In , Hartley reunited with Bixby in the sitcom Goodnight, Beantown , which ran for two seasons; the role earned her yet another Emmy Award nomination. From to , she hosted the long-running television documentary series Wild About Animals , an educational program. In the late s and early s, Hartley appeared with James Garner in a popular series of television commercials advertising Polaroid cameras. The two actors had such amazing on-screen chemistry that many viewers erroneously believed that they were married in real life. Hartley's biography, Breaking the Silence , indicates that she began to wear a T-shirt printed with the phrase "I am not Mrs.
James Garner. The script required the two to kiss at one point and unbeknownst to them, a paparazzo was photographing the scene from a distance. The photos were run in a tabloid trying to provoke a scandal. Between and , Hartley endorsed the See Clearly Method , a commercial eye exercise program, whose sales were halted by an Iowa court after a finding of fraudulent business practices and advertising. Hartley has been married three times.
Her first marriage was to John Seventa — She married Patrick Boyriven on August 13, , with whom she had two children, Sean born and Justine born In , Hartley married Jerry Sroka. In her autobiography Breaking the Silence , written with Anne Commire , Hartley talked about her struggles with psychological problems, pointing directly to Watson's practical application of his theories as the source of the dysfunction in his family. She has also spoken in public about her experience with bipolar disorder and was a founder of the American Foundation for Suicide Prevention.
In , Hartley was hired by pharmaceutical company GlaxoSmithKline to increase awareness of bipolar medications and treatments. She frequently promotes awareness of bipolar disorder and suicide prevention. In , Hartley spoke at a suicide and violence prevention forum about her father's suicide.
From Wikipedia, the free encyclopedia. Mariette Hartley. Hartley with Raymond Burr in Kingston: Confidential New York City , U. John Seventa m. Patrick Boyriven m.
Jerry Sroka m. Film Reference Library. Retrieved Carnegie Mellon University. Retrieved 10 February Stars in Our Eyes. Westport Historical Society.
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Retrieved 29 May Internet Movie Data Base. December 30, Retrieved May 16, Whether spatially fixed and structurally defined by topography, soils and vegetation; engineered by living organisms, or driven by disturbance, constructing heterogeneity in the landscape provides the requisite conditions for sustaining biodiversity. Topographic heterogeneity Topographic variation in undulating landscapes and at the 1cm Operating at a localized scale, intermediate amounts of rock cover account for high species numbers, particularly of trees and shrubs because they are protected from fire.
Textural discontinuity: the matrix matters Landscapes vary in their vertical structural complexity and horizontal spatial grain, with complex landscapes having high vertical complexity and fine spatial grain. The resultant matrix is not. There is a similar requirement for maintaining habitat heterogeneity at multiple spatial scales for farmland, and in the case of gardens, for generating vertebrate and invertebrate diversity.
The fact that shrub encroachment in the open savannas of southern Africa threatens the survival of larger animals, and that small and large birds are distributed between different landscape types in south-eastern Australia, references the critical interrelationship of complex and simple landscape textures for species conservation. Applied in landscape management practices, this means that planting shrubs in agricultural landscapes, for example, may help attract small birds of conservation concern. Ecotones Ecotones occur across a range of scales, from centimetres to kilometers and vary in width and shape sharp, gradual, perforated, convoluted.
Easily recognizable as natural boundaries between biomes or ecosystems, they typically contain more species than ecosystem cores. Their potential as locales for high speciation rates is ascribed to the combination of high diversity and rapid rates of change. Ecosystem engineers Ecosystem engineers are organisms that modulate the physical environment in what evolutionary biologists call niche construction.
In the African savanna, for example, termites determine species richness patterns and drive evolutionary and ecological dynamics by modifying the landscape. To accommodate and enable biodiversity in cities we need to move beyond traditional conservation approaches for two reasons. First, whereas ecosystem protection at global and regional scales depends on large and contiguous habitat patches, habitats in the city are small and fragmented. Second, conservation efforts tend to model static snapshots of species distributions, ignoring the myriad of ecological and evolutionary processes that promote persistence, especially when threats are dynamic.
