When I joined the project team for the Art & Nature Park nearly five years ago, the IMA’s journey of park development was well underway.  The process would eventually span a decade or more, culminating in the grand opening of 100 Acres in June 2010.  Now, the recent announcement of the Ruth Lilly Visitors Pavilion as a 2012 National AIA honor award winner has provided the final underscore for the initial launch of 100 Acres, as well as a new standard for the park as it moves into the future as a space in constant evolution.

Although the park as a whole was a wide ranging, multi-faceted project, the Ruth Lilly Visitors Pavilion always served as the nucleus for the entire endeavor, and in my mind the benchmark of success or failure for the park overall.  The constant challenge throughout the development of the park was to implement eight unique, autonomous commissioned artwork installations and a network of landscape and infrastructure improvements, yet weave them together into a coherent, holistic visitor experience.  It became apparent early in the process that the Visitors Pavilion was to be the center point, around which the rest of the park would live in context.  It was important that the park be a place for multi-faceted experiences, a place which celebrates the gray areas between man and nature, between art and architecture, between carefully programmed experiences and organic, meditative spaces.  The role of the Visitors Pavilion was at the same time clear and elusive: to serve as the flagship space where these gray areas could be called out.

The first set of development drawings I saw in 2007 showed the essence of the final product, but in a much different incarnation.  Marlon Blackwell Architects had been working hand-in-hand for years with landscape architect Ed Blake, artist Mary Miss, and the IMA project team to develop the comprehensive architectural plan for the park, and a structure known as the Interpretive Pavilion was the architectural workhorse of that plan.  It was to serve practical needs such as shelter, restrooms, and a hub for communications.  It was also to serve as the programming hub for the park, providing a home for educational initiatives, events, and temporary exhibitions.

The form of the building was already well developed, the genesis of which had been Marlon’s study of dried, fallen leaves on the property.  The structure incorporated folded planes and playful manipulation of light and shadow, and provided interior and exterior spaces which blurred the lines between the experience of being part of the structure and being part of the surrounding landscape.  This original incarnation was significantly larger than the final Pavilion, incorporating three separate pavilions, each serving a different purpose, tied together by an outdoor deck space and shade canopy.

This first iteration of the Pavilion design lived within an overall park scheme that was at a crossroads.  The years of early design development were transitioning into implementation, and the project team was re-evaluating the scope of the entire project from the ground up.  It was as if the park plans were in the form of a bloated manuscript, and we were now working through the editing process.  Budgetary constraints were considered, but even more important were the questions of scope in relation to the  philosophy and character of the project.  The park emerged with a new direction towards a lighter environmental touch and a more graceful balance between art, nature, and architecture.  As a result, the interpretive pavilion underwent an editing process of its own.  The structure became significantly smaller, finally consisting of one single interior pavilion that could serve multiple purposes and provide a more intimate visitor experience.  This streamlining of the practical requirements for the structure allowed Marlon the opportunity to design a building with the size, proportion, and delicate placement necessary to create the characteristic I find most impressive about the final product: a sense that it is in balance with its site, that it fits the scale and spirit of its surroundings.  Like the philosophy behind the structural engineering of the building, it is exactly what it needs to be, nothing more and nothing less.

The national AIA honor award is a reminder of the power and potential of that editing process.  As with any project, the design and construction process involved a constant stream of value-base decisions, weighing design intent, materiality, quality, and craftsmanship, against budgetary constraints, timeline, and feasibility.  In the end, the difference between a great building and a spectacular one came down to that stream of decisions.  In hindsight it’s easy to see why and how those decisions worked, to see how certain edits and changes resulted in a stronger, more focused final product, to see how the eliminated items were not missed, or to see how those that the team fought to retain are now the most beloved.

Those seemingly serendipitous results could not have been achieved without the diligent work of a tight-knit project team with a common vision and trust in one another as stewards of that vision.  The Hagerman Group, general contractors for the project, was involved early in the long development process of the park, working hand in hand with the IMA and the design team.  The longevity of those relationships and the trust established over the years formed the foundation for the day-to-day cooperation, complex problem solving, and care needed to create an AIA award worthy final product.

