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Mattei’s Tavern decision delayed

After nearly five hours of presentations, testimony and discussion, a divided Santa Barbara County Planning Commission put off a decision Wednesday on a proposed hotel at Mattei’s Tavern, the landmark property in Los Olivos.

In a 3-2 vote, with Commissioner Daniel Blough and Joe Valencia voting no, the commission continued the discussion to Jan. 30, primarily for time to gather more information on traffic patterns, parking and wastewater treatment.

Chairman C. Michael Cooney said he wanted more time only because of his lack of understanding on how the wastewater system would work, not because he doesn’t support the proposed Inn at Mattei’s Tavern.

“There is a great deal of support for this project,” he said. “But the community has spoken about their concerns with safety, and we need to address them.”

“We are not considering cutting down the scope of the project,” Cooney added.

Commissioner Cecilia Brown said she supports the project and thought it to be well designed. But she also thought the plan was “a bit much” for the site and asked the applicant to create a less bulky version of the proposed cottages in which guests would stay.

After four years working on the development, Matthew Allen, who represents the developers, said they hope to see the project built as soon as possible.

The hotel and restaurant were opened by Felix Mattei in 1886 to serve stagecoach and railroad travelers, and the Mattei family owned the property until 1963.

The tavern building became a county historic landmark in November 2010.

In comparison to a total of 16,600 square feet of buildings on the 6.6 acres now, the developers, Santa Rita Land and Vine, propose to have more than three times that much, in a plan that uses the gardens and vacant land behind Mattei’s but also adds a vacant parcel to the west, near Alamo Pintado Creek.

The tavern building itself is about 8,150 square feet, according to county planning staff, and the new “cottage-style” hotel would total about 61,800 square feet in various buildings scattered around the property.

The plan calls for one- and two-story guest cottages, a small gym, spa, pool, banquet and meeting room, a new reception building and various smaller buildings for housekeeping and maintenance.

The restaurant in the tavern building, vacated this year by The Brothers Restaurant, would increase its capacity to 140 seats, including interior and exterior seating.

Also proposed are 156 parking spaces, including three loading spaces. According to county planning staff, 135 of those spaces would be provided in three locations: 63 in the “north parking lot” that would be built on the public right-of-way of Railroad Avenue, which the developers are asking the county to abandon; 62 spaces in a “south parking lot” on a previously abandoned portion of Jonata Street; and 10 spaces on an access road along the western side of the hotel.

The Rev. Randall Day, rector of St. Mark’s-in-the-Valley Episcopal Church immediately south of Mattei’s, said the church does not object to the proposal.

Describing St. Mark’s as the only property that shares the entire block with the proposed project, he said, “no other single property will be impacted by any changes in parking or traffic that this project may bring.”

“We have always known that someday our vacant commercial property neighbor to the north would be developed,” Day said. “We have carefully studied and broadly discussed the environmental impact report, the traffic, parking, water, sewage, density, landscaping and architecture of this proposal.”

“We believe the project to be the highest and best use for the property and the one most consistent with our vision of what the full development of our block should be,” Day continued.

The overwhelming majority of testimony from Santa Ynez Valley residents Wednesday was in support of the project. However, Mark Oliver, president of the Santa Ynez Valley Alliance, said the project has the potential to seriously compound three of the community’s worst problems: highway and road safety, parking and groundwater contamination.

“We recognize the benefit of an appropriate-sized cottage hotel,” he said. “But this is too large. There is too much development for a site that is too heavily constrained and with limited infrastructure.

“The project is not consistent with the community plan and other sections of the comprehensive plan, and the impacts of the project are not fully mitigated,” Oliver added.

Traffic safety, especially access to the busy Highway 154, was a concern raised by several residents, including long-time resident Kelly Gray, who said adding more traffic will increase danger to both residents and visitors alike.

Because of limited sight distance, those intersections are very dangerous, Gray said, and it would be irresponsible to increase traffic.

Failing septic tanks in Los Olivos and the community’s lack of a sewer system were also a common concern for both residents and the commission members.

Los Olivos is an officially designated “special problems area” because of the potential for groundwater contamination by the septic systems of residents and businesses, and the county Public Health Department recently held a public meeting urging the community to take action before state regulators imposed a solution.

The county’s Environmental Health Services and the California Regional Water Quality Control Board want the community to build a wastewater treatment plant to serve at least the downtown core, and they want the hotel to connect to it.

However, if the community’s plan is delayed, the hotel would install its own private aerobic treatment system to treat its wastewater.

For more information about the project, go to http://applications.sbcountyplanning.org/index.cfm and click on the link for “Mattei’s Tavern Inn Development Plan,” or contact county planner John Zorovich at 934-6297 or jzoro@co.santa-barbara.ca.us.

Henderson urges residents to recycle their Christmas trees – Las Vegas Review

The city of Henderson is encouraging residents to use its holiday tree recycling program, which starts Wednesday.

Holiday trees may be dropped off during regular hours through Jan. 17 at seven locations:

■ Acacia Park, 50 Casa Del Fuego St.

■ Anthem Hills Park, 2256 N. Reunion Drive.

■ Arroyo Grande Sports Complex, 298 Arroyo Grande Blvd.

■ Mission Hills Park, 551 E. Mission Drive.

■ Morrell Park, 500 Harris St.

■ Pecos Legacy Park, 150 Pecos Road.

■ Whitney Ranch Recreation Center, 1575 Galleria Drive.

The free recycling program reduces the number of trees sent to the landfill while also providing nutrient-rich mulch to promote the growth of trees citywide.

Last year, the city recycled 3,970 holiday trees.

All nonorganic material, such as lights and ornaments, first must be removed from the trees. Flocked trees cannot be recycled.

The city’s Parks and Recreation Department will chip the trees into mulch for use in parks and landscaping around Henderson municipal buildings.

Free mulch will be made available to the public from 7 a.m. to 3 p.m. on Jan. 5 at Pecos Legacy Park and on Jan. 12 at Acacia Demonstration Gardens. For more information, call 702-267-4000 or visit www.cityofhenderson.com/parks.

Contact reporter Carri Geer Thevenot at cgeer@reviewjournal.com or 702-384-8710.

Gardening Calendar Updated Dec. 23

NEW LISTINGS

DATED EVENTS

Gardening Advice: St. Lucie Master Gardeners. 1-3 p.m. Tuesday-Friday; 9-11 a.m. Saturday. Morningside Library, 2410 S.E. Morningside Blvd., Port St. Lucie. 772-462-1660.Florida Native Plant Society: With Master Gardener Ann McCormick on “Landscaping with Coastal Native Plants. Field trip, 8:45 a.m. Jan. 5; meeting, 7 p.m. Jan. 8. Environmental Studies Center, 2900 Indian River Drive, Jensen Beach. 772-283-1379; mmglive@yahjoo.com.Annual and Perennial Gardening Class: With Dr. Sandra Wilson, professor of environmental horticulture. 3-5 p.m. Jan. 9-April 24. University of Florida Indian River Research and Education Center, 2199 Rock Road, Fort Pierce. 772-468-3922, ext. 148; jkwhite@ufl.edu

Flower Shows: Power Point Presentation about Flower Shows, given by two members. 12:30 p.m. Jan. 14. Garden Club of Stuart Program. Knights of Columbus Hall, 7251 Gaines Ave., Stuart. RSVP: 772-334-2584; cdrestore@comcast.net.