Managing for process can be achieved in a number of compatible ways. Constructed termite mounds become seeding grounds for plants and, because they are distributed in a regular pattern, a spacing template for tree-dwelling animal communities. Disturbance Natural disturbances alter vegetation structure and landscape heterogeneity. For example, gradual and non-catastrophic wind causes forest gaps that maintain multi-aged stands of western hemlock and Sitka spruce, which, if mimicked as scientists suggest, could maintain and generate diversity in planted forests.
Urban densities make this more difficult in practice, although mowing may be as effective in removing the requisite biomass. As a management tool, experts agree that mirroring historic disturbances— whether fire, grazing or logging—is a good place to start. Complex landscapes activate our senses, to the extent that things and phenomena which may seem everyday and ordinary become legible. We acquire volumes of information and construct mental maps that not only ground us in place but enable us to learn—haptically, tactilely and kinaesthetically.
In a gargantuan cleanup that erases layers of history they leave no trace of mystery. Textured rather than aesthetically ordered, messy rather. Replacing the compressed and homogenized landscape with an immersive quality is our design challenge. Instinctively, we look to landscapes that offer infinite variation and surfaces rich in sensory cues to both connect and move us. Operating with the same dynamism, they set in motion a chain of events from which living landscapes and biophilic cities emerge.
In a world that exists in constant disequilibrium, evolving in endless cycles, order comes not from form or pattern alone, but from incremental forces. Designing for diversity and complexity serves a multiplicity of ecosystem and cultural needs, bringing nature and culture into meaningful alignment. This is how we manage for process and engineer resilience. A matrix of complex and simple landscape textures, for example, supports birds of different sizes and is significant in generating biodiversity pattern.
They are important drivers of ecological and evolutionary dynamics. Rouget, R. Cowling, R. Pressey and D. Pressley, M. Cabeza, M. Watts, R. Cowling and K. Peach and J. Maser, Forest Primeval. Sierra Club Books, San Francisco, Levin and S. Goddard, A. Dougill and T. Fischer, D. Lindenmayer and R. Hufkens, P. Scheunders and R. Smith, R. Wayne, D. Girman and M. Boogert, D. Paterson and K. M Pringle, D. Doak, A. Brody, R. Manning, J. Fischer and D. Quine, J. Humphrey and R. Island Press: Washington, Catherine W.
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Having previously held a faculty position at the University of KwaZulu-Natal, with an ethnobotanical research focus, she continues to explore the interface between plants and people for sustainable placemaking. These drawings interpret the material and aesthetic conditions of the Krivila River gorge in Chiatura, Republic of Georgia. Chiatura was chosen as an investigative site due to the records of change and devastation in the landscape since mining began in The first phase of the workshop focused on how land use and social spaces are stratified in relation to elevation.
Chiatura is the site and subject of a series of workshops introducing techniques of landscape research, analysis, interpretation and design through intensive site exploration and artistic. A third phase will synthesize. Workshop participants created drawings interpreting their observations at these sites. Soils, mining surplus, vegetation, architectural and industrial artifacts and water are represented in this visual vocabulary. The drawings serve as reference points that will guide aesthetic and material decision making for continued projects in Chiatura.
Sarah Cowles is a U. On the first day, three sites were investigated: a concrete plant in Darkveti near the start of the gorge, an abandoned ore washing plant and the Itkhvisi-Zodi ropeway. Resilient vines, grasses and ruderal species grew over skeletons of machines and broken walls. A fishing net made from a lace curtain hung near the river. In a grove of trees, men pulled rebar from concrete blocks. Manganese is mined at upper elevations of the Kvirila gorge. The ore is processed and then transferred to railcars at the river bottom.
One system of ropeways cable cars conveys ore from the mines to processing facilities on each side of the river. A second set transports people from the river bottom to the upper levels of the gorge and from village to village. Black sediments from mining operations foul the Krivila River from Chiatura southward. The other half continue to employ nearly 3, citizens of Chiatura.
