisz, who herself was in analysis for many years, seems to have done whatever work is necessary to allow for great acting by intuition. Actors want to have control. Colman had assumed that Weisz would merely gesture toward her for the purposes of rehearsal; there they were, in jeans, just trying to get the feel of the roles. Instead, Weisz unexpectedly made the grab, just as the script dictated. We were all laughing. But right there, my fear went away.
She was brave enough for both of us. Colman had just popped by unexpectedly for lunch. Weisz and Craig were for once filming in the same place. And she was enjoying working on the Marvel set, where she had been struck by the passion of the producers overseeing the project.
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At the same time, she had not intended, at Comic-Con, to make any statement about herself or her character; there was no subtext or big reveal. Weisz alternates between reveling in the newness of truly female-driven films and seeming frustrated by their ongoing status as anomalies.