Dr. Bridget A. Teboh is brilliant; she is a delightful person, a respected scholar, is committed to the study of women and gender, and the education of all students.
A full professor of History at UMass-Dartmouth, she holds a Ph.D. from UCLA, a B.A. (combined honors) in English and French from the University of Cameroon, Yaounde, and a DUEF, (Diplôme Universitaire d’Etudes Françaises) from Université Lyon III Jean Moulin in France.
Dr. Teboh is an expert in African History, African-American Women’s History, Women’s and Gender Studies, and related subjects. She is a two-time awarded scholar of the Carnegie ADFP, an editor and author of more than 30 works. Other achievements include; the presentation of 65 professional papers at national and international conferences and has been featured on numerous radio and television programs.
We had the pleasure of speaking with Dr. Teboh as the fall semester was winding down. She was charming, enlightening, and knowledgeable about an array of topics, always able to look beyond the noise of controversy and get to the heart of the subject.
It is our pleasure to share our conversation with such an amazing woman.
By Peet Nourjian
We’re delighted to present a work by Peet Nourjian, a poet and play writer, who once made his home on the SouthCoast, now living in coastal Rhode Island.
The poem tells a whimsical tale—with a touch of suspense, of childhood spirit, and the complexities of a holiday that has thankfully survived modern-day scrutiny.
The author leads readers from a peaceful country meadow, through the gaslit streets of historic New Bedford, ending at the darkened wharves which berth whaling vessels housing sailors and mysterious characters, reminiscent of those found in Melville’s writings.
Never quite knowing what his next prose has in store, Nourjian’s subtle incantations create a joyous journey of twists and turns, causing tender reflection and an outpouring of emotions.
Old South Coast Christmas reveals deep sentiments, causing personal reflection on a ‘gift’ which should be delivered to everyone, not only on Christmas Day but all year long.
We wish all of our readers a very Merry Christmas!
Dinner takes on a variety of forms—a quick bite, party buffet, or getting together with family on a relaxing Sunday. There are also formal dinners when linen, China, and sterling silver are gathered and arranged for the best of friends, out-of-town guests, and clients, all of whom will enjoy and be impressed with your magnificent presentation and culinary talents.
In her essay, Setting the Table, author Evangeline Holland shares some startling facts about the progression of formal dinners, from the Middle Ages (500 AD, after the fall of the Roman Empire) to the turn of the 20th century.
It seems that sharing food in a communal setting was considered a sign of stature and significance. According to Holland’s research, “…the table setting included the Salt Cellar, which was the first thing to put on the table. The salt was far more than a condiment—to sit above the salt was to sit in the place of honor, and until the salt was put upon the table, no one could know which seat would be allotted to him or her.” During the same period, tables would hold massive displays of silver items, holding the poultry, meat, fish, and vegetables; and of course, loaves of bread.
What was missing from the tables of these early feasts were utensils, the very items we’re accustomed to finding as a dinner guest. We learn from Holland that; “Spoons and knives…were not furnished by a host, (and forks did not exist), but were brought by guests whose servants, so equipped, cut the meat and carved the food for each person. The guests also had no plates and few knives, but ate with their hands and threw the refuse on the floors. The cleanliness of the cloth, or Nappe, was of paramount importance and a matter of great pride.”
For some home and business owners, the idea of finishing their interior spaces comes down to a trip to a big-box store and grabbing the largest bucket of whatever color of paint is on sale. In these cases, when the spectrum of pigment and its effect on the human psyche is detached, a simple solution will satisfy an immediate need—but little else.
Those sensitive to how color interacts with emotions, know that the colors around us play an essential role in productivity at work and can determine a level of satisfaction with our lives at home. They acknowledge that lathering up the walls with whatever color a retailer is trying to unload—won’t do.
Color affects human emotion and rhythm; it can regulate behavior, like whether a person repeatedly hits the snooze button and is consistently late out of bed, determine the consumption of calories during a meal, even elevate feelings of optimism. Yes, the paint colors you surround yourself with are as important as the people you let into your lives.
With this understanding, there is a plethora of evidence indicating we are not static in our choices. As time passes, our tastes swing and moderate, often connected to a more significant movement across society. And while this sounds like the cusp of laboratory science, know that there are thousands of people who study color and make predictions on your choice of clothing, purchase of an automobile, and what color you decide to paint your walls. More remarkable is that this is all accomplished approximately a year in advance of when you make your selections.
Extraordinary, by any stretch of the imagination color is all around us, and we often don’t recognize its importance. It is a gift which deserves recognition and praise; and once you start to understand the concept, you’ll grow to appreciate its foundation in daily living.
One of the most significant barriers to starting a new painting project is a lack of knowledge. Often, a person who wants a new look for their home or business start with good intentions, only to realize they are clueless, (no fault of their own), as to where to begin, what the process entails; but, most importantly, what if they make a mistake in selecting colors? (We address this later).
Allow us to intervene.