In the months between our visits, these workers were on strike for a livable wage, safer working conditions and proper protective clothing, including gloves and boots without holes. This fall we designed and built a garden in a large mental hospital for patients on the island of Rab in Croatia. It was a nuanced, strange, painful, redeeming and provoking experience. The wards once housed Italian officers who, in , supervised the torture and killing of inmates at the Rab concentration camp. The complex, laid out by the rules of the golden triangle, exudes order and normalcy.
The juxtaposition of bald, emaciated hopeless inmates in the historic photos, and the bald, drawn and vacuous faces of the current patients dressed in striped pajamas was surreal. Had we been forced to commit atrocities of war or survived years of abuse, it might be us in these pajamas, walking aimlessly under heavy medication looking for Oz. Why enter this world and plant a garden? Simply put, the greater the need, the greater the benefits.
The garden comforts the invisible—those sent away, their existence denied. The grit required to build it wears away deep scars and stories emerge revealing past pains, dislocation and endurance. These stories justify the sweat, exhaustion and long hours of building the garden. This was the first, but not the last genocide of the s Balkan War.
After fleeing Vukovar for Bosnia, J, with a Croatian mother and Serbian father, had to choose whom to fight for. What did I know? He looked at me, his beautiful and ghostly eyes wide open, revealing his horror and pain. They ordered us. Soldiers, ok, but not the children. Is this grit or foolhardiness I asked, staring at my reflection in the dark sunglasses perched atop a bandana-covered face. The young NGO employee seated next to me started shaking uncontrollably. I now recall the young member of Mara 13, the deadliest gang in Guatemala City, seemed hardened and comfortable as he pointed the gun against the side of my soft head.
A bank teller had notified the gang member that we left with a large cash payroll. We were then forced off the highway between Antigua and Guatemala City and the police had blocked the roadway so no cars could pass our truck. Is this normal? Are these new measures of normal? I was ordered and it happened. They were kids, just kids. When we were packing up to leave, he came to thank me. This project kept me going, kept me sane.
In this environment there is little to feel good about. But we created something that matters and will be here for others. A place they can go, to be in nature. Will exposure to nature cure cancer, HIV or schizophrenia? Can it improve the health and well-being of people suffering from illness, trauma or stress? There is an expanding body of scientific research documenting the positive benefits of nature that improve human health. These include stress reduction, lessening of sweat release an indicator of anxiety , heart rate, blood pressure and pain medication.
There is a growing interest in using the environment to improve human health, particularly within the public health sector. Gardens are now incorporated into hospital facilities to be used for physical and cognitive rehabilitation, horticultural therapy, physical, occupational and vocational therapies and as sanctuaries for those with traumatic illnesses caused by burns, PTSD and brain injuries. Through our projects, we attempt to bring some of these benefits to populations in great need and with few resources.
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Our projects are located where values, realities and dreams collide. They scrape and abrade the social with the ecological, the political with the social, the ecological with the political. The textures are uneven; the sharper and stronger abrades the other; the power shifts and the balance is skewed. We try to mediate these contested terrains, not as conceptual ideas, but as ground level and often ground-breaking attempts to re-establish dignity, hope and self-esteem and reliance.
In Bugojno, Bosnia, we built a play garden for disabled children who were being shunned by the villagers, kept at home and forbidden to attend school or have social interactions with other children. Our location at the front of the building abuts a primary lane used by many of the inhabitants. Mystique, fear and bigotry slowly diminish. Instead of grit scarifying, this process resembles a polishing; the cloud of ignorance was removed, the beauty and strength of these children revealed.
The parents now feel cared for and acknowledged, and their modest needs addressed. In Mexico, the rainwater was captured, enabling the women of Santa Ursula to wash their clothes in the new lavandaria—instead of in the frigid stream, polluting a unique ecological corridor and suffering permanent nerve damage while standing for hours in the water. It takes grit to convince the Mayor— who resents these poor, displaced, indigenous immigrants settling near his town—that they have rights.