Backyard Edible Medicinal Plants: David McLean, owner/Trinity Churchside Garden/Ft. Lauderdale, shares his knowledge. 12:30 p.m. Feb. 11. Garden Club of Stuart Program. Knights of Columbus Hall, 7251 Gaines Ave., Stuart. RSVP: 772-334-2584; cdrestore@comcast.net.

Everglades Restoration: Maggie Hurchalla presents Wetlands/Everglades restoration, critical to healthy Indian River. 12:30 p.m. March 11. Garden Club of Stuart Program. Knights of Columbus Hall, 7251 Gaines Ave., Stuart. RSVP: 772-334-2584; cdrestore@comcast.net.

Flower Show and Garden Fest: Garden Club of Stuart. 9 a.m.-4 p.m. March 23-24. Martin County Fairgrounds, 2616 S.E. Dixie Highway, Stuart.

REGULAR MEETINGS

SLC Master Gardeners: Volunteers answer horticulture questions. 9 a.m.-noon, Mon.-Fri. UF/IFAS Extension Office, 8400 Picos Road, Suite 101, Fort Pierce, 772-462-1660; stlucie.ifas.ufl.edu. Also: 1-3 p.m. Tues.-Fri., 9-11 a.m. Sat. Morningside Library, 2410 S.E. Morningside Blvd., Port St. Lucie, 772-462-1660; stlucie.ifas.ufl.edu.

MC Master Gardeners: Plant doctor. 9 a.m.-4 p.m. Mon.-Fri. UF/IFAS Extension Office, 2614 S.E. Dixie Highway, Stuart, 772-288-5654; martin.ifas.ufl.edu.

Gardening Advice: Bring your questions, a sample of the problem. 1-3 p.m. Tuesday through Friday. 9-11 a.m. Saturdays. Morningside Lilbrary, 2410 S.E. Morningside Blvd., Port St. Lucie. 772-337-5632; library.stlucieco.gov.

Heathcote Botanical Gardens: General garden, bonsai workday. 9 a.m.-noon Wednesdays. Organic vegetable garden workdays 9 a.m.-noon, Thurs. 210 Savannah Road, Fort Pierce. 772-464-4672; heathcotebotanicalgardens.org.

Monday

IR Bromeliad Society: Speakers, raffle, show tell. 6:30 p.m. open, 7 p.m. program. 2nd Monday. Garden Club of IRC, 2526 17th Ave., Vero Beach, 772-713-6007; irbromeliadsociety.org.

Rio Lindo Garden Club Meetings: Workshop, meeting, lunch, speaker. Public welcome. 9:30 a. m. 4th Monday. Parks Edge Recreation Center, Port St. Lucie. 315-408-8443.

WEDNESDAY

Thursday

Saturday

GARDENS

Garden Walk: Old garden roses. 9 a.m.-4 p.m., Country Care Roses, 14070 109th St., Fellsmere, RSVP: 772-559-5036; countrycareroses.com.

Heathcote Botanical Gardens: 9 a.m.-5 p.m. Tues.-Sat., 1-5 p.m. Sun., through April. 210 Savannah Road, Fort Pierce, $2-$6. 772-464-4672; info@heathcotebotanicalgardens.org.

Historic Bok Sanctuary: 8 a.m.-6 p.m. daily. 1151 Tower Blvd., Lake Wales, $3-$10. 863-734-1221; boksanctuary.org.

McKee Botanical Garden: 10 a.m.-5 p.m. Tues.-Sat., noon-5 p.m. Sun. 350 U.S. 1, Vero Beach, $4-$7 May 1-Oct. 30; $5-$9 Oct. 31-April 30. 772-794-0601; mckeegarden.org.

Oxbow Eco-Center: 1-5 p.m. Tues.-Fri., 10 a.m.-5 p.m. Sat., noon-5 p.m. Sun. 5400 NE St. James Drive, Port St. Lucie, 772-785-5833; co.st-lucie.fl.us/erd/oxbow.

Port St. Lucie Botanical Gardens: 10 a.m.-4 p.m. Wed.-Sat., noon-4 p.m. Sun. 2410 SE Westmoreland Blvd., Port St. Lucie, $5. 772-337-1959; pslbotanicalgardens.org.

Tropical Ranch Botanical Gardens: Open one weekend/month. 1905 SW Ranch Trail, Stuart. 772-283-5565; trbg.us.

Comfort Suites Grand Cayman ready for winter after major upgrade

GRAND CAYMAN, Cayman Islands – Comfort Suites Seven Mile Beach in Grand Cayman has completed a US$ 2.2 million upgrade of its rooms and facilities in time for the 2012-2013 winter season.

“All 119 guest rooms and public areas have now been redesigned and refreshed,” reported Thomas Mason, general manager for the Comfort Suites franchise.” Mason adds that after a little more than a year of hard work, the hotel now has a “fresh, new Caribbean feel.”

The popular all-suite hotel, known for its quality accommodations and value offerings to tourists, business travelers and families, began the carefully-phased renovations in August 2011 and stayed the course with minimal disruption to guests.

In addition to the refreshed suites, new features include an exercise room, business center, cutting edge telecommunications systems, and a newly renovated breakfast room which features the Comfort family of brands’ signature complimentary breakfast buffet.

“The hotel looks really incredible,” said Kaye White, director of sales and marketing for Comfort Suites Seven Mile Beach. “We have been working with a local landscaping company to enhance the appearance of our tropical gardens that are featured throughout the hotel.”

The management team, White added, is committed to aligning the natural beauty of the destination with the hotel. “We intend to make a big difference in this area.”

Comfort Suites Seven Mile Beach is an all-suite hotel, featuring standard and deluxe studios, one- and two-bedroom suites, as well as a master suite.

All studios include refrigerators, microwaves, cutlery and coffee machines and feature beautiful island views. Some suites contain fully equipped kitchens with stoves and dishwashers.

The Comfort Suites hotel in Grand Cayman gives its guests easy access to the Georgetown area, its financial district, and easy walking distance to bars, restaurants, nightclubs, entertainment and duty-free shopping. Business travelers welcome additional conveniences like free wireless (Wi-Fi) access and meeting spaces.

District promotes ‘rain gardens’ to fight pollution

Napa County will soon seek home and business owners willing to set up gardens and barrels to harvest rainwater, and the project could become a model for other California cities.

The county’s Flood Control and Water Conservation District is preparing a $250,000 grant program to reimburse residents who create landscaping and rain basins. Results of the program will be sent to the state Department of Water Resources to help determine water harvesting’s potential in fighting pollution, according to Deborah Elliott, a specialist for the Napa County Water Resources Division.

Officials will provide grants for three years — as much as $1,500 to homeowners and $5,000 to businesses while monitoring how effective the water harvesting is in cutting water pollution in the county’s rivers and streams.

Rebates are expected to become available as early as mid-January, Elliott said. Residents and businesses must be located within the Napa River watershed to be eligible for the grants.

Napa County’s grant package stems from Proposition 84, the 2006 ballot measure that authorized $5.38 billion in state bonds to counties and cities for water quality, flood control and other improvements. Board members of the Napa County agency approved the rainwater harvesting program last week.