In the end, the value of architecture is in the experience of inhabiting it, and it is extremely gratifying to know that those jurors who experienced the pavilion for the first time, with fresh senses, were left with something powerful.  In the context of the other award winners past and present, I hope the building has the potential become an ambassador in Indianapolis for the power of great architecture.  I like to think that the AIA has awarded the Ruth Lilly Visitors Pavilion for its ability to leave visitors not with a mental image of the structure, but with a sensory memory of their experience, and hopefully the presentation of the award will bring an even wider audience to experience the space for themselves.

This summer, the IMA hosted a group of educators for a special teacher workshop inspired by our newest addition to the artwork in 100 Acres, FLOW (Can You See the River?), a project by New York based artist Mary Miss. Our goal for the workshop was to help teachers think about ways to incorporate the project into their classes, with the aim of engaging students in conversations about environmental, social, and economic sustainability while increasing student’s awareness of the White River and its watershed. Being an “art person,” I realized that to engage with this project and truly see the river as Mary instructs, I would need to supplement my arty knowledge with a little bit of science and history. And when you are trying to learn something, I have discovered that the best way to do so is to be locked up with a room full of teachers. So what did I learn? Here are a few highlights:

• Our friends at the Cell Motion BioBus, a 1974 San Francisco transit bus converted into a mobile science laboratory, showed us an awesome little creature called Daphnia,which is found in a range of aquatic (including the White River) environments and are visible to the naked eye (granted, they are still very small). Daphnia are tiny crustaceans with translucent exoskeletons, making them really interesting to view under microscopy.
• The partnership between the IMA and USGS, that has been a crucial part of  Mary Miss’s project, began several years ago when the IMA commissioned artist Maya Lin to create a piece for our collection. Lin was interested in mapping the bottom of a Lost River in Bedford, IN. Lost Rivers get their name from the fact that they flow underground. The USGS helped to map the river bottom and the cavernous ceiling. To learn more about Lin’s piece, appropriately titled Above and Below, check out this Art Babble video.
• There are a ton of similarities between the IMA and the Marian University Eco Lab. Both places benefited from wealthy individuals with ties to Indianapolis industry that also had country estates located along the White River. James Allison’s house (of Allison Transmission and co-founder of the Indianapolis Motor Speedway) and the surrounding land were donated to Marian University and became the northern part of the campus, while the IMA’s Oldfields, the home of J.K. Lilly Jr. (of Eli Lily and Company and Eagle Creek Park) was donated to the Art Association of Indianapolis (later becoming the Indianapolis Museum of Art). Behind each of the country estates was a patch of land that was used for various purposes. The land behind Allison’s home was once used as cattle pasture and a driving course (check out the picture below), eventually becoming a 55 acre nature preserve for the university known as the Marian University EcoLab. The backyard of the Lilly family was also used for many things, such as farmland, a stone quarry (helping to build nearby Interstate 65), and now as 100 Acres: The Virginia B. Fairbanks Art and Nature Park.

A great Aha! moment from this workshop was my realization of the genius of Mary Miss’s project title: FLOW (Can You See the River?). She is asking us to literally look at the river, but also to see the many ways in which it affects our lives. The teachers that attended the workshop helped me see the power of the word “flow.” Sure it refers to the movement of water,  but we also use it to describe the circulation of blood in the body or the way traffic moves (or doesn’t) during rush hour. To me it implies a Zen-like interconnectedness in the ways in which we share biological features with a creature like Daphnia or a shared history like that of EcoLab and 100 Acres.

Miss’s project opens September 22nd, which means you’ve got a little time to do some research to find out how you are connected to the river. So c’mon, learn something about the river. I dare you.

During her time in Indianapolis, Katherine will investigate the sources of water flowing into the park’s lake and seek to understand how these inflows affect the quality of the lake’s water. She is bicycling along the edge of the White River in order to become familiarized with this body of water, which borders and often flows into the 100 Acres lake. She began the first leg of her journey on August 9 at the north fork of the river, and will live on Indianapolis Island from August 12 until September 25. After her residency, Ball will resume her trek, which will conclude at the intersection of the White and Wabash rivers.