Rather it was an odd journey of circumstance, awareness and discovery. In hindsight, grit enabled this program to emerge and endure. The nature of the work is fraught with uncertainties; a model with which academia and students often struggle. The students learn that flexibility, adaptability, creativity and resilience are necessary skills. The result is to cross the political, social and conceptual boundaries that keep us apart. The goals of our program are twofold. First, we expose students to new communities and collaborate on developing a shared vision. In this process, stories and common themes emerge, binding us together, eroding the obstacles of.
We intentionally cross borders, borders defined by culture and a continually shifting terrain. More and more participants have multiple ethnicities or multi global addresses. Culture is formed by place, experience, race or ethnicity. Our focus is on trauma and its redefinition of experience, perception and coping. One aspect of treatment was to establish coping mechanisms so the patients can live with their addiction.
Memories cannot be erased for PTSD patients, but coping mechanisms enable the survivor to increase their functionality and active participation in life experiences. Understanding these cultural traits is essential when developing responsive designs, and therefore, effective communication methods must be developed.
The participants are the experts, we the form givers. We start with the roughest sand paper and graduate to the finest as we refine our process and develop a level of intimacy that enables a free flow of expression. We use a variety of methods, often in tandem, including narratives, photo imaging, drawings, focus groups, mime, letters and notes depending on language or cognitive constraints. Trauma is one cultural informer, but not the only one. We avoid the museumizing of place when inserting our projects, which are often hybrids, a mix of innovation and tradition.
Along the Dalmatian coast, dry stone construction is revered as a sacred connection to and expression of this land that has endured for centuries. The wall forms are less important than the materiality, the regional expression and hand-built quality. We incorporated stonewalls into our projects and worked with a local group of volunteers who held a workshop to explain and demonstrate the techniques. While working side-by-side, stories were exchanged, bridges made and friendships developed. These opportunities exist in every project. We can invite a villager hanging out near the site, peering in to participate, or we can collaborate with parents of disabled children in Bosnia who want to create a better life for their children.
Each is a window that offers a powerful and unique experience. Up to twenty patients worked with us each day at the Rab Psychiatric Hospital and in their written reflections the majority expressed how therapeutic the actual work was for them. My experience of working and socializing with the students, Daniel and Carlos, not only made me free, but was therapy for me. I slept better, my mind was concentrated on work so I thought of my problems less. Meeting and working with people from a different culture is a gift in itself. Second, we create tangible amenities, gardens to improve and enhance the social and environmental health of the community.
These gardens offer places of ongoing interchange and discovery. They alleviate the stressors and obstacles to well-being and happiness. Partnerships are forged with marginalized communities with deep needs and few resources, where some problems can be addressed through environmental design. Despite elaborate precautionary measures, household invasions are routine. Professors and students. Then as now, BIHE faculty and student names are kept secret. For discretion, many courses are conducted via correspondence. Phone calls are clipped and semi-coded.
Savvy use of international faculty and servers enables some online classes, but constant technological vigilance is required to remain undetected by government monitors. Fast forward to In a landscape of vigilant governmental surveillance, BIHE has remained defiant, though peacefully, operational, holding clandestine classes in Tehran basements and living rooms for nearly thirty years, and graduating 50, students in that time. Following the Islamic Revolution, the government of Iran systematically restricted educational access to religious minority groups.
While more. Architecture education at the BIHE poses a particular risk, requiring more direct student-teacher interaction to evaluate work. To suppress suspicion, Aftahi and her fellow architecture students followed strict schedules, leaving buildings one-by-one and borrowing keys from architects to study the books in their offices by night.
She credits the opportunities afforded her to the cooperative efforts of the past thirty years. Another professor endured months of solitary confinement. Aftahi herself has been denied access trying to enter a library and undergone multiple interrogations. It is only in the past few years that international universities have begun to recognize BIHE diplomas.