Those taking part in the pilot can use grant money to pay for rain gardens, landscaped areas near buildings that capture runoff from roofs and pavement. Water flows toward a ground depression filled with flood-tolerant plants, which absorb pollutants that otherwise would wash into nearby streams or storm drains.

Though finding space for a rain garden can be more difficult in urban areas, Elliott, a water resources specialist, remained hopeful the program would find takers even inside cities.

“Rain gardens can be quite small, we’ll have a minimum size of 25 square feet, but they certainly don’t have to take up a lot of landscape,” she said. “It’s just about directing water from downspouts into a small area where it can sink into the soil. It can be scaled to the size of the land people have available.”

Participants also can use the rebates to set up barrels or cisterns to collect water from downspouts and other rain channels. Mosquito screens will be required for collection basins to prevent the insects from breeding. Sponsors also recommend emptying the containers within 72 hours after a rainstorm ends.

The Napa County conservation district also has applied for more state funds for a similar rain harvesting campaign in the Putah Creek watershed, according to Elliott.

Garden Q&A: Cardinal flower has much to offer – Tribune

Jessica Walliser
Freelance Columnist
Pittsburgh Tribune-Review


Tribune-Review Horticulturist Jessica Walliser co-hosts ‘The Organic Gardeners’ at 7 a.m. Sundays on KDKA Radio. She is the author of several gardening books, including ‘Grow Organic’ and ‘Good Bug, Bad Bug.’

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By Jessica Walliser

Published: Saturday, December 22, 2012, 8:56 p.m.

Updated 5 hours ago

Q: I would like to know how to propagate cardinal flower. Thank you.

A: Cardinal flower — Lobelia cardinalis — is a native of North America and is a terrific plant for gardens in Western Pennsylvania. It reaches about a foot and a half in height and bears spires of bright red flowers that are extremely attractive to hummingbirds.

Cardinal flower is very easy to grow, preferring afternoon shade and average garden soil. It does very well in damp, poorly drained soils and is deer resistant. There are numerous named cultivars of this plant that are common in the nursery trade, and a similar species — Lobelia siphilitica — bears tall blue flowers in the same fashion as its cardinal-colored cousin.

Cardinal flower is best propagated via crown division. As the plant grows, small daughter plants form to the side of the mother plant. These young plantlets are easily dug up and separated. As this is a fairly quick growing plant, you‘ll be able to separate the daughter plants every two to three years. It is quite possible to readily establish a nice-sized colony after only a few year‘s growth.

It also is possible to propagate cardinal flower from seed. Seeds ripen in the fall about two months after flowering. Harvest the seed capsules before they fully brown and crack open. The easiest way to do this is to invert a dry flower stalk into a brown paper bag and wait for the capsules to naturally crack open. Their seeds will then fall out into the bag. Each capsule contains many seeds, so any seeds you don‘t harvest will drop to the ground in autumn and naturally colonize.

Alternately, if you don‘t want an entire stalk of seed pods, crack off just a few of them and let them sit on the kitchen counter on a coffee filter until they naturally crack open and the seeds fall out. The seeds do not need to be exposed to a period of cold before they can germinate (a process called stratification), but if you want to delay planting them until spring, place the dry seed in a sealed container in the fridge until planting.

Come spring, sow the seeds in new, high-quality seed-starting mix. As the seeds of cardinal flower need light to germinate, surface sow them and do not cover them with more soil. Keep them watered and place them under grow lights for 18 to 20 hours per day. Germination will take place in two weeks to a month.

Plants grown from seed will often not flower for two or more years, while those grown from crown divisions are quite capable of flowering the following summer.

Horticulturist Jessica Walliser co-hosts “The Organic Gardeners� at 7 a.m. Sundays on KDKA Radio. She is the author of several gardening books, including “Grow Organic� and “Good Bug, Bad Bug.� Her books are available at her website, www.jessicawalliser.com.

Send your gardening or landscaping questions to tribliving@tribweb.com or The Good Earth, 503 Martindale St., 3rd Floor, D.L. Clark Building, Pittsburgh, PA 15212.

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Plaza, lighting, new plantings part of Oyster Shell Park improvements

NORWALK — Workers with East Coast Welding Fabrication put the finishing touches Thursday on stairway railings leading up to the newly constructed granite hilltop plaza at Oyster Shell Park.


The work signaled, by and large, completion of Phase One of implementation of the Oyster Shell Park Master Plan as prepared by BSC Group. The park, including the new plaza, are now open to the public.

“It’s just a gathering area for right now, a sitting area where people can enjoy the view, the breeze,” said Michael A. Mocciae, the city’s director of recreation and parks, of the new plaza. “In the future, hopefully when we’re finished a little more along the road, we can do some performances up here.”

LaRosa Building Group of Meriden recently completed the Phase One improvements. The cost of the first phase ran roughly $1.8 million, according to Mocciae.

Phase One included site grading for new pedestrian paths to make the park compliant with the Americans with Disabilities Act, as well as the addition of the open plaza space, pedestrian lighting, and landscaping with native plants.

Work began last year with regrading and removal of invasive plants. A year later, the plaza, a stairway and paved paths leading to it, as well as roughly 45 lampposts, an emergency call box and plenty of new landscaping are in place.

The new plantings include buffalo grass, berries, heather and Black-Eyed Susan, according to Ken Hughes, the city’s parks superintendent.

“We brought back a lot of the native plants, slow growing, low-maintenance (plants),” Hughes said. “And this is also a self-sustaining park. They did a lot of water filtration, because it’s so close to the river.”

A rock swale now runs along the perimeter of the park’s slope as part of the filtration system to protect the harbor from runoff from nearby Interstate 95.

But the swale, rain gardens and other features are only part of the elements incorporated as part of The Sustainable Sites Initiative, according to Susan Sweitzer, senior project manager at the Norwalk Redevelopment Agency.

She described the initiative as similar to the Leadership in Energy and Environmental Design program to make buildings “green” and energy efficient.

“All of these are native plants species and they all came from a prescribed radius, or distance, so you were reducing your carbon footprint,” Sweitzer said. “A lot of recycled materials … the granite pieces that are there for the steps came from other projects.”

The emergency call box, now up and running, is a direct line to the Norwalk Police Department communications center.

“If (park visitors) had any type of problem, any medical problem, or they needed to report an incident, they could contact the Police Department right away, and we’d have an officer respond,” said Norwalk Police Lt. Paul Resnick. “You press the button, it dials into our 9-1-1 center and we dispatch police, fire or ambulance, whatever is required.”

Oyster Shell Park had once been the city’s landfill. The landfill was capped with a plastic membrane under a process which the state Department of Energy and Environmental Protection continues to monitor. That cap posed one of the challenges in constructing the improvements, according to Brian Sweeney, structural engineer in the city’s Department of Public Works.

“The toughest thing was making sure we didn’t encounter any refuse below the cap material,” Sweeney said. “This is a capped landfill, so any of the foundations for the light posts, or the future perguala, had to be shallow foundations, so that we did not impact the existing cap and go into the refuse down below.”

Mocciae said the city is still looking for funding to construct a free-form aluminum trellis, as called for in Phase One of the plan, near the planters surrounding the plaza.

The Phase One improvements are being funded by a state grant as part of $20 million for infrastructure improvements to the Reed Putnam Urban Renewal Area and $375,000 in DEP and community development block grants.