This year—2019—the trend has been moving away from “browns” and in the direction of natural colors found in organic-based materials. Lighter stone tones, the warmth of unfinished reprocessed/reclaimed woods, hues of clear blue water; these colors and tints have been creeping into environments with little fanfare unless of course, you’re in the industry.
Color is related to our social identity and the mood of the nation. When there is conflict or uncertainty, people tend to search for comfort, and so their selections are safe and soft, they prefer light and soothing colors. With this, we have witnessed a rise in neutrals and what are referred to as relaxing colors. Grays, egg-shell, pale blue and green; even beverage tints are playing a role in our selections of interior paint.
In our search for professional advice, we sought out two SouthCoast interior designers and color experts. Each plays an important function at their place of employment, and while they have varying tastes, our guests share a common theme in how they approach their jobs of consulting businesses and homeowners.
We started our conversation at Wilmot’s Design Center in Middleboro, MA. Color specialist, Sue Benjamin, has been working with clients for well over 16 years on interior design projects, but in large, has focused on helping customers get a grasp on how the color of paint trends year to year, methods to complement existing surroundings, and assure their goals in creating a unique experience is satisfied.
An artist and antique collector, Sue has a broad interest in the old and the new and is keenly aware of how taste evolves.
With choices slowly changing—although steady enough to confuse consumers, Sue explained her approach when meeting a new customer. “My role is to guide them [clients] through the process. Some customers are apprehensive while others come into the shop—color chips in hand—and generally know what they want, but may need some guidance in matching shade or tint. What is important to me is that I learn the details of their project; is it paint, paint and wallpaper, or a complete remodeling of a room, a floor of a home, or the entire interior.”
With the housing market hot in many areas of Massachusetts, Sue told us about her clients. “I see younger people buying a first home, we have families building homes and seniors who are downsizing, and want a different look.”
Sue offers the following advice: start at one location if you have a big project, and try not to meet all objectives in a single swoop, but rather, walk in your front door and decide what you want that first impression to be. Once this has been decided she’ll help you move towards the next goal—it could be a dining room, open living room, or a small study you spend a great deal of time in and need to feel comfortable when working. By taking the job one small step at a time, the outcome is likely to turn out better because it allows the opportunity to digest each choice made along the way, then evaluate the progress.
When asked what the most difficult challenge is with a new customer, Sue laughed and said, “Sometimes a person will come in and be fearful—really worried—they’re afraid of making a mistake. My response is, ‘So what—its paint—we can do it over, don’t worry.’ I try to set them at ease and make the project fun while offering advice I’ve gathered over the years.”
Sue is very easy to speak with and puts real effort in creating trust between her and her clients. She told us about customers she has followed from home to home over many years. Like other professionals, when you find one you fit with, you want to stay with them.
Later in the day, we visited Wilmot’s Design Center in New Bedford. We met Veronica Colby, a youthful and vibrant woman who is part of a new crop of interior designers. With the enhancement of living and experiencing contemporary style and modern design as it unfolds, she has a refreshing look at how customer’s tastes are changing.
We learned that Veronica finds inspiration from her many years of working with color while advising customers and sharing knowledge with her colleagues.
Veronica explained her thesis on design. “I look for a combination of simplicity, balance, and color; and as far as color, I search for those naturally formed, warm, and rich; but, of course, the grays are still king.”
As an artist, Veronica is grounded in natural colors; it became evident that she is attracted to a wide array of taupe, most fitting with her interest in mid-century design—due to its minimalist values. “I like earth tones, umbers, and clay,” she commented.
What makes a big impression in the design area of the paint and décor store is the massive display—some 3600 choices—against the wall. When asked how clients view the rainbow of color, Veronica says, “It’s all visual—they want to see what they’re going to get.” She added, “To meet a client’s needs, you should learn what their end game is; to what level or type of energy are they trying to achieve?”
These insights are essential steps when meeting a customer’s goals so they can confidently decide to start their projects.
During our time together, we discussed how younger people are more discerning than previous generations. Today’s consumer expects more from their purchase, have good ideas of what they want, but sometimes need validation. According to Veronica, the role of the designer/colorist is to build confidence in a customer’s choices.
We learned that what differentiates the services offered by Sue and Veronica from other businesses of the same type is the one-hour complimentary consult offered at each retail location. And it isn’t to be confused with someone pulling out colors that match what you brought in and they have to sell. Contrary to this misinformation, each colorist is not afraid to make recommendations and help a customer explore new options that might become a gateway to a new and exciting look.
It was impressive to meet the two ladies, who we gave different—real-life—décor and paint design challenges. They each asked many questions, and confidently delivered sound solutions we hadn’t expected.
It was amazing that in each instance the consultant took the bait and began to recite a list of choices they knew would work for the project described; they also expanded the process to include floor and window coverings which would further complement the room we described—all of this with a moments notice. Because of their experience, they made what I viewed a difficult task, look easy.
The take away from this experience is that colors matter and that expert advice is a necessary component for achieving great results.
Now September is here, and the holidays are only a couple of months away, planning a project today will allow you plenty
of time to complete your home improvement efforts. There are steps to take to assure your satisfaction, so be sure to do your planning ahead of time so that once guests arrive, the only thing you’ll worry about is when to take the turkey from the oven.
