With the explosion of the green movement affecting everything from automobiles to furniture, rug importers and manufacturers are taking a fresh look at their production methods only to discover that their industry has essentially been green all along. Others are developing ways to enhance the green credentials of their handmade rugs in terms of dyeing, washing, and recycling the waste generated during the production process. While significant strides have been made by the machine-made carpet industry towards making it more eco-friendly, carpeting is still mainly produced from non-renewable petroleum products which ultimately account for up to an estimated 5 billion tons of discarded product—up to 1% of U.S. landfills—most of which is non-biodegradable.
The Verde Collection, Design, Ve-06 OAT. Courtesy of Momeni, Inc.
While nylon can be recycled, the availability of such facilities is still limited. [2]Moreover, from a health standpoint, carpeting would appear to incur a greater incidence of ‘outgassing’ due to their higher chemical components and irritants namely dust and molds. Most offensive from the green standpoint are carpeting’s chemical treatments and synthetic backing. As for handtufted products, they are dismissed by most industry experts from being green despite their wool content because of their latex backing. More
'Through the glass, brightly', view of the Lyman Estate, Waltham, Massachusetts
As I pulled up the long drive, lined with sturdy, shag-barked Maple trees, the snow-covered fields and a distant copse of fledgling oaks and birches to my right offered a glimpse of a Boston of long ago. Suburban neighborhoods and office parks now surround this pastoral vista, a gently rolling reminder of what much of this region (and in fact, most of 18th century America) looked like when the Lyman Estate property (“The Vale”) was acquired in 17…
My destination was the non-profit organization, Historic New England, based at the Lyman Estate in Waltham, MA. From there, a small and dedicated staff manages and preserves 36 historic properties in five New England states. Constructed over the course of four centuries (1664-1938), each serves as a small, freestanding museum and cultural milestone along the road of American architecture,
The "Vale" or Lyman Estate, home of the Waltham, MA based Historic New England which manages 36 properties in 5 state
design and everyday living. In addition to their properties, the Otis House Museum, in Boston, houses their collection of over one-million records: historic photographs, architectural drawings, ephemera, manuscripts and other printed material pertaining to life in the region.
It was because of their historical archives and related research that I traveled to meet with Sally Zimmerman, Preservation Specialist, and an authority on historic paint colors throughout the period. Sally has devoted much of her professional life to investigating the composition, uses and fashion trends expressed by both exterior and interior paint in historic New England homes over the years. My goal was to discover how paint colors and technology has changed over the centuries and to learn more about the investigative techniques that are used to uncover this little-understood aspect of our cultural heritage.More
When in Paris last, I visited Le Viaduc des Art. My good friend, Amy, born in Paris some 89 years ago, had taken me there once, but I welcomed another opportunity to discover and explore some of its certain surprises. It is, ironically, one of the more hidden, yet quite public treasures of Paris, located at the southeast end the city, in the 12th Arrondissement. Le Viaduc is only a few blocks from the Bastille Opera House (built over the demolished Bastille prison, where the historic ‘storming’ set off the French Revolution). Nearby, Rue de Lyon leads to Avenue Daumesnil, where the viaduct begins, hugging the tree-lined avenue all the way east to Bois de Vincennes.
Le Viaduc is a 19th century structure, originally used as an elevated rail line. Its path is supported by a series of supporting arches and the city has cleverly converted it into a long green walkway– ‘la coulee verte’. The promenade on top is planted with a profusion of plants, trees and luscious flowers–becoming a kilometer-long strip of verdant park ideal for long leisurely strolls. And underneath, the high vaulted spaces of the viaduct are now home to dozens of active studios, workshops, galleries displaying the work of artists and artisans and chic cafes. Le Viaduc itself and its series of arches, framed by sand-colored stone and dark red brick, take on the appearance of an elongated Romanesque-style structure.More
Windows are a beautiful and essential part of any home, but they also contribute to higher energy costs by heat gain in the summer and heat loss in the winter. This article explores ways to reduce heat gain and loss with window technology, window film and window coverings to help save you money.
Window Technology: The two most important terms to know when buying windows are the U-Factor and Solar Heat Gain Co-efficient; both are measures of the window’s energy efficiency. The U-factor rates heat loss. The lower the U-Factor, the better the rating. The Solar Heat Gain Co-efficient measures heat gain by how much UVA and UVB light can pass through the window. Generally, the lower the number, the better the rating – depending on where you live.More
Bringing color to life and life to color in the fascinating world of color planning
Leslie Harrington wants you to believe.