No city capital budget funds were being used for the park master plan, site improvements, bid documents or construction, according to officials.

BOOK EXTRACT Serious Fun – The Life and Times of Alan Gibbs, Chapter 16

BOOK EXTRACT Serious Fun – The Life and Times of Alan Gibbs, by Paul Goldsmith (Random House; Kindle edition here)

Chapter 16: A substantial foothold: The Farm, 1997–2003

Nobody in the group that I arrived with had ever seen anything like it. We’d come in the main gate to The Farm, which at that time was a rough timber construction sporting the skull and horns of a steer, and along the drive past Richard Thompson’s sculpture till we came over the brow of a hill and there, rising out of a large, sloping field of mown kikuyu grass was the most extraordinary thing: a great curving wall of rusting steel, perfectly horizontal, slicing up the landscape. It was three or four times the height of a man, five centimetres thick, more than 250 metres long, and it came out of the ground on a pronounced lean. As I walked around it, moving in and out of its curves, I was conscious of raising a sweat. On this summer afternoon, the steel radiated heat. Someone said, accurately as it turned out, that the sculpture must weigh 600 tons. It was exhilarating.

The Gibbs Farm giraffes with Richard Serra’s Te Tuhirangi Contour in the distance. (Click any photo to zoom.)

I’d joined a hundred or so people for one of the more significant events in the history of art in New Zealand, a celebration of the installation of Richard Serra’s sculpture, Te Tuhirangi Contour, at The Farm on 1 February 2003. Long recognised as one of the pre-eminent artists of the modern era, Serra had attracted admiration and controversy in almost equal measure over his lengthy career.1 His Tilted Arc, a 3.7 metre high steel wall across New York’s Federal Plaza, had been destroyed by the US government in 1989 after years of furious public debate; in 1999 his exhibition of Torqued Ellipses at the new Guggenheim Bilbao had attracted great interest. But he hadn’t yet done anything on quite the scale of Te Tuhirangi Contour. Gibbs had not brought a minor work by a master to The Farm; he’d extracted from Serra his largest and one of his most interesting site-specific works. He was introducing something that was entirely new to New Zealand, as well as commissioning an artwork that has aroused considerable international interest.

Naturally, at the launch, guests speculated as to the cost of this artwork.

I heard confident assertions, ‘without a shadow of doubt’, that it was in excess of $10 million; expressions of awe, bewilderment, pleasure and blustering dismissal bounced around. Artists in shorts and jandals mixed with neatly pressed business titans and their wives. There was quite a buzz.

Gibbs with Richard Serra.

Jenny Gibbs was there with her friend the novelist Witi Ihimaera. She’d featured frequently in the New Zealand news since the separation, most sensationally in the celebrated 1998 saga of the stolen Colin McCahon painting, the Urewera Mural. It had been stolen from the Department of Conservation’s visitor centre at Lake Waikaremoana. Te Kaha, a heavily tattooed Tuhoe activist, and another man were eventually charged with its theft.2 Jenny Gibbs agreed to take part in an elaborate scheme to recover the painting, whereby on 29 August 1998 she was driven blindfolded in her car to a secret location where it was loaded into the back. The media went crazy — ‘the millionairess’ tangled up with Maori activists and art thieves. TVNZ devoted its final 60 Minutes special of the year to the story of ‘Mokos and Millions’.3
One art critic wrote of Richard Serra’s work that it ‘uses industrial materials to attain a zone of experience at once more concrete and stranger than the sad habits of our ordinary lives’.4 The scene, the people, the atmosphere, the experience that February day at The Farm was far from the ordinary.

Born in 1939, three days after Gibbs, Richard Serra was a compact New Yorker, who despite his age looked feisty. It was obvious that he and Gibbs had had some strong discussions in the creation of the great work, the design and construction of which had spanned several years. They’d first met in New York City in 1998. Serra later recalled:

The first thing [Alan] said to me was, ‘I’ve just been to Storm King.’ I have a very large piece at Storm King and I think it’s a fairly consequential piece. Alan said, ‘I want a more significant piece than that, I don’t want any wimpy piece in the landscape.’ . . . So Alan was throwing down a gauntlet. If you’re going to do something here I want your best effort.

Serra made the first of five visits to New Zealand and The Farm in February 1999 with no specific brief or preconceived idea of what he might do. He spent several days walking over the undulating Kaipara landscape in search of a suitable spot. Gibbs wanted him to locate his work on the harbour side of a line of trees; Serra insisted that the paddock behind that line of trees was where he wanted to work. He was interested in the fall of the land there. He then spent the next year or so thinking about what he might do. He thought first of placing a number of objects in the landscape, such as he’d done at Storm King and elsewhere. But then, when looking at a model that revealed the contour lines of the paddock, he found himself passing his finger along a single contour. ‘What if I use one contour to pass through the swales and the valleys and the elevations?’ he asked himself. ‘Would that mediate the site in the way that other things didn’t?’6 Having alighted on that idea, he thought initially of a 500 metre wall, 1.2 metres high, then of two walls following two contour lines that people could walk between. Finally, he returned to a single line, but with a lean that made it perpendicular to the fall of the land.

Peter Roche’s Saddleblaze.

Serra is a rare artist who appears to enjoy and welcome input from others. Gibbs and Noel Lane chipped in with ideas. Of Gibbs, Serra said, ‘You know as kids there are some people you like to play with because you can make a quantum leap and some with whom you can’t; Alan is a great guy to play with.’ They built a wooden framed mock-up of the wall to gain a sense of how it sat in the landscape and a feel for how high it needed to be. Soon Serra and Gibbs fell into a debate about the material to be used. Serra wanted it to be steel, the material used in most of his works. But with the lean, he thought 4.8 metres high was the limit of what could practically be manufactured. Gibbs was insistent that 4.8 metres didn’t generate sufficient drama. He wanted six metres, and since at that height using steel would be a massive undertaking, they should build it in concrete. Serra stuck to his guns:

Why does it have to be in steel, why couldn’t you build it in plastic, why couldn’t it be in any other material? I came to a conclusion if you’re interested in inventing form, interested in matter, one of the things you understand immediately is that matter imposes form on form. I thought to win this game I had to humour him along enough and just outlast him. And I’m going to walk if he doesn’t want to do it. And I did. I really wanted to build it in steel or not at all.

Eventually he received word that Friedhelm Pickhan’s steelworks near Cologne, Germany could form the plates at six metres and persuaded Gibbs that it was worth the considerable cost. Work on 56 plates, weighing 11 tons each, began in June 2000. Each was bent differently, following computer modelling by a designer who had experience in the aerospace industry. Disaster struck, however, when they were loaded on the ship bound for New Zealand. They had been designed to be stacked 10 plates high, but the captain had them stacked much higher, to the point that they fell over, nearly sinking the ship. All the plates had to be returned to the plant, set up again and re-measured. Most needed some reworking. It delayed the project by a whole year.
The 600-odd tons of steel plate finally reached The Farm in November 2001, starting the installation phase, which fascinated Gibbs. Serra’s contract was to provide the plates of steel; Gibbs’ job was to find a local engineer to design a system that would hold them up. He turned to Peter Boardman, a structural engineer. ‘One of the interesting things about sculpture,’ Boardman says, ‘is that the artists are usually pushing technology, the engineering and some of the physics right to the limit, and they tend to work by the seat of their pants; they say, “I think we’ll do this,” and wave their arms around, and we try to do it.’8 The 11 degree lean added significantly to the challenge. Boardman had to pile down nine metres and then produce a continuous concrete foundation on which the steel could be erected. Each plate had four massive steel feet welded to the bottom that were bolted to the concrete.
Another complication with steel is its capacity to expand and contract with changes in temperature. The 250 metre long wall had to be engineered so that it wouldn’t buckle on a hot day. The simplest solution was to have a small gap between each of the plates, but Serra wouldn’t hear of such a lazy compromise. The wall had to be continuous and without flaw, with the plates touching each other. The whole wall then needed to be able to expand and contract (with a total movement of around 40 millimetres), which Boardman provided for by allowing the steel plates to slide on their foundations. The feet stood on low-friction plastic and there was a little room left around the bolts. The wall was completed by May 2002, followed by extensive landscaping work.