To book a consult to discuss your next home improvement project contact either Wilmot location—full disclosure, Wilmot’s is a client of this publication and contributed to this article as a courtesy.
SOCO’s, (SouthCoast’s), regional summer multi-studio art exhibition and creative discovery-tour, will again exceed visitors and collector’s expectations when studio doors swing open to aficionados and the curious this month.
The well-known and widely anticipated, the Art drive, is an open-studio event—now in its 12th year of operation. This one-of-a-kind tour and viewing of how artists create and find inspiration was organically founded, and continues to be produced, by professional artists and talented markers in the Dartmouth and Westport areas.
Scheduled to span over three continuous days, (August 9, 10 & 11, from 10 a.m.-5 p.m.), the summer studio showcase will include artists, jewelers, photographers, wood and metal workers along with other professional creators who allow the public a peek into how and where the coastal region’s most talented artists perform their work.
Member artists of the Art drive contribute well beyond the sale of prestigious works of art, gifts, and collectibles; they also educate consumers in the process of creativity and involve the public in their inspiration and how to take that all-important first step. With demand for this type of art-programming, the group is committed to positively impact their local economy by drawing visitors and tourists to the towns, villages, and backroads that make this experience so appealing and well attended.
The juried studio tour, make the expedition an opportunity and experience for those interested in exploring what goes on behind the scenes. Artists will be creating and designing new pieces, or a whole collection of work that will likely be sold in New England’s finest galleries, if those who have first dibs on them hesitate.
The many locations where creators work is within the peaceful, yet dramatic settings of the picturesque coast. Sprinkled near the water, in meadows of the farms, or placed within the historic villages of Dartmouth and Westport, every stop becomes an enchanted journey.
An annual event for travelers and locals who claim that it is the perfect weekend to escape the usual retail experiences found along crowded main streets; it offers a different type of entertainment for everyone in the family.
Easily navigated, the 15-mile stretch of studios, beaches, boating, and eating, makes this three-day event a remarkable art-related vacation, whether it is for the day or the entire weekend.
This year the Art drive will include 31 artists working in all mediums. The Preview show will be held at the Dartmouth Cultural Center; 404 Elm Street, in South Dartmouth. With the new and improved Village of Padanaram, this event will surely be the best one of all.
For details and locations, contact the-art-drive.com.
Destruction Brook Farm is a home for all occasions and seasons.
This incredible one-of-a-kind country estate elevates luxury living to the highest level of prestige and comfort. Offering elegance and an old-world experience, this class of grandeur is uniquely embedded in the Antebellum-style home.
A magical location—steeped in history—the equestrian compound is positioned on 16-acres of privacy, visible only by invitation. The property is surrounded by manicured fields and meadows separated by ancient stone walls, and a patchwork of distinctive green color, lying as a gentle carpet around the threshold of the main house.
With breathtaking views from all corners, the tranquility of the old-growth—consisting of tall pines and hardwoods and a picturesque apron of rolling hills and hundreds of acres of pristine conservation land, with miles upon miles of riding trails, offers a befitting separation from the stresses found beyond its gates.
The manse, with its glorious white column façade, faces the entrance which is designed with a wrap-around drive of traditional crushed stone, punctuated by a luscious green median which carves through the gentle slopes of the farm.
Those who have visited the gracious, two-terrace equestrian compound, to ride, jump, attend a luncheon or gala, will remember the connection they felt with the five-bedroom, six-bath, seven-fireplace, and the near-Olympic sized indoor swimming pool.
To the rear of the stately residence is a second home, reserved for staff who meticulously maintain the 14-stall stable, authentic period tack room, and riding ring.
Constructed in the early ’30s the footprint of the working areas of the estate include a custom designed garden, an ingeniously placed watch-tower, and a six-bay garage.
A home, or in this case, a retreat, can’t be adequately described. The penetrating photos on these pages will help someone who is searching for the ultimate in modern day living within the comfort and confines of admired living.
Destruction Brook is a treasured memory by all who visit; pleasant feelings will always be present simply by the thought of her graceful existence.
This months home is located in historical South Dartmouth, Massachusetts and is offered by Milbury and Company. The home is available for showing by appointment.
For additional information, contact Will Milbury at 508-997-7400, 508-525-5200, or Will@MilburyRE.com. More images are available for viewing at milburyre.com.
Price: Upon Request.
The most highly regarded kick-off event of the summer is only days away. Preparations are in full swing for The Preservation Society of Newport County’s, (commonly known as the Newport Mansions, a private non-profit organization accredited by the American Alliance of Museums and dedicated to preserving and interpreting the area’s historic architecture, landscapes and decorative arts), Newport Flower Show, a gracious and visually opulent event.