 Follow the project with Katherine – and learn how you can become involved – through her blog, which she regularly updates here.

Nicole Peters in the process of cleaning the front deck on "Indianapolis Island."

 Zittel’s Indianapolis Island is an artwork that presents many challenges and complexities that arise when conserving contemporary outdoor artworks.  For starters, the location is tricky as it is situated in the middle of the 100 Acres Lake and is only accessible via boat.  Secondly, biological effects on the island are difficult to accurately assess from the shore’s distance.  When I say “biological effects” I mean those of a Great Blue Heron taking up its own kind of residency.

Indiana Blue Heron

Thirdly, and perhaps most importantly, the artwork requires a human to activate it by taking up an annual summer residency, which is a fundamental principle of the artwork itself.  The combination of these factors encouraged both problem solving and some creative thinking when devising a treatment plan for this interesting contemporary work.

After our initial assessment, it was obvious that a few things needed to be addressed before Katherine moved in.  The first issue being the bird guano left behind by the Great Blue Heron.  This was indeed a two person treatment which required at least one of the two people to be exceptionally tall (cue Richard, who is rather tall).

The biological effects of the Blue Heron resident on top of the island.

So, literally on the hottest morning of the summer, Richard and I rowed out to the island to scrub and wash Indianapolis Island.  We used an Orvus WA Paste-H2O solution as our cleaning agent, nitrile-dishwashing gloves, sponges, and nylon brushes for the treatment. We performed this cleaning from the island’s deck area, as well as from the rowboat.

Objects & Variable Art Conservator, Richard McCoy, utilizing his height for the cleaning process of "Indianapolis Island."

There were two fisherman on the shore who we chatted with before heading out and I believe they may having been taking bets as to when our rowboat would capsize, dumping Richard and I into the lake during the rowboat treatment.  Luckily, this did not happen and our boat remained afloat for the duration of our island visit.

Nicole Peters scrubbing the wooden door on the island with Orvus Paste and H2O solution.

There were also other island issues to be addressed prior to Katherine’s residency.  In addition to devising a general condition report and assessment for the artwork, projects included the repair and resurfacing of the island’s door, the implementation of a pest management treatment, and the general cleaning of the interior space.  Also to be considered was the conservation and storage of the material culture and island modifications left behind by 2010 summer residents, Jessica Dunn and Michael Runge, as seen in the image below.

Indianapolis Island residents Dunn and Runge’s material culture and interior modifications.

Although the physical tasks relating to the conservation of Indianapolis Island were relatively simple and manageable, the conceptual aspect for conserving this artwork was not a straightforward process.  To what degree was the IMA supposed to intervene and provide cleaning and general upkeep of the island?  Or is this work the responsibility of the new resident?

Much of Zittel’s concept for this project involves the transition of the island’s living space in accordance with the current resident’s needs and preferences. These decisions ultimately inform the representation of the artwork.  This line of thinking and questioning resulted in some interesting discussion about the conservation ethics and protocol applied to modern and contemporary artworks.

An interesting passage I came across earlier this summer in the book Modern Art: Who Cares? (p 168), refers to a decision-making model in the conservation of contemporary artworks and seems to speak to this debate:

“Does the meaning of the work change as a result of the aging, damage or decay it has sustained such that intervention must be considered?  It cannot be stated beforehand whether a certain aging or damage, indeed, constitute a problem…a scratch can reinforce the meaning of one work of art (for example a floor plate by Carl Andre) while negating it in another (a metal object by Donald Judd). Therefore, designating a potential discrepancy is not a linear process…”

The project has always been a team effort between conservators, curators, registrars, the artist, and the island resident(s).  Because we wanted to be well informed as to how the island was to appear and be presented to the new resident, we discussed the project on a phone call with Andrea.  We discussed what was to be considered “acceptable” wear-and-tear, and also what factors qualified for an intervention of the artwork.  The information obtained from this conversation will allow future caretakers to better define and document how the island is to be appropriately treated and conserved.  This project really demonstrated the importance of taking the time to consult with all involved parties about the care of the artwork.