The result of four years’ work surpassed Serra’s hopes. ‘I could not have imagined that the piece would come in as well as it did,’ he concluded.9 New Zealand art critics were intrigued. Hamish Keith wrote, ‘The rural backblocks of Kaukapakapa are not a setting in which the casual traveller would expect to encounter one of this century’s great works of sculpture, but there it is. . . . On a fine north Auckland day with scudding clouds, sunlight rolls across the face of Te Tuhirangi Contour, painting its rolling curves with light. Seldom have I seen anything as fine or as moving.’10 It forcibly struck Keith as an artwork that had required considerable courage to commission; so unlike anything that could have been undertaken by a public arts committee.11 The work now features prominently in international surveys of Serra’s work.12
Gibbs was thrilled. For him, however, being involved in the creation of the work had been as much part of the enjoyment as the result: the evolution of the work, the practical problem of trying to assess the value of something that has no resale value, the engineering challenges, and the personality of the artist. Over the course of several visits, Serra lived with Gibbs. They’d butted heads over politics (Serra and his wife were left-wing), over art and nearly every other controversy in the world. On his final visit, Serra gave Gibbs an elaborately carved Papuan penis sheath. It was a private joke, since they had long joked as to who had the biggest ‘balls’. Serra hadn’t been able to buy any suitable testicles, so the penis sheath was the nearest thing he could find as a mark of respect.

Te Tuhirangi Contour was part of a much wider project: the transformation of a once scruffy property in a neglected corner of the Auckland region into ‘Gibbs Farm’, a private folly of magnificent proportions that was fast becoming a sculpture park of international significance. Together with his remaining family in Auckland, notably Amanda, Noel Lane and their children, The Farm continued to bind Gibbs to New Zealand. It drew him home each summer and, alongside the amphibians, travel and reading, provided a steady stream of fresh stimulus and challenge that sustained him.
The basic division after his break-up with Jenny was that she took the paintings while he took the sculptures. She took the Paritai Drive house; he took The Farm. During his travels in 1996/97 particularly, Gibbs had intensively and systematically toured sculpture parks around Europe and North America with his three daughters, meeting artists and gathering ideas. For some time he’d been a member of the Dia Art Foundation in New York, a private, contemporary art institution established in the 1970s to commission site-specific, long-term exhibitions of major artists. Donald Judd, the ’60s art icon, had been one of Dia’s favoured sons. In the 1980s he’d developed a monument to himself in the desert outside Marfa, Texas, not far from the Mexican border. There in two former artillery sheds he housed a large collection of his sculptures, grids of aluminium blocks mainly.
Gibbs and his daughters looked around Marfa, and then went to northern Arizona to meet James Turrell, another sculptor who was engaged on his own gargantuan project in the Painted Desert. His idea was to turn a dormant volcano into a work of art. ‘He took us up to the depression just before sunset and told us to lie on our backs,’ Gibbs recalls. ‘As the sky darkened, the rim of the crater turned into a dome as clouds came over, a fantastic optical illusion.’
At that point, in 1996, Turrell had been working on Roden Crater for more than 20 years, but the major construction works he planned were still a couple of years away. Gibbs was sufficiently impressed with the man’s ambition and brilliance to invite him to The Farm in the hope that he might be inspired to do something there. He came and proposed building Gibbs a sky room, essentially an underground chamber with a hole in the roof through which the viewer looked up to the sky by day and the stars by night, creating a similar illusion. It was one of several proposals for sculptures at The Farm that were not commissioned.
Amanda and Emma had peeled off the southern US sculpture tour after a couple of weeks. Emma’s studies at Cornell demanded her attention, as did Elvis, her 3.6 metre pet python that had the run of her New York apartment. Amanda had earlier produced Gibbs’ first grandchild, Callum, and also needed to get home. Debbi, who was carving out her own career in New York City managing alternative record producers, was more flexible. She was the last one left when they reached Walter de Maria’s Lightning Field in western New Mexico, one of the earlier major projects funded by Dia. This comprised 400 polished stainless steel rods laid out in a grid, one kilometre by one mile, with the tips of the rods defining a horizontal plane. She remembers their visit well:
We flew into this rough, but largely horizontal landscape in a small plane. They gave us a cabin to stay in and a meal; we had the place to ourselves. Nobody said much and we wandered off to the Lightning Field in the late afternoon heat. Since it was bone dry we could see forever. These perfectly aligned poles, shining in the sunlight, were amazing. In the middle of a dramatic sunset, a huge storm came over the horizon, with forked lightning. The sky went into all these crazy colours; the lightning was flashing, the poles were shimmering — and it was raining cats and dogs — and we were having a fantastic time out there. After a few hours a huge light sweeps over the poles. ‘That was a car,’ Dad said. ‘It can’t be,’ I said. ‘We’re in the middle of nowhere.’ ‘Maybe it’s some kind of son et lumière,’ he suggested. Gradually we conceded it was a car, then we saw lights in the hut flashing on us as we staggered, hysterically falling over, soaking wet, covered in sticky mud, laughing our heads off. It turned out that our pilot had raised the alarm that we’d disappeared in the lightning storm, which they take a whole lot more seriously over there than in New Zealand. They thought we were insane.13
Gibbs had long been interested in lightning; he’d dreamed of creating something that generated great flashes. He’d fantasised about having a big Van der Graaf generator that created sufficient static electricity to get a spark between two balls. When the New York-based Kiwi artist Len Lye visited New Zealand in 1977, he’d come to Gibbs’ home in Titirangi. Gibbs’ old university mate John Matthews, a New Plymouth engineer, had befriended Lye and had arranged the first New Zealand exhibition of his work at New Plymouth’s Govett-Brewster Art Gallery in February that year.14 Gibbs had sat in the pool with Lye and described his idea of having two balls sparking electricity across the pool.
He recalls Lye replying, ‘It’s a great idea, Alan, but heck, you need a bigger scale than that. How about those big TV towers up there? Let’s put two great balls on the top and have lightning smashing between them.’15 Neither Lye nor Gibbs could figure out how to turn such a dream into reality. But the problem nagged away at Gibbs. He went so far as to commission a PhD student in Canterbury to think of ways to build a sculpture that shot electrical discharges using electricity. But he’d found nothing that pleased him by 1996 when he met Eric Orr, a Californian artist known for works that combined fire and water.