This year’s motif, Audubon: Artistic Adventures, will celebrate bird expert and painter John James Audubon (1785-1851), who declared that he only came alive when “in the field” of this “wild new land” now known as the United States. Audubon’s work created a pictorial journal, not only of the birds he loved but also of their habitats. This year’s show will take guests on a trip of “Artistic Adventure” as they navigate the lush and manicured gardens, grounds, and Newport’s largest private ballroom—constructed in 1902, as a party pavilion for one of the leading society hostesses of the Gilded Age—and take in supreme mastery of artistic talent.
The Newport Flower Show is known around the country—and overseas—as the premier horticultural affair, featuring exotic exhibits, stunning garden displays, unique shopping opportunities, and the chance to meet with others who flock to the seaside community for a wide range of social, cultural, and educational opportunities.
This year’s spectacular event will tantalize the public with the front lawn of Rosecliff transformed into an aviary of both real birds and feathered friends made of plant materials; vibrant gardens—inspired by pink flamingos, blue herons, and circular gardens based on Audubon’s paintings of birds, and topiary peacocks made entirely of flowers.
Adding to the events prestige and excitement, internationally known lifestyle expert India Hicks and gardening expert Laura LeBoutillier of GardenAnswer.com will be featured as special guest speakers during the Friday and Saturday lecture luncheons. Hicks will also join the Newport Flower Show’s Opening Night Party on Friday, June 21 for the unofficial launch of summer at the city by the sea. This must-be-seen-at event will take place from 6-9 p.m. at Rosecliff and will iniclude, (besides wonderful company), a cocktail buffet, live music and dancing, a seaside supper, and other entertaining surprises.
The show opens on Friday, June 21 and runs through Sunday, June 23, offering adults and children, an unforgettable garden experience through expertly curated exhibits, horticultural entries, floral designs, and specialized programs. All staged throughout the elegant reception rooms of Rosecliff, and its oceanfront terrace and lawn, the Newport Flower Show weekend also include an afternoon tea reception on Friday, and dinner and a movie on the front lawn of the mansion on Saturday evening. Supper will consist of a summer picnic basket followed by a screening of the film Greenfingers.
Of course, the Newport Flower Show will once again present its era-perfect, Champagne & Jazz Brunch on Sunday—the final day of this unique and intriguing show.
For more information or to reserve entrance for the preview party and weekend of events, visit NewportFlowerShow.org.
Searching for Good Form, High Function, and Exquisite Design
The fundamentals and purpose of creativity (too often) slip from the minds and hands of artists, inventors, and architects; causing many, who attempt to achieve prominence among their contemporaries—to influence future generations—fail.
Unlike the greatness we attribute to the Old Masters of the Renaissance, through the earliest years of the 19th century, or the praise offered to the genius it took to plan, build and organize ancient metropolises; people and societies seem to be oppressed by unreputable limits imposed on imagination and innovation due to restrictive governance and social-consciousness. These authoritative mandates and self-imposed inhibitions ultimately lead to stale and stifled thought-processes, which further impose restrictions on experimental design and creative exploration.
Form and Function. Few people know that Boston-born architect Louis Sullivan (1856-1924), is recognized for penning this phase in describing creative ingenuity.1 In the field of architecture and design, he’s noted as a critical influencer in the development of the modern-day skyscrapers and remains relevant in American architecture from his injecting language into the study of building and design of commercial property. Sullivan is recognized as an original member of the Chicago School—known for its utilitarian approach to design and construction.
Sullivan’s thesis is that the exterior of a tall building, (the design) should be representative of the activities, (the function), of its interior. It’s often—albeit not nearly enough—a theory found in the conceptualization and creation of useful and attractive landscapes, homes, and automobiles. There is also evidence that this précis plays an active role in other products and activities.
To discover how the concept of form, function, and design plays an integral part in our lives, and how seemingly independent archetypes, possess crossover traits, I journeyed to the Hudson Valley region in New York, with the hope of learning how creative theory is related to a wide variety of life experiences.
By seeing and learning from those who are accomplished in their respective fields, I hoped to connect the unseen, but the common thread, tying together creative accomplishment. I also searched for an answer to tricky questions plaguing practitioners of design, “What determines the quality and longevity of success, over a less appealing result?”
During my journey and investigation; I met leaders in the education of culinary arts, I stayed at a historic inn—renovated from a building originally constructed during the 18th century—ventured to a potter’s studio for an eye-opening experience with clay, shopped at antique and specialty décor shops, and traveled the wonderful backroads of the Hudson River in a brand new Chevy Blazer, having its own tale to tell.
You’re invited to read along and learn about my findings. If nothing else, you may contemplate how many of your experiences mirror those reviewed in this feature. Feel free to apply the formula discussed to abstractions about the origins of creativity, while getting a peek inside the best artistic minds from the past and of today.
First Stop: THE CIA
It’s a startling headline, and a confusing one if you’re not familiar with what is referred to as the “World’s Premier Culinary College.” The Culinary Institute of America is located on the banks of the Hudson River in Hyde Park, New York, and has graduated over 50,000 students over seven decades. CIA offers Associates, Bachelors and Graduate degrees in the field of food and beverage management, and has campuses in New York, Texas, California, and Singapore.