As a color expert, she sees the difficulties people have in putting color into their lives. “It’s a risk to move in the direction of bold or lively colors,” she says, “because color can be intimidating. Many couples come to my studio having reached an impasse—particularly older couples. Because they can’t agree, they reach a compromise—a non-color for the walls or fabrics in a room.”
Leslie observes that younger couples and individuals (under 40) have less difficulty making color choices. “They see color commitment like so many other aspects of their lives—dealing with constant flux in their careers and living situations means they are more comfortable with a risky color choice because it can always be replaced. Twenty-to-forty percent of all paint is purchased to cover a mistake,” she explains.More
EDITOR’S LETTER: Preserving the past for future generations…
In ways that were not entirely planned, this issue of ARTES is about preservation of our cultural resources, in the broadest sense of the word. The green design movement has done much to increase public awareness about the treasures of a planet that seems to grow smaller and more fragile each day. Our Departments(now called Categories) will continue on the theme of discovering and appreciating treasures that are within our reach at museums and galleries and a wide variety of other stories on art and collectables that might just arise from unexpected sources.
But, we did not stop there…
Frederic Church, Autumn in North America, 1856 (Vassar)
For a Features story, I undertook a ‘working vacation’ and headed up the Hudson River to learn more about the community of 19th century painters who lived and worked there in the, capturing the natural beauty of the river and the surrounding Catskill mountains. I discovered that they, too, harbored deep concerns about the impact that industrialization and population expansion would have on the environment, as early as 1825!
Henry David Thoreau, well-known for his part in an active environmental movement during that same period, spoke for an entire group of painters, writers, poets and philosophers of the time, when he famously wrote, “In wildness is the preservation of the world”. His call for a “direct experience of nature” propelled artists like Cole, Church, Cropsey, Bierstadt and others to travel the world and portray the wonders of nature and, through the use of light, color and scale, to illustrate our diminutive place in what they believed to be tangible evidence of God’s hand at work here on earth. As I navigated the rough trails and steep climbs that brought me to some of the very sites pictured in their now-famous works, I recognized the extraordinary physicality they must have brought to their mission—recognizing that they painted miles from home, while relying on portage of all equipment, good weather, basic tools-of-the –trade (paint tubes had not yet been invented!) and the means to carry freshly-painted studies of a scene back to the studio, safely (as a painter, I can attest to the fact that this last step is no easy task). They were rewarded for their sacrifice, however, as their dramatic images have moved many generations to view the gifts of the natural world as both sacred and awe inspiring.
This month, ARTES will present a comprehensive field report on the Hudson River Valley and its inextricable role in the development of the preservation movement, as well as our self-image as Americans. See: River of Dreams- In search of the American Identity in literature, poetry and art
Robert Stern, Dean, Yale School of Architecture
As a unique feature, representing a first-step toward becoming a multi-media resource for our readers, ARTES presents an expanded interview with Robert A.M. Stern, Dean of the School of Architecture at Yale University. In streaming video format, my conversation with him regarding the sources of inspiration and objectives of architecture are explained in his own words. On the preservation theme, he too, points out the importance of learning from the past. Once again, we are pleased and honored to have this eminent architect
as part of our offerings to readers (and now, viewers!).
California-based, Randall Whitehead has now joined the magazine as a feature editor and this month, his story on the conversion of a traditional residential dwelling to a dramatic Transitional beauty once again demonstrates how skillful design and lighting can make all the difference—conservation at its best!.
attrib. to Buoninsegna, Virgin and Child Enthroned with Four Saints 1305-10
ARTES also presents Part II of a story by Alix Perrachon on another art form– Oriental rugs– and their ‘green’ features during production. In addition to their environmental sustainability, their beauty, range of styles and versatility make them one of the great treasures of centuries past and a precious addition, worth preserving, for any décor today.
Together with these Feature stories, ARTES continues to build its Department offerings with experts in their respective fields providing insights and information on topics related to fine art and design, where care and stewardship of artifacts from the past become the common thread that runs through their stories. With those themes in mind, we also welcome Stephen Vincent Kobasa, as this month’s contributor to Opinion Poll, with a piece entitled, Showing Time: Can art be saved? Should it be?
Thanks for being part of our growing family of readers,
Richard J. Friswell, Publisher and Editor-in-Chief