Orr was in New Zealand for the Auckland Art Gallery Transformers exhibition. After a visit to The Farm he warmed to Gibbs’ challenge of creating a lightning sculpture. He proposed a cow that fired bolts of lightning; Gibbs wanted a tank that did the same. Returning to San Francisco, Orr collaborated with Greg Leyh, an expert on Tesla coils who operated the aptly named company Lightning on Demand. Nikola Tesla was a Serbian inventor and electrical engineer who had moved to the United States and at the dawn of the twentieth century had had the great dream of broadcasting power into the atmosphere in the same manner as radio waves. He was exactly the sort of adventuring giant who intrigued and inspired Gibbs. His coils could generate impressive discharges. The task of creating a lightning sculpture, however, was more complicated than any of them thought.

But after a year or so, Orr and Leyh were getting serious and Gibbs visited their workshop to witness a prototype in action.16 With metal and coils piled high and sparks flying everywhere, it was a thrilling and terrifying experience. The end result was Electrum (for Len Lye), an extraordinary artwork that they built and tested in San Francisco and then reassembled in front of Gibbs’ house at The Farm in May 1998. Still the world’s largest Tesla coil, it forms a 14 metre column with a stainless steel coiled ball on top. It has a primary and secondary coil, the primary coil having a current of about 3000 amperes, changing direction about 40,000 times a second, and a voltage of about 44,000 volts. As Leyh describes it:

A 44,000 volt primary circuit makes up the low-voltage end of the main coil form. The secondary coil starts at the primary, and tightly spirals its way up along the inside wall of the tower, gaining several thousand volts per each complete turn. About 800 turns later at the top of the tower, the large Tesla coil develops several million volts, which build on the top stainless steel electrode, until the surrounding air can no longer withstand the electric field. The result: artificial lightning!

At its best in the dark, Electrum provides Gibbs and his guests with the ultimate late night entertainment, usually after dinner and much merriment. The sound of the machine in action is comparable with the roar of a freight train as its motor spins and energy is created, and when the lightning spurts from the top of the ball with even louder cracks, the natural reaction on seeing it is to cheer and then to laugh with delight that anyone would be crazy enough to build such a thing. The smell of burning ozone lingers, as well as the relief that no one has perished in the lightning’s cleansing fire. Eric Orr put it well when he said that in action the artwork touched man’s ‘reptilian brain centre’.18 A couple of months before Electrum’s installation, I chanced across a gang of local labourers who were digging a trench across The Farm for the industrial strength cable that was required to power the work. It could have powered a decent-sized factory. One of them looked up at me, flashing a toothless grin: ‘This guy is one mad son of a bitch!’

It was hard to disagree, but the lightning sculpture, in its way, reflected the essence of The Farm as it was emerging. It was not a platform for art of the pursed-lip variety, of earnest hand-wringing or depressing social statements; it was art as an expression of joy, objects that kicked Gibbs in the guts and thrilled him. It also explored the boundary between art and engineering ingenuity.

Not every new sculpture was as much fun as Electrum, nor as powerful as Te Tuhirangi Contour’s 600 tons of steel, but each of the new sculptures in the late 1990s and early 2000s was intriguing in its design and striking in its position on the landscape. The great New York artist Sol LeWitt had visited The Farm for a week in 1997 to search for a suitable spot to place an eight-metre-high pyramid that he’d designed. Minimalist, simple and yet complex, it was constructed by local builders and rose incongruously from the grass. The Farm’s sheep and goats soon discovered it was easy to climb and afforded a good view from the top.

Leon van den Eijkel, a Dutch artist who had moved to New Zealand, produced one of the more striking works on The Farm in 1998. Red Cloud Confrontation in Landscape is another minimalist masterpiece; 25 cast concrete cubes in a grid on sloping ground. The tops of the cubes, in a way predicting Serra’s work, run perfectly horizontal. Brightly coloured against the green lawn, as the title suggested, it confronts the landscape. None of the sculptures, indeed, could be said to have blended unobtrusively into the hillsides. That was never the object. Years later, the cubes would provide podiums for each of the wedding party when Emma married Richard Garard.

Gibbs had long admired the kinetic sculptures of American artist George Rickey. He’d solved difficult engineering problems to produce artworks with stainless steel panels that move gracefully in the lightest of winds. In the late 1980s Gibbs had visited his studio in upstate New York and commissioned Column of Four Squares, Eccentric Gyratory (III), which he installed at his and Jenny’s house on Paritai Drive. Later he moved it to a new position at The Farm, where it could be seen gyrating happily above the Kaipara Harbour’s vast and ever-changing scene. He liked it so much that he bought another Rickey, Two Rectangles, Vertical Gyratory Up (V), in 1998. This one was taller but just as graceful.

 

Marijke de Goey’s The Mermaid.

Marijke de Goey, a Dutch jeweller and sculptor, designed The Mermaid, a steel bridge to cross one of The Farm’s lakes. It was built in South Auckland and carried up to The Farm in two pieces by a Russian heavy-lift helicopter.

Kenneth Snelson’s Easy K and Zhan Wang’s Floating Island of the Immortals would later join The Mermaid as works either on or beside The Farm’s lakes. Meantime, in 1999 French Artist Daniel Buren’s Green and White Fence began to weave its way through the property.

The Farm’s landscape, meantime, was evolving rapidly. When he’d bought the property Gibbs found the land covered in trees, plantation and self-seeded radiata pine, macrocarpa and eucalyptus. He cleared the pine fairly quickly and set out to recreate the landscape of Virginia by planting thousands of deciduous trees. Hugh Williams took him to Eastwoodhill, an arboretum near Gisborne which boasts arguably the most beautiful forest of European deciduous trees in New Zealand. Gibbs walked around, filling his Stetson with seeds. Some of his friends tried to talk him out of the plan. Bev McConnell, whose gardens at ‘Ayrlies’ in Whitford have been widely acclaimed, introduced Gibbs to two of the country’s leading tree specialists, Graeme Platt and Jack Hobbs. They agreed with her that Gibbs should concentrate on natives in an environment as tough and exposed as the Kaipara. ‘He wouldn’t have a bar of it,’ she says. ‘Alan was adamant that he wanted a deciduous forest with autumn colours.’19

Nature soon defeated his best-laid plans. By the mid-1990s, it was clear that most of the northern hemisphere deciduous trees were struggling in the Kaipara’s clay soils and harsh south-westerly winds. Gibbs found that his M41 tank was a useful landscaping tool. He had bought a big Caterpillar D10 bulldozer to mow down extraneous trees and smooth some of the land’s rough edges, but soon found that the tank went through trees with considerable chutzpah. Meantime, he was also having trouble with his lakes. He was determined that they should have water that was blue and clear, like the Mediterranean. Hugh Williams recalls, ‘Everyone told him that he couldn’t do it; this was clay country, they would always be muddy brown. That just drove him mad. He did everything to get those ponds clear; the stuff he threw in the water! He hated the fact that nature was beating him.’20

Gibbs kept battling away doggedly with his lakes, but eventually changed tack on the trees. From the mid-1990s, after much thought and debate with Noel Lane and several experts, he planted hundreds of thousands of natives, particularly in the valleys. The pasture, also, was improved out of sight. After some experimentation, they settled on kikuyu grass, which, although it didn’t provide the best stock feed, was able to remain green and pleasant through the summer months.