An easy and scenic ride—regardless of the season you decide to visit—the grounds offer panoramic views of dramatic landscapes along with captivating vistas of the majestic Hudson River, which winds through the villages and towns of the Valley. The area has a magical feeling and is known for enticing tourists from around the world. All year long visitors flock to the hundreds upon hundreds of restaurants, farms, and vineyards that pepper the countryside.
The Hudson Valley region is also known for its vital role in US history, with many pre-revolutionary structures still standing. With a vibrant art scene, specialty shops, and a long list of tours and adventures, the Valley is a favorite getaway for tourists.
CIA was founded in 1946 by Frances Roth and Katherine Angell; neither of whom had any experience in the education of students in food-related specialties. With determination to establish, what Roth once described as “the culinary center of the nation,” the newly formed organization opened its doors to a fresh group of students in New Haven Conn.; becoming the country’s first professional-chef training center.
One of the primary reasons for starting the school was the insight these two women had when contemplating the limited options available to dedicated Veterans, once they returned from the battlegrounds of WWII. Roth and Angell thought hard about how they could create a formula for training young soldiers for lifelong careers. In the school’s earlier days, the entrepreneurs employed a chef, a baker, and a dietitian, to carry out their vision; what their ambition turned into is a proud and remarkable success story.
After a few changes to the school name and locations, the students, faculty, and staff settled on its current site, the former St. Andrew-on-Hudson, a Jesuit novitiate. A campus like few others, its architecture, grounds, and area, are fitting examples of what higher educational institutes look like once they achieve greatness. Over the years, praise and accolades have rolled in from the likes of Zagat, the New York Times, Life magazine, James Beard, and Julia Child, assisting in CIA to become the leader in the food service curriculum and practice.
CIA’s impressive campus with its formidable buildings and location organically assists in elevating the college’s stature, but there is more of a soul to the school than its magnificent environment. During this visit, the student body appeared quite satisfied with the activities they were charged with—and without exception—each person had a smile on their face, was visible pleasant and helpful; even engaging, bright and cheerful. What quickly became noticeable was the absence of political, cultural, and social-rancor often found clinging to the halls of colleges and universities of similar prominence.
The school is home to four restaurants with the option of launching—at a moment notice— culinary pop-up sites within the campus. Additionally, the castle-like interior has been converted into finely appointed rooms for private dining and events.
As guests, at the school for a private luncheon, we were presented with an impressive menu offering a range of courses. The meal was punctuated by the chefs-in-training explaining the inspiration behind each selection; and, as you will later learn, everyone enjoyed what easily ranks as a five-star meal.
The event also included an insightful presentation and discussion with chef and senior associate dean of culinary arts, Bruce S. Mattel, CHE. Touching upon the delicacies of modern eating, he spoke to the details of how preparation and execution—otherwise known as plating—is related to a satisfactory outcome. He noted that to please top-tier diners, you must satisfy their visual, olfactory, and taste senses. Moving from familiar recipes to complex dishes, Mattel explained that a chef’s vocation isn’t always about cooking or baking, but takes on the role of scientist and artist. He went on to explain that chefs working in professional kitchens at the top of their game are tasked with introducing products and new preparation techniques that will likely be experimental and push the envelope on the use of under-utilized sources as well as the modification of a product’s structure, leading to a unique design and presentation.
Chef Mattel continued with a story that would exemplify his point. He shared an experience of when he had his first taste of truffles, added to a smashed potato recipe—prepared by another chef. It was a concept he believes he would never have considered. Reliving the experience, Mattel delved into his ongoing quest to discover and create newly inspired dishes that have yet to be tried; he made the point that we should all look beyond the familiar and expand into unknown territory.
A sample of the day’s tastings included; a small plate of chicken-fried quail served with smoked guava BBQ, green mango chayote slaw and a fried quail egg. The second course was a bright and colorful charred citrus salad, with arugula and endive, turmeric Greek yogurt, and Aperol vinaigrette; followed by the main course, a fresh pan-seared cod with cabernet cranberry farro, bacon lardons, toasted pine nuts, and a maple-butternut squash emulsion. For dessert, we enjoyed a tres leches pannacotta with tropical fruit, banana-passion sorbet and spice crumble.
After the excellent meal, and a self-guided tour of the college, it became clear that CIA’s interest in keeping with form and function within its educational model is ever-present. Through many illustrations, the institution demonstrated that the secret of their longevity is related to the adherence of a recipe which includes a phenomenal environment and superb teaching; it’s this combination that has led to their resounding success.
Next Stop: THE HASBROUCK HOUSE
It came up quickly, with us jetting by the massive stone mansion that sits proudly—and back—from the winding road that serves as the main connector between the historic towns of the Hudson Valley Region. Like many others who have made the same mistake, we turned around and made our way back to what would be our home base for a few days.
The Hasbrouck House is a world-famous boutique hotel, (although more like an inn), and offers premier amenities and accommodations that meet the highest standards. Located in the hamlet of Stone Ridge—part of Marbletown, (which makes up Ulster County), its’ astonishing presence, causes pause, making arrivals feel that they’ve been transported to the British Isles.