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As global awareness of the education ban in Iran increases, universities around the world are making exceptions. Since , 70 international universities have admitted BIHE students into graduate degree programs. Attendance to the BIHE—whose diploma quixotically guarantees that students will not find employment in Iran—is a matter of principle and hope. Top page: 1. BIHE professors reviewing student work 2. Class discussion 3. Students working in the classroom 4, 5. BIHE house after raid by government officials 6. Field trip class photo Bottom page: Study and construction of body-conscious furniture.
He holds a B. Commission on International Religious Freedom Report , www. Senator Mark Kirk. When asked if her experiences with oppression have informed her design approach, Aftahi paused, then smiled. Our community is everything. The same goes for design. I think this is why I love the team design process.
So many skill-sets and opinions can be overwhelming. But when locked on a common goal, design teams are capable of resolving the stickiest of constraints and challenges. After earning her masters degree, Aftahi herself plans to return to teach architecture. She learned that landscape activists are powerful only after their eyes are dotted white with eight elements: resourceful courage, daring difficulty, animating force, geologic fortitude, indomitable optimism, gizzard science, principled nimble and embracing oppositions.
She hides in wetland waters and emerges fierce as a dragon to save the Black-faced Spoonbill Platalea minor from extinction. In this article Glocal Gritty will share the eight secrets. In , two consortiums with Taiwanese government support announced plans for the Bin-nan Petrochemical Industrial Complex, a project that would require filling Chiku Lagoon. Yet something unforeseen happened. A lone congressman from Tainan County, Su Huan-Chi, shaved his head and led a county-wide march in opposition.
In he contacted Professor John K. John invited Randy to the site of the controversy. After meeting with the fishermen worried about filling the lagoon, Randy and John agreed to run simultaneous studio projects on Bin-nan. LA students uncovered serious anticipated impacts on the local way of life. The spoonbills also depended on the lagoon. Destroying it would create an extinction vortex for the birds that remained. Our NTU-Berkeley teams developed an alternative strategy based on symbiotic resources we discovered—fishing, ecotourism and high technology. At first, powerful Bin-nan supporters ridiculed and threatened our supporters.
Our plan emboldened him and a few ornithologists. It sustained a diverse economy and protected natural resources; expanding value-added aquaculture products, health foods and health-related industries. The wildly popular plan caused entrepreneurs to open local tour companies and restaurants. Bin-nan was never built. Confronting overwhelming power usually triggers panic, hysteria and flight, prompting the designer to retreat to predictable safety. Replicating some known order never works against monstrous powers like Bin-nan; designers must be most daring when the impulse is otherwise.
Shrinking violets are ill-suited if Venus flytraps are needed. Time and time again the spoonbills have called on Berkeley students to do this, usually when everyone else is debilitated in panic. Seven percent of the population died when overcrowding led to a botulism outbreak. While the best scientists in the world were franticly trying to sanitize the existing habitat, Shay Boutillier Navarro MLA dared difficulty.
Informed by conservation biology she developed an audacious proposal to create stepping stone habitats so the spoonbills could expand their range all along the southwest. LA students discovered that the most suitable stepping stone wetlands were publically-owned, abandoned salt pans within the NSA. The expanded habitat saved the spoonbill from extinction and enriched the diversity of wildbirds attracted to the area, stimulating new economies and revitalizing cities throughout the region.
Each stepping stone has become the nexus between spoonbills, tourism and high technology industries. The spoonbill population has expanded to 2, Daring difficulty is a skill to learn. Be curious. Develop a storehouse of concepts from multiple fields related to land decision making. Like a bittern facing panic, learn to become perfectly still, breathe deeply and think clearly and decisively. Saving a species from extinction is dependent on local community design that can never be rushed. Get to know the people and the place intimately.
Mapping daily life patterns and sacred places, participating in local rituals, eating and worshipping together help to cross cultural divides. Study every map you can find. Even under intense political pressure, sketch, paint and read the local literature. Seek like-minded local partners. Know the right questions to ask.