The Gibbs Farm giraffes with Richard Serra’s Te Tuhirangi Contour in the distance.

Rare varieties of sheep and cattle dotted the hillsides, and then Gibbs introduced exotic animals, such as alpaca, yak, emu and ostriches. A great hairy beast with a fine set of horns standing on a ridgeline against a grey, thundery sky was as joyful to behold as the best sculptural effort. And inevitably the animals interacted with the art; the first half-metre of steel above the ground all the way round Te Tuhirangi Contour soon took on a different lustre to the rest of the wall as, like cats sitting on the warm bonnet of a car, the sheep rubbed their oily wool against the warm steel.

Noel Lane provided the inspiration for one of the private masterpieces of The Farm, ‘Grief’, a cowboy town hidden amongst a eucalyptus forest. Knowing Gibbs’ passion for cowboys — for the notion of honour, the manly code, the freedom of the West, that if you have to have anything to do with women your job is to save them, the happiness of a warm gun — and struggling one year to think of a birthday present, Lane built a model town. He found a flat site amongst the trees that had been used for a logging zone and presented the model to him. Gibbs laughed and laughed, and promised to build it one day, but the years passed and the model ended up covered with dust in the barn. Then a lerp infestation started to affect the eucalyptus trees. At the same time, Gibbs and Lane began to realise that the tall, scraggy Australian trees were completely overpowering and overshadowing some of the sculptures. Sol LeWitt’s pyramid, particularly, had been swallowed by eucalypts. After some agonising they decided to remove several stands of big trees and, almost as an afterthought, Gibbs told Lane that he might as well mill the wood and use it to build his cowboy town.

But it couldn’t just be any old cowboy town. Before building, Gibbs and Lane investigated the concept fully, touring the American West and northern Mexico where several John Wayne movie sets are still in existence. The width of the street was based on the room needed for a wagon to turn around. There was a bank, a saloon, a chapel, a whorehouse — the usual things — and a landing was built above and behind the facades so paintball battles could be waged by Gibbs’ grandsons, who would soon reach a suitable age.
Grief hadn’t been built, however, in time for one of the great events at The Farm: Gibbs’ sixtieth birthday party in October 1999. The event epitomised the free-spirited craziness that endeared Gibbs to his friends.

Having first enjoyed a demolition derby, using some old Holdens equipped with bull bars and big tyres, the guests were drinking and chatting on a hillside when suddenly helicopters rose up from behind some bushes and a full-scale war erupted around them; tanks rolled, soldiers ran around firing machine guns, things exploded. The climax came when a fighter jet swooped past with an incredible roar and appeared to bomb a structure across the swamp (in fact, it was carefully timed pyrotechnics). Those who hadn’t flung themselves on the ground, hands over heads, would have seen Gibbs and his daughter Emma laughing their heads off before the conflagration.

Extracted from Serious Fun – The Life and Times of Alan Gibbs, by Paul Goldsmith (Random House; Kindle edition here)

History: Historical sites — County properties on historic register – Las Cruces Sun

Click photo to enlargeThere are a total of 21 properties in Doña Ana County listed on the National Historic Register, from homes and public spaces to complete neighborhoods and districts.

All of these were listed first on the New Mexico Register of Cultural Properties, which includes many more important historic sites not listed on the national register, including the Amador Hotel, the former Doña Ana County Courthouse, and the old post office on Griggs and Church Street.

The first property in Las Cruces placed on the National Register was the Armijo-Gallagher House, the two-story adobe Victorian style home on Lohman Avenue that was once owned by Mesilla Valley pioneer and trader Nestor Armijo.

Built in phases from around 1880, the home was one of the first to get electricity, and was surrounded by fields, corrals, vineyards and gardens.

The house passed to granddaughters Josephine Gallagher and Gertrude Ascarate, and later served as an office for Pioneer Bank, which restored the building in 1981. Citizens’ Bank of Las Cruces has deeded the building to the Greater Las Cruces Chamber of Commerce, which is planning to attentively restore the building for its new offices.

The Mesilla Plaza was the first county property to secure a place on the National Register in 1966, and later J. Paul and Mary Taylor got their sprawling adobe complex on the plaza on the register, and have deeded it to the state for a museum.
In 1974, the Doña Ana County Historical Society led

the effort to register the pre-Civil War Fort Fillmore, where only the foundations remain.

Historic neighborhoods

Las Cruces has two neighborhoods listed in 1985 on the National Register. The Mesquite Street Historic District encompasses the original town site — not including the downtown Main Street blocks — plotted in 1849.

The district features tightly packed adobe vernacular style homes that date to the founding of the town, and many more are at least a century old.

Some of the neighborhood’s highlights include the Sunshine Grocery at the corner store on Mesquite Street and Las Cruces Avenue and still operated by the Sanchez family since the 1930s, as well as Klein Park, dedicated to longtime Mayor Sam Klein.

Since the early 2000s, the Mesquite Street neighborhood has witnessed a revival, with numerous renovations of old adobes and the installation of the Jardín de Mesquite, a series of ceramic tile panels depicting Las Cruces history.

In 2009, preservation work began on the Phillips CME Chapel Church, the first African-American church in Las Cruces that also served as a school during segregation. It was placed on the National Register in 2003.

The Alameda-Depot neighborhood sprung up after the arrival of the railroad in 1881.

It held brick homes reminiscent of Eastern styles, with hipped box roofs, and Queen Anne, Victorian and Bungalow styles dominating the area. The Santa Fe Depot, built in 1910, now serves as one of the city’s museums.

In 1894, the Women’s Improvement Association opened the city’s first park in a large empty parcel in the middle of the new neighborhood. Though the landscaping and gazebo have changed, Pioneer Women’s Park remains one of the city’s top parks.

The Depression-era Works Progress Administration left its mark in the neighborhood with the construction in 1940 of the Pueblo Revival style Court Junior High (now site of Alma d’arte Charter School) and sidewalks marked with “WPA.”

You can consider the village of Doña Ana a neighborhood, and though it’s maintained its small size and rural identity, it has actually changed quite a bit since its founding in 1842, making it the oldest settlement in southern New Mexico.

The historic district encompasses adobes built more than 150 years ago along the Camino Real, including the community-renovated Our Lady of Purification Catholic Church, as well as the recently rehabilitated former saloon, post office, and town store.

Down on Main Street

Few of the old landmark buildings on downtown Main Street survived Urban Renewal in the late 60s, and two of them are on the national register.

The city-owned Branigan Cultural Center off downtown Main Street was built in 1935 and designed in the Pueblo-Revival style by El Paso architect Percy McGhee, who also designed several college buildings and the former county courthouse.
In 1932, long-time WIA member Alice Branigan, a talented singer and former teacher, willed the city $35,000 and several tracts of land to build a library named in honor of her husband Thomas Branigan.

It served as the main library until the current Branigan Library opened in 1979. Named the Branigan Cultural Center since 1981, the building hosts traveling exhibits and the first permanent exhibit on the history of Las Cruces.

Just a few blocks down Main Street to the south sits the Rio Grande Theater, placed on the register in 2004.

In 1926, C.T. Seale and B.G Dyne hired architect Otto Thurman to design an Italian Renaissance Revival style movie theater, complete with decorative exterior elements and an unusual air-cooled interior.

In 1998 Seale and Dyne’s granddaughters donated the theater to the city, with the Doña Ana Arts Council managing the building and all programming.