From historical accounts, in the mid-18th century, the estate was built by the Hasbrouck family—who had great wealth and impeccable taste. The building’s exterior—you know where I’m going with this—was made from ancient stone, accented by white wooden framing, fitted along the home’s roof, peaks and window casings. Creating a striking outline against the old-forest pines, and a deep blue sky, the Hasbrouck House’s silhouette fits nicely in the idyllic setting, leaving one to ponder the level of comfort the stately manor will offer once inside.
The grounds include 55 acres of undisturbed flora, spotted with four rehabilitated buildings, all tastefully remodeled in a manner that complement the rest of the property. As an all-season resort, its luxury abounds and spoils guests at every turn. Whether cocktails in the club room, nestled at the cozy bar with a close friend, or enjoying a fabulous dinner at Butterfield’s, (an authentic colonial dining room), one cannot help but feel pampered, special—and at home.
The main house has 17 bedrooms with additional accommodations (eight more bedrooms and suites), found in the other buildings. All have been extensively updated and include–soft-hue colored modern interiors, delightful baths, and custom lighting for enhancing the mood. The large screen televisions keep guests connected and entertained, and with designer-level décor and treatments, that create superior lodging options likely to impress the most discerning guests.
A favorite suite of many who have stayed at the inn is the Classic Suite- Room 12; it’s on the ground floor of the Carriage House to the rear of the main building. It comes with a private entrance and is exceptionally spacious and comfortable. Features include a sitting area for two, a huge king-size bed, kitchenette with mini-fridge, a large bathroom with oversized fluffy towels, and windows that allow plenty of natural light.
Services, sure to please, include private massage appointments and yoga instruction by top professionals; you may take comfort knowing that this evaluation was confirmed by someone who knows.
The Inn is famous for providing the most elegant weddings imaginable; and while they are not a venue for all types of celebrations, those who insist on elegance and refinement will be impressed by the effort that goes into making a lucky couple feel like they are the most important people on the earth.
The Hasbrouck House serves as a good representation of how buildings and their use can be re-connected after hundreds of years. When considering (that at some point during the last century or two) someone may have contemplated the obliteration of this sound structure for a more modern architecture (one more easily maintained) it took owners, Akiva Reich and Eitan Baron to realize and appreciate the value of time-honor design and utility. Thankfully these visionaries took the time, and their resources, to rehabilitate this spectacular property, keeping with its historic grandeur and splendor, so future generations would be allowed to enjoy it for another one-hundred years.
Let’s Throw Some Clay: A Hands-on Application of Form & Function
The thought of a pottery class by a person who never touched clay is frightful. Really, for those who can’t paint, draw, or build something within acceptable parameters, to walk into a pottery studio is unnerving. Maybe it’s having to be around people who seem at home while surrounded by mounds of material (much of which appears to be spread across their clothing and in their hair), the sight of wheels constantly spinning or the heat of hot kilns cooking product. For the inexperienced, it is an intimidating prospect and one that is to be approached with caution to avoid embarrassment.
Yes, these were my thoughts when I arrived at Hudson Valley Pottery, in Rhinebeck, New York.
The day’s plan was to get first-hand knowledge from experts about the role of designing something that heavily relies on the two features this entire section of the magazine has set as its theme this month.
Our job, rather—the experience—was to comprehend how the function of different pottery items, relates to the form or design that would ultimately determine whether our “work” was a success. At first, this seemed more complicated than it ended up being, but instructors simplified the task by asking what we would like to create. Some in the class immediately knew, (show-offs), what they were going to make, while others, (me), sat motionless, having no clue what to do next.
Over the next thirty minutes or so, as a group, we became more knowledgeable in how we would need to view the process–but in reverse. We begin our projects thinking about the desired outcome, then assessed the steps necessary to complete the process and achieve our objectives. We examined many of the elements that typically go unnoticed when making a mug, plate or vase; where should the handle lie, the shape of the rim, should the body be wide to narrow or the opposite, these were just a few of the questions we needed to think about since each would determine the results of our work.
The challenge, to think differently or at least focus with a new set of rules, cause many of us to look at our projects with new intent. As each question was solved, a host of new issues would arise; we had to make a base, cut out the slab, design a handle, shape the lip, create a design on the exterior, then select a color and texture of glaze which would fit all the other elements—all this for a simple cup, who would have known?
As time went on, we became more enlightened by the learning curve we were riding, and how paying attention to the smallest details adds up and contributes to the larger human experience. Ergonomic, visual appeal and tactile involvement all play a role in our hand-manufactured craft, and it was up to us to use our consciousness, past experiences and creative insights into producing a one-of-a-kind vessel, that would meet the needs of the user, through a relationship with its design.
On a less theoretical note and a more humorous one, the clay party was great. With the initial uncertainty of what we were to do, combined with friendships being made; we all ended up laughing and teasing each other much like young children. Oddly enough, and unto itself, everyone began opening themselves up to others; this newly discovered vulnerable quickly became a valuable byproduct of this experience, and isn’t one often found in a world where most people are guarded and cautious.