Search for people with unusual native wisdom and attachment to place. Communicate with them by drawing in any and every language. As an insider-outsider, find local resources that others have overlooked and show them how to reuse them. Many of the Taiwanese designs are simple, freehand sketches from which local people construct bird watching stations, illegal restaurants and environmental centers, family-owned bed-andbreakfasts and boat launches for fishermen to take visitors out to do real work.
Our designs include: load-bearing walls of oyster shells to create a store, a school with windmill power, homemade telescopes for bird research, walkways using broken tiles from salt drying ponds and a salt mountain that looks like a ski slope carved from a derelict salt factory. These are inventive, delightful designs grown from the spirit of this place. Slow fortitude is essential for design activism. Learn not just to risk failure but also to endure the pain of continuing defeats Understanding the perils of the long haul, we formed SAVE International which gave us stability over what seems like geologic time.
The battle to grow a sustainable spoonbill population has never been easy, seldom immediately successful. We take our licks, particularly in Korea. No one in government listened. Our work went for naught for ten years. Leaders of high profile environmental organizations were arrested.
A Buddhist monk burned himself to death in protest. Ultimately-unsuccessful lawsuits were filed in November by university professors, 10, citizens, and citizen groups. In , Science published a damning article on 4-Rivers. Their persistence has yielded the single major success in Korea where the government planned gated sea walls to produce tidal power with questionable technology and caused irrefutable damage to the endangered mudflats around Ganghwa and Incheon Bay.
Derek and Yekang estimated the costs by conducting an exhaustive literature review on mudflats and carbon reduction. At the end of , plans for the Incheon plant were rejected and the Ganghwa project proposal withdrawn. Only persistence kept the Korea campaign alive to see this victory.
We knew little about fund raising and less about international boycotts, but we thought we could do it. The LA studio group gave a slide show to recruit more students. Thousands of people stopped to look at the birds, many of whom came. SAVE was officially debuted. Others met with Lori Pottinger MLA at International Rivers who coached us on a campaign to get endorsements from environmental, human rights and green industry groups worldwide to stop Bin-nan.
Our work did not go unrecognized. They often begin with nothing more than an optimistic vision. There are hundreds of scientific articles on spoonbill ecology. Most never influence site design because the findings are seldom expressed spatially. We have translated research findings into spatial geometries that can be applied to design. The diagrams we have made of scare distance meters in the best wintering grounds, meters or less when feeding in preyrich waters during migration, and meters when gathering food for newborn chicks , water depths for foraging centimeters , maximum distance to foraging areas from roost no more than km.
These geometries are the basis for the policy that set aside the stepping stones in Taiwan, the design of a wildbird park in Japan, and the hypothesis for an experiment on Chongming Island, China. SAVE is adept at recognizing political opportunities and walking through the doors that result. Witness a recent moment in Fukuoka. During the winter of students in the Fukuoka laboratory and LA developed plans. We later learned that he was in the building but ignoring us. Watanabe asserted that the City had already done a lot of habitat preservation when it built Island City, implying that it could have been worse.
This week, something a little different! I, your host Shane Told, answer all the burning questions submitted from members of the All Access Club! Episode - Demon Hunter frontman Ryan Clark joins the show! A band that rarely tours, yet has one of the most rabid fan bases out there, I've been intrigued and wanted to pick Ryan's brain for a long time. We talk …. We discuss her humble beginnings playing trumpet in a ska …. Episode - Kurt Travis, one of the hardest working people in rock 'n roll, joins the show!
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Also …. We talk about their strange start as an acoustic duo winning contests, their …. Episode - Philadelphia's Whitney Peyton joins the show this week, talking about her recent headline tour and van accident, blending hip hop and rap with rock and punk, the challenges of being a female in hip hop, …. Episode - Emarosa's Bradley Walden joins the show, telling his incredible story of how he went from being in the military to discovering his own amazing voice and joining a band. Also discussed is Emarosa's writing …. March 5th, Episode - Broadside's Ollie Baxxter joins me this week for an in-depth chat in the back of their van while surrounded by snacks seriously there was so many snacks.
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