Gardens for Small Spaces – Reinventing the Terrarium

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Although it is arguable whether they were ever really ‘in’, the terrarium is making a resurgence. Not only does it seem to have situated itself in the same quasi-hipster cool category as knitting (think stich ‘n bitch) and dissenting cross stich patterns, it can also be ever so practical for people living in big cities with limited outdoor space. Also important, people are starting to make really cool and beautiful terrariums.

A terrarium is traditionally a glass container that is completely enclosed (like an old preserve jar), which is built to act like a mini-greenhouse. A drainage system is installed at the bottom of the jar in the form of gravel or rocks, that is covered in some rich soil where small succulents are planted, along with other more decorative elements like moss or little figurines (such as the one above, which is from Doodlebirdie’s Etsy shop). Basically, the terrarium creates a perfectly climatised little home for small plants – all you need to do is add water once in awhile.

Although some sites date the terrarium back to ancient Greece, most agree that it was a UK-based invention:

In 1831, when British surgeon Nathaniel Ward picked a fern, stuck it in a bottle and forgot about it. Several months later, the fern was thriving and grass had sprouted in the enclosed container – without any cultivation or watering from Ward. Twenty years later, Ward’s enclosed biosphere was put on display at the 1851 World’s Fair in London, and so-called Wardian cases became a fad. The inspiration for the Victorians may still be what draws us to terrariums today. (source)

There are lots of online tutorials for making your own terrarium if you are so inclined. In the meantime, here are some beautiful examples for inspiration:

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Above Image and Terrarium by Litill.

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Above terrariums by Matteo Cibic.

Header Image: Gnome Wash Day Moss Terrarium Globe by Doodlebirdie.

Fine Cell Work in the 'Forgotten Community'

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Throughout time, people have incorporated storytelling and art making into the creation of everyday practical objects. For example, we can see immense artistry in the bead work done by Aboriginal peoples of North America in everything from the needlework done on shoes to the beading on bassinets and other items. Although these objects were created for practical purposes, the desire to make them beautiful was still a significant motivator.

Quilting is one such art form, practical yet beautiful, which is estimated to date back to ancient Egypt.

The earliest surviving quilt is from approximately the first century BC to the second century AD…. Piecing fabric together is also very old. It was more often used for clothing but also occasionally for decorative objects. (Source)

The August 2009 issue of Intelligent Life has a great article about a quilting project the Victoria & Albert Museum is doing with inmates at Wandsworth prison in London, the results of which will be displayed at the Museum in an exhibition which opens in the spring of 2010. According to the V&A the history of ‘Fine Cell Work’ dates back to the early 1800s when a Quaker named Elizabeth Fry was inspired to start the British Ladies Society for the Reformation of Female Prisoners after visiting Newgate Prison. As for why prisoners today are interested, according to the V&A,

Many of the Fine Cell Work stitchers acknowledge not only the reassuring rhythmic repetition of the act of sewing, but also the cultural meaning attached to the objects that they produce. There is often a great poignancy for participants in offering up their own time and designs for public consumption, and the realisation that something important to them is appreciated by the rest of society. A prisoner’s comment that ‘we’re like a forgotten community’ acknowledges the shared experiences of those within the prison walls, but also the strong sense of alienation that comes into being when entering or leaving the prison gates. (Source)

In addition to viewing the work done at Wandsworth, visitors to the V&A exhibition will get to see the Rajah Quilt, a stunning 2815 piece quilt created by female convicts in 1841 during a boat journey from England to Tanzania.

Quilts image by Asalam.

The Importance of Physicality in a Virtual World

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Despite the many advances in technology that allow architects to render their designs very realistically in a virtual space, most practioners (and their clients) still insist on creating painstakingly exact physical models of their designs.

An architectural model is a type of a scale model, tangible (also called sometimes physical) representation of a structure built to study aspects of an architectural design or to communicate design ideas to clients, committees, and the general public. Architectural models are a tool which may be used for show, presentation, fundraising, obtaining permits, and sale purposes. (source)

There isn’t a lot of literature around about why this is still necessary, as from a purely practical perspective AutoCAD renderings are probably more accurate – though they don’t always give an impression of how a building will feel. There seems to be a correlation between the end result – presumably a building or room or outdoor space that will exist in a physical space – and the desire to have something tangible that represents it, even in the planning stages.

Similarly, hobbyists around the world are passionate about model building. At this very moment, there are likely thousands of people around the world making scale models of cities, vehicles (air, space, water and rail), solar systems and many other strange curiosities. There is no real answer for why this is appealing, except for the obvious, which is that it makes tactile the intangible curves and edges to ideas, which do not really come alive by reading about a thing or looking at a photographic representation.

Architectural Model photograph by Joaaso.

Puppet made of pine, awake! The gift of life is thine.*

Royal De Luxe is a marionette company based in France who do a kind of hybrid performance art/street circus festival. They use traditional techniques to build gigantic, strikingly life-like puppets wh0 are then ressurected in cities around the world. People gather in the thousands to interact with these creatures because they are, quite simply, amazing – masterfully constructed and brought to life by a team of seasoned performers.

There is surprisingly very little information about Royal De Luxe online. Apart from a short Wikipedia article, and a website about a project they did in 2006, there is nothing current. No sense of who they are today, how they build and transport their creations or, what I wonder the most, where these gigantic marionettes are kept once their performances are over.

From their outdated website:

In the past dozen years, [Royal de Luxe] have created a series of spectacular shows involving giant figures as big as 11 or 12 metres high. Shows are simple – the animal or giant arrives in town and lives its life, going about its business for a few days. Extraordinary interactions take place between passers-by and the performance; residents become enchanted with the activities of these miraculous beings and begin to follow their every move. By the end of the performance, huge crowds gather daily to watch the latest episode in the life of the visiting creature.

Magic.

* The title of this post is a quote from Disney’s Pinocchio (1940). It’s a line said by the Blue Fairy, who brings the puppet to life.

A Hotel is a World

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Most hotel chains are designed to look the same. Apart from the variations (one bed, or two) and difference in room sizes based on the rate, everything from the positioning of the furniture to the art on the walls is identical. The Hilton Franchise has a set of very specific guidelines for the construction and design of their hotels to enable their operators to properly and consistently communicate their brand.

Tim and Kit Kemp are building a hotel empire, but unlike the Hiltons of the world, they have a very unique perspective on what hotel guests want to experience and how that is communicated in the design of their physical spaces, including the lovely Covent Garden Hotel, Soho Hotel and now the Crosby Street Hotel in NYC (their first venture outside of the UK). Following through on their belief that “hotels should be living things, not stuffy institutions”, the hotels themselves are unique and don’t conform to an overarching Firmdale brand look, each room is specially considered and no two are alike.

In a recent interview Kit Kemp, who also acts as the interior designer for Firmdale projects, explained her aesthetic,

A lot of design now is rather serious and formulaic. There should always be that element of surprise and fun—a slight quirkiness …

A hotel is a world, and when you arrive through the front door, that in itself should be a sort of fantasy and exciting. A lot of hotels miss that—you walk through the door and it is like having a disciplinarian tell you what to do and where to do it.

Most people (myself included) can’t afford the luxuries that the Kemps offer and are stuck staying in the lackluster, beige Hiltons and Thistles. That doesn’t mean we can’t admire what the Kemps are trying to do, our noses pressed up against the glass.

Have you stayed in hotels with outstanding design? Let us know where in the comments.

Covent Garden Hotel photograph by Jeremiah Christopher.