In retrospect, it was a day that everyone learned something about design and themselves. Each person was given the opportunity to see—by example--how individual element, when combined, possess the ability to produce a predetermined result though the use of theory and practical application. The second lesson learned was about the dynamics of interpersonal interaction, and how, when working together–but on individual tasks–can ease the friction of differences and build friendships with strangers who have journeyed from different places and mind-sets.
During the few days we spent in the Valley, we had some time to take a few excursions to a couple of the quaint towns that have made the area widely attractive. Well known for antiques, art galleries and newer Mid-Century boutiques, we ventured into Rhinebeck, then over to Hudson. Each town provided plenty of gawking and shopping.
While we didn’t have a second to spare, it was interesting that once the shopping spree was over and we completed an inventory of those collectibles that caught our eyes, we realized that certain items garnered more interest, while others were easily overlooked.
After scanning thousands of items among acres of inventory, (literally, we shopped at a refurbished warehouse turned antique collaborative—spanning multiple city blocks) we determined that quality pieces always outlast their owners and the ravages of time. Ultimately, this merchandise is put out
to market so it might attract the attention of new prospectors. As for the rest of the “stuff,” it’s usually left to collect dirt and grime, only to be discarded.
Excellence in original design, superior workmanship, accompanied by classical characteristics not only draws attention but are often the first articles to be purchased. For example, an authentic vintage Coach cross-over bag, with real brass fixtures, and a deep blue leather exterior—looking as if it had been lightly used—was found to be better built and a more desirable style than its newer counterparts. When paired with a women’s Irish-made field jacket, (of the same color), the appearance of the two items could be mistaken for being an ensemble created by one of the two manufacturers. This example suggests how style and retention of value are carried forward over decades because good design and materials were considered in the early stages of pre-production.
We also found similar attributes in a Mid-Century furniture store. The retailer who carried names like Eames, Knoll, and Nelson, even products by many who imitate these great designers, demand vast sums of money for overly worn items. Even when in questionable condition—it never seemed to matter to buyers, these timeless designs, thoughtful combinations of materials, and the astute attention paid to the public’s taste have resulted in many designer lines to hang on to their longevity—years after their introduction.
Once again, through our travels, we’ve learned how style and design, can positively affect the use and desirability of those “things” we find attractive. The discovery of these examples makes it decidedly clear that top-end creativity rises to greatness, while the rest; continues to be ordinary.
THE NEW 2019 CHEVY BLAZER
You made it; after joining us on a trip encompassing world-class culinary education, gourmet dining, luxurious accommodations, eye-opening pottery design, and fabulous shopping opportunities, we’ve arrived at our destination.
The purpose of this trail-blazing adventure was to acquaint readers with practical, real-world experiences that would serve as a guide and explain how and why the new Chevy Blazer is worth a look.
From the beginning of the trip, our purpose was to introduce the concept of form and function, so that once we arrived here, the relationship between car, drive, and passengers would make perfect sense.
For some, a car’s purpose is for transportation only; as for others, it takes on a role as a ship did for the pilgrims in search of religious freedom, a horse and wagon delivering pioneers west, or a rocket for astronauts who look to expand our horizons.
To learn how artists, designers, and engineers develop a vehicle that meets—even surpasses—our expectations, we took a look at the basic elements used in the field.
Meeting the Demand
There’s a school of artists who claim there are ten essential components found in most design projects—they include; Line, color, shape, space, texture, scale, dominance, and emphasis, balance, and harmony. There are others who would add proximity, alignment, and repetition to this list. Most importantly, all of these fundamentals meet the criteria in creating just about everything we see, touch, or appreciate.
To the layperson these concepts may appear to resemble a word-salad; they’re not just confusing, but to a greater extent, their abstraction—and deconstruction, doesn’t fully explain how their use fits into real-world applications.
Allow us to explain
With the tens of millions of items, we come into contact during our lives; we will go out on a limb and suggest that the redesigned Chevy Blazer will immediately change how a large segment of the population is going to view driving.
First, this new vehicle makes traveling a pleasure, by offering features that meet most of today’s drivers’ demands. With bold styling and uncompromising versatility, combined with power, handling, and seamless connectivity, this is a vehicle that makes taking a trip as simple as pack and go.
Refreshed with an appearance of a wider-stance, its aggressive look, combined with dramatic sculpting of its body, results in the Blazer drawing attention while making its drivers look good too.
With all-wheel drive, extreme towing capabilities, and great cargo space, this SUV is modern, luxurious—even astounding. Plus, with its 3.6 Liter, V-6 engine and 9-speed transmission, it commands the road and won’t disappoint when needing uncompromising power and “sports-car” responsiveness.
The new Blazer will keep your mind at ease and make driving fun again; with cutting-edge technology and advanced, intuitive features this SUV will have you becoming an early riser, just to get behind the wheel.