A $2.5 million renovation revealed the original façade obscured in the 1960s, and modernized the theater into a 422-seat performing arts space, while still maintaining its historic character.

Outside of the city

NMSU’s entries include the three surviving buildings designed by noted El Paso architect Henry C. Trost.

Just after the turn of the century, the college got Trost to design a horseshoe-style layout for the campus. Seven Torst-designed buildings were built, though only three survive, including the Honors Building, built as a men’s dormitory and ran by the YMCA.

The town of Organ was once a promising mining town until the bust of the early 20th century. Several buildings of its golden era survive, including mine assayer Louis Bentley’s store, which has served as a restaurant in recent years.
The Elephant Butte Irrigation District is also on the register, and includes the complex network of ditches and canals that in their own way helped transform the Mesilla Valley.

Though its adobe walls are slowly returning to the soil, Fort Selden earned a place on the register for its role as a post-Civil War fortification. Built in 1865, it served as a fort until finally closing in the 1890s. The state runs it as a museum now, and frequently hosts living history events there.

Christopher Schurtz, M.A., is a historian and freelance writer. He may be reached at cschurtz@zianet.com

National Historic Register

Las Cruces

Armijo-Gallagher House, Lohman Avenue

Alameda-Depot Historic District

Mesquite Street Original Townsite Historic District

Hadley-Ludwick House (now the Cutter Gallery), 2640 El Paseo

Phillips CME Chapel Church 638 N. Tornillo St.

Branigan Cultural Center, Downtown Main Street

The Rio Grande Theatre, Downtown Main Street

NMSU

Air Science-Honors College building

Foster Hall

Goddard Hall

Mesilla

Barela-Reynolds-Taylor House, Mesilla Plaza

La Mesilla Historic District

Mesilla Plaza

Elsewhere in the county

Louis B. Bentley General Store, Organ

Doña Ana Village Historic District

Our Lady of Purification Catholic Church, Doña Ana

Elephant Butte Irrigation District

Fort Fillmore

Fort Selden

International Boundary Marker 1

Launch Complex 33, WSMR

To see the county’s National Historic Register listings, go to http://www.nationalhistoricalregister.com/NM/Dona+Ana/vacant.html

Winter gardens can add lots of life – Tribune

By Tribune-Review

Published: Friday, December 21, 2012, 8:53 p.m.

Updated 19 hours ago

It doesn‘t seem like right now would be a good time to enjoy the beauty of a garden, but, thanks to a few stalwart plants and a good hardscape, early winter is one of my favorite times in the garden.

My love of winter gardens started a few years ago, when I visited the Royal Botanic Garden — often called Kew Gardens — in London. I didn‘t expect anything spectacular. It was mid-winter when I visited and what could be happening in a garden in winter? Needless to say, I was blown away by the beauty of the winter landscape they had created there (not to mention the conservatory‘s tropical flair and all the holiday decor they still had up). From that point on, I promised to begin to incorporate plants into my own garden that boasted not only lovely flowers in season, but also added interest to the garden in the off-season.

Garden designers praise evergreens and trees with textured bark and unusual forms for their winter interest. Rock walls, brick paths, pergolas, trellises, fire pits and other hardscape elements add yet another dimension to the winter landscape. And perennials with unique seed pods, ornamental grasses and broad-leaved evergreen shrubs not only provide food and shelter to numerous birds and beneficial insects, they create a visual feast for winter-weary eyes.

However, at Kew I discovered that, for me, a winter garden is incomplete without a quilt-like swathe of evergreen groundcovers. I‘m not talking about pachysandra and myrtle (although these two common groundcovers do stay green throughout the winter). I‘m talking about a group of less-common, low-growing groundcovers that have since made a home in my garden, smothering it with blooms in the summer and color and texture in the winter. Without them, my garden would be a far less interesting place during winter‘s rule.

Over the coming weeks, head out to the garden with a camera in hand. Take pictures of highly visible areas that would benefit from the addition of some winter bling. It could be along a front walkway, outside the kitchen window, next to the back door, or in a shrub island. Make notes about which of these groundcovers would best suit each area. Then, when spring rolls around, head to your local garden center to purchase them and get planting.

• Ajuga reptans — This fully evergreen groundcover is hardy and comes in a broad range of foliage colors and textures. It hugs the ground at a mere half-inch in height and is covered with spires of purplish-blue flowers in spring. Ajuga, commonly called bugleweed, is a fast, yet controlled, spreader that prefers full to partial shade. I grow a tri-colored variety called “Burgundy Glow� that is a lovely blend of pink, green and white foliage. “Metallica Crispa� is another favorite, with crinkled, dark-green/burgundy foliage.

• Asarum europaeum — European ginger may not be the fastest-growing evergreen groundcover, but it is surely one of the most attractive. Bearing shiny, heart-shaped, 3-inch-wide leaves that stand a mere 3 to 5 inches tall, European ginger is hardy. It prefers full to partial shade and is deer-resistant.

• Iberis sempervirens — Evergreen candytuft has been around for a long time. My mom grew it when I was a kid, and I have loved it ever since. Smothered in pure white flowers in spring, this plant remains a rich, deep-green all winter long. It does not spread via underground roots like some other groundcovers, but rather it makes a large, billowing clump and develops roots along the stem as it grows. It is very easy to start from stem cuttings and thrives in full sun.

• Thymus species — Turns out that thyme isn‘t just useful in the kitchen. It‘s also a great winter-friendly groundcover. With dozens of species and hundreds of cultivars, you can‘t go wrong with this lovely little plant. Variegated, wooly, creeping, wild, lemon-scented and English thyme varieties all thrive in hot, sunny areas with well-drained soil. Thyme does best when given a regular haircut, so harvest as much as you want for the kitchen early in the season and then let the plant develop lots of new growth before winter sets in.

• Liriope spicata — The dark green, strap-like leaves of lilyturf remain evergreen through most of the winter, although sometimes, mine turn brown around the leaf margins just before spring arrives. Variegated forms also are quite interesting. In spring, spikes of purple-blue flowers poke out of the center. Lilyturf spreads at a moderate rate and is suitable for full sun and partial shade. If you‘d like, you can mow the plants down each spring to encourage new, deep, green growth.

• Sedum rupestre “Angelinaâ€� — OK, so this isn‘t actually evergreen — it‘s ever-yellow. “Angelinaâ€� is a new acquisition for my garden and, so far, I am loving it. The succulent golden yellow foliage hugs the ground at a mere 4 inches in height. In spring, it bears yellow star-shaped flowers and, in the cooler temperatures of fall and winter, the foliage turns a beautiful reddish-amber color. “Angelinaâ€� is drought-resistant and tolerant of hot, sunny areas. It is a vigorous grower than can be trimmed back at any time. This plant looks great tumbling over rocks or retaining walls.

Horticulturist Jessica Walliser co-hosts “The Organic Gardeners� at 7 a.m. Sundays on KDKA Radio. She is the author of several gardening books, including “Grow Organic� and “Good Bug, Bad Bug.� Her books are available at her website is www.jessicawalliser.com.

Send your gardening or landscaping questions to tribliving@tribweb.com or The Good Earth, 503 Martindale St., Thirrd Floor, D.L. Clark Building, Pittsburgh, PA 15212.

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