Ultimately, I have learned this summer that the conservation of contemporary sculpture and materials is a complex, multi-faceted subject.  It requires thorough investigation of material science and a good understanding of fabrication techniques and installation processes in order to accurately preserve the artist’s original intentions, or expression.

Sailing away from "Indianapolis Island," post-treatment.

Read Nicole’s previous blog post here about her work in 100 Acres.

Nicole Peters, IMA Scholar Objects & Variable Art Summer Intern, on a Boat.

Prior to starting my summer internship, when I was putting the finishing touches on my Masters in Art History at West Virginia University, I had been daydreaming about working on the 18th-century European porcelain and ancient Chinese bronzes located in the IMA’s collection.  During my first phone conversation with Richard McCoy back in April, I soon found out that my internship would not include what I had been working on at WVU, but instead I would be charged with researching, documenting, and conserving the eight site-specific contemporary installations within 100 Acres: The Virginia B. Fairbanks Art & Nature Park. My initial reaction was, “Well, this sounds pretty interesting…and besides, there’s probably some bronzes and marble sculptures in there somewhere, right?”

Fast-forward to today, six weeks along in my internship, and I am learning more about various formats of fiberglass, powder-coating, galvanized steel, and industrial paint systems than I ever thought I would.  But more importantly, my internship here has been encouraging me to fully consider and understand contemporary art materials, contemporary installation processes, and the importance of site maintenance and regular inspection.  As I engulf myself in this project, I am becoming familiar with various conservation terminology and procedures, and the instruments involved in the technical study of artworks.

One of my current projects at 100 Acres involves recording and monitoring the level of color and gloss on Jeppe Hein’s Bench Around the Lake, Los Carpinteros’ Free Basket steel arches, and Atelier Van Lieshout’s fiberglass installation, Funky Bones.

Nicole Peters Making Colorimetric Measurements on “Funky Bones.”

With the help of two useful instruments, the Micro-TRI-gloss Glossmeter and the Spectrophotometer CM- 700d/600d, and one very knowledgeable conservation scientist at the IMA, Greg D. Smith, we have been able to begin detailed research projects on important IMA artworks. Using these instruments requires both manual and technical competency, but more importantly, the information recorded must be understood and interpreted in a way that it is not only accessible to conservators, but also curators, registrars, and even the artists themselves. Thus far, color and gloss measurements have been recorded for the steel and plastic components of Free Basket and the black and white fiberglass sections of Funky Bones. Measurements for the fifteen individual bench installations for Bench Around the Lake are currently in progress.

The colorimeter instrument is able to digitally plot a precise numerical coordinate that corresponds with an exact color located on the CIE L*a*b* color charting system.  When colors are digitized, it becomes possible to express minute differences in what is essentially the same color.  These are called color differentials (i.e. Δ L*, Δ a*, and Δ b*). The CIE L*a*b* system evaluates hue (color), value (lightness or darkness), and chroma (saturation).

Plot of Red and Blue Paint Used on “Free Basket.”

For example, the color for the red and blue arches of Free Basket was measured and plotted in the above image.  This measurement is to be taken annually and the sample location should be taken in the same area each time.

  The other piece of equipment I mentioned is the Micro-TRI-gloss Glossmeter.  It takes three surface readings at 20°, 60°, and 85° in order to compensate for the different levels of gloss.  A 20° geometry is suitable for a High Gloss surface, a 60° for Semi Gloss, and 85° for Low Gloss, as shown in the image below.  The instrument evaluates the specular (or mirror-like) reflection of a surface and is often associated with the amount or level of gloss.

Angles Used by the Gloss Meter.

By taking an initial measurement, every value recorded afterward can be compared to the initial numerical value to assess how much of the gloss layer has been lost.  This loss can be crucial to the artwork’s appearance or presentation, in addition to the preservation of the interior components being protected by the gloss barrier.

The concept of monitoring the amount of light exposure and its effects on delicate or sensitive artworks was not foreign to me, but how this information is relevant to a contemporary outdoor installation was certainly a viewpoint I had not previously considered.  Although modern paint systems and structural materials can be formulated to better withstand environmental threats such as light exposure, pollution and moisture, the fact remains that outdoor sculptures and installations are constantly being exposed to these harsh conditions that will ultimately lead to their degradation.