A review of the Blazer’s long list of features, favorites that stand out include; HD surround vision with a real-time, rear-vision camera and hitch view, and an “intelligent” and unobtrusive Stop/Start mechanism which shuts down the engine when power isn’t needed—leading to fuel savings—then a seamless restart to get you back to speed. This important feature gets new owners an estimated 22-city and 27-highway miles per gallon efficiency. As for us, on average, we climbed to higher limits while varying between both types of driving.
Another important fact about the 2019 Blazer is its instinctual response technology. These vital components are the genes of the blazer and are found in systems like the lane change alert, blind-zone alerts, rear cross-traffic warnings, and rear parking assistance. Adaptive cruise control, advanced following distance indicator, forward automatic braking, lane-keeping accompanied by lane departure warning and safety alert seating, round out what could be the most comprehensive package for instilling a sense of safety and security.
Performance and Appeal
While the name Blazer is synonymous with off-road celebrity, this revised model is a roadmaster. Gorgeous, nimble, with jack-rabbit acceleration (from a cold start or at 60 mph in a lane change), this new version of the Chevy Blazer is in a class of its own. Drivers are wrapped in comfort and indulgence much like an SUV at twice the cost.
Take it out on the back roads, through the mountains or out to the shoreline of P-Town and see how its designers and engineers had planned for this new and exciting vehicle to react. Sometimes a sportscar, other times a pack-mule; but, regardless of how you use it, this gem always rises to the occasion with its superior performance, revered styling, and unparalleled value.
During this exercise, we had the chance to speak with Chevrolet automobile design and artist, Steve McCabe. He spent time discussing how preliminary drawings of the new and impressive 2019 Blazer began the process of creating a finished vehicle. “From a sketch, he said, we turn to clay and sculpt small-models so that we can play and manipulate the first designs. During the process, the clay allows us to make quick changes and modifications.” He divulged that by using clay, the ability to take a finished drawing and bring it to life—by crafting 3-D models—lends itself to easily change elements and build prototypes that are better viewed on life-like planes. When asked by a member of the group, whether all designs begin with this process, he was quick to point out that, “While some companies have tried to go all-digital, [in design] they found that it didn’t work; there’s something about the human touch that clay offers and computers don’t. It [the process] is fully functional, and allow us to go from small-scale to big models; it allows us to mill a full-size sample.” They, of course, are what the end-product will look like when arriving in the showroom.
McCabe also explained how and why the Blazer has a new virile look. “We brought in styling from the success of the Camaro which sets the Blazer’s personality; its dynamic and athletic appearance is what make the car attractive. We wanted to find uniqueness and difference not found in other cars, so we added drama [paired with] an aggressive look and a lower roof. The Blazer’s iconic nameplate with its off-road reputation is the difference consumers are looking for in this type of car. It has a real presence on the road, and we’ve done this with a slim day-time running lamp, giving it a special look.”
It was evident that every element, curve, line, and shape was created as a piece of a larger puzzle; this is most noticeable when comparing the two available finishes: black offering a rugged appearance, and chrome taking on a more luxurious accent. Each style displays an individual feel and appearance; both manage to meet the personality of their buyer.
Words spoken by McCabe overlapped many voiced by Judi Esmond, owner/artist of Hudson Valley Pottery. A proponent of form and function, and teacher of the concept; she told us, “Pottery is very similar to a car in that it has to feel good and connect with your body and its parts. Just like when we craft items like cups, bowls and other useful things, they need to work well, or they become useless.” Citing an example of the pieces made by artists that sit on the shelves and “never move,” while others that fit a customer’s hands, hold the right amount of a beverage, and are visually appealing, Esmond explained, “they are sold immediately.”
Our take on the new 2019 Blazer is that Chevy has created a winner. They’ve combined the all-important features of form and function into a dynamic and superbly versatile and modern SUV. Delivering an innovative and new class of SUV in time for the season will allow the company renewed confidence and to continue to be recognized as the leader in American car manufacturing.
GMC is the Perfect Fit for an Adventure
Weather or Not
any in the north were optimistic that towards the end of a bitterly cold and snowy season, nature would allow for the gentle passage of a warming trend as February approached its final days, and March eagerly waited to ride into New England. Unfortunately, the result was a distant second from the sunny days associated with the early stages of spring skiing and deck-parties hosting raucous, but amusing entertainment.
The northeast mountain ranges faced winter’s last revenge. Snow, ice, sleet, and frigid temperatures blanketed the region—from its peaks to valleys; the weather covered even the slightest spot of color with—inches to feet—of ice, a snowy-mix, even powder. It was perhaps the season’s worse storm at the highest altitudes.
The GMC winter driving event was scheduled during this same period, with participants knowing that facing the elements would be as tortuous as driving in them; resilient, they all made the journey.
The harsh conditions getting to Vermont’s tallest peak, Mount Mansfield, (hours away), was an ideal testing ground for the new 2019 GMC Sierra Denali 1500 4WD Crew Cab and AT4. Upon arrival to the mountain’s basecamp, the hybrid pickups would face another set of obstacles; they would be tested by participants, in a real-world, outdoor laboratory.
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