Nicole Peters Making Gloss Measurements on “Free Basket.”

What I’ve found is that recording gloss and color levels is an important part of a regular maintenance plan for outdoor artworks whose material composition or coating systems can be affected by environmental agents.  I’m excited to be here at the IMA to help develop this program.

The recorded information can be used in order to gain a better understanding of how different surfaces and materials react to constant exposure from environmental agents. Gradual changes in an artwork’s surface may not be noticeable over an extended period of time, but they can be scientifically described using these two instruments. Also, it is possible that the data can be extrapolated and perhaps applied to other artworks made from similar materials.  In the end, this information may inform artists when they are choosing their materials to make their work.

IndyChannel recently launched their A-list ballot for 2011 – a yearly poll that highlights the best of Indy. The IMA is proud to say that we have been nominated as a contender for best museum. The wide-ranging list below, in the form of a TOP ten, are just a few reasons why you should vote in support of the IMA as Indianapolis’ BEST museum. We know you already agree but we hope to reassure you anyway.

10. First and foremost, the IMA is an ART museum, even though it provides films, talks, events, galas, and workshops that may convince you otherwise, the enormous and comprehensive collection is at the heart of our existence. The IMA strives and achieves in providing an art museum environment that is friendly and non-threatening to those without an artistic background, embracing the community as a whole. Those with a love and passion for the arts can mingle amongst peers and schedule an entire weekend of events solely with IMA activities.

9. The IMA has had a remarkable year which included a recent performance at the Venice Biennale, representing the US on a global venue. As you know, the IMA has been working tirelessly on this event, which has garnered amazing responses to Allora & Calzadilla’s works. The IMA represented Indianapolis and the US in an authentic and innovative way through this artistic duo. Did I mention the IMA represented the ENTIRE UNITED STATES? Just checking.

Photos by Andrew Bordwin.

8. In recent years, the opening of the Randall L. and Marianne W. Tobias Theater, aka The Toby, has drawn some big-named speakers into our Indianapolis sphere. Most recently Stefan Sagmeister came to speak about design and happiness from his personal studio, Sagmeister Inc, which was founded in 1993. Sagmeister has designed for the likes of The Rolling Stones, HBO and the Guggenheim with his maxim’s made of both conventional and unconventional mediums using his words and design as a “tool for social renewal.” The Toby has also hosted, Temple Grandin, a woman living with Autism, who is praised with her humane design for handling livestock facilities. An HBO film biography on her won seven Emmy awards! With an amazing turn out for the Toby’s first year (almost 37,000 visitors) the future only looks brighter. Who will the Toby draw in next?

7. Not only does the IMA host galleries filled with ancient arts and artifacts from cultures around the world, it also hosts its own contemporary art wing from a world-wide net. Do-Ho Suh’s contemporary work, Floor is  a very awe inspiring piece. Viewers are allowed and meant to step upon this expansive platform where hundreds of male and female figurines seemingly hold you up. The hundreds of figures that cover the underside of the 32 individual squares allow each viewer’s weight to be held up by their tired plastic arms. The IMA has a contemporary collection worth noting as well as artist showcases, presently being Mr. Thorton Dial—whose exhibition Hard Truths runs through September 18.

6. Spring has sprung and summer is fully fledged! 100 Acres: The Virginia B. Fairbanks Art and Nature Park is an amazing outdoor experience that is definitely worth its own visit to the IMA. On these beautiful Indianapolis summer days, 100 acres is a perfect getaway from the bustle of the city (even just for a few hours)! With eight sight-specific works commissioned, the park shows how art and nature intertwined in a contemporary style. Joep van Lieshout, with his studio Atelier van Lieshout, created Funky Bones, and interactive large-scale sculpture of a Halloween-esque skeleton to be multifaceted, as both art and as functional benches. Plus, where else can you row out to an artist-inhabited island? Pretty sure we’re the only one.

5. In 2008 the IMA was named an Energy Star partner with a pledge to reduce energy consumption. In turn, we reduced natural gas consumption by 48 percent and electricity by 19 percent. In 2010 the IMA was named one of 11 museums to receive recognition by the Environmental Protection Agency which sparked the IMA’s own “greening committee”- displaying art and protecting the environment, one day at a time.

4. We love to collaborate! The Indianapolis International Film Festival has again paired with the IMA’s Toby theatre and DeBoest Lecture hall and will be running from July 14-July 18. This festival will show films from all over the world of varying genre, skill level and lengths. From one minute films (Check out Dinosaur Ballet) to full length feature films, this festival will have a film to suit everyone’s taste. The IMA bringing a small piece of the world to you through this collaboration is sure to be an eye-opening experience. (It also includes a film by one of the IMA’s own staff, be sure to check out Type A!)

3. A certain buzz has been generated from the unveiling of the enigmatic Miller House and Garden in Columbus, Indiana. This acquisition marks an expansion that the IMA knows no bounds and will restore and display art of many forms while also showcasing Indiana’s architectural gem, the city of Columbus itself.

2. Summer Nights is a summer film series that has been widely received by the Indianapolis community. Not only can you sit amongst your friends, and enjoy a great film in the evening, but you can lounge in an amphitheatre setting reminiscent of the ancient Greeks and enjoy food and refreshments. This series is widely popular and lets you escape from the air-conditioned doldrums of the standard blockbuster while enjoying an acclaimed film and a nice summer breeze. Are you convinced yet?

1. In the words of a beloved YELP reviewer: “…an art museum that’s free? Must be a joke or not worth going to. Turns out that I was wrong.” You heard right, to everyone’s utter amazement and enjoyment, admission is FREE! VOTE NOW for the IMA as the BEST Museum in Indianapolis!

The IMA has selected Katherine Ball to be the summer 2011 resident of Andrea Zittel’s Indianapolis Island, an inhabitable installation in 100 Acres. Throughout her residency–which will take place between August 9th and September 22nd – Ball will engage Indianapolis Island, the surrounding 35-acre lake, and visitors to the Park through public programs and ecological interventions.

Ball’s project will center on the improvement of the lake’s water quality through the implementation of mycofilters, a water purification system consisting of hemp tubes, wood chips, and mushroom mycelium. Visitors will be welcomed to Indianapolis Island at regularly scheduled times to have afternoon tea with Ball and observe her initiatives more closely. Ball will communicate her findings through a series of drawings and ongoing blog posts, as well as through close interaction with Park visitors during activities such as weekly nature walks and yoga sessions. Stay tuned for more details about how to become involved with Katherine’s residency—further details will be posted on this site as the residency draws closer.

Ball’s artistic practice is founded on a hands-on approach to environmental activism and social engagement.

In 2010, Ball filmed a documentary (to be released this winter) about small-scale, yet effective, solutions to climate change as she bicycled with a small group from Oregon to Washington, D.C., where they met with legislators and shared their findings. Afterward, Ball traveled to Cancun, Mexico, to participate in the United Nations Climate Change Conference. From 2009–10 Ball co-directed SEA Change Gallery in Portland, Oregon, which developed exhibitions and activities to encourage social and environmental equality. Ball is currently enrolled in Portland State University’s Art + Social Practice MFA program and participated in an exchange at the School of Walls and Space in Copenhagen this past spring.

This posting was originally written in early March. Since then, the world has been witness to the incredible power of water. We are seeing serious repercussions from flood events in this country and around the world. My sense of wonder, joy and enthusiasm below is only possible because I am safe. I know that well, and I am grateful.

Maybe it’s because I’m a Minnesotan – I am drawn to water. Big water, little water, tiny creeks, large rivers, I need to be there. So it is difficult to stay away from the White River even when it is rising toward a flood. I feel like one of those crazy parents, the kind that drags her son along to see the water flowing where normally there is a path. “Let’s go to the danger zone.”

The U.S. Geological Survey installed a stream gauge several years ago to monitor the height of the river. I find can find this data by going to the IMA’s Dashboard, and find it under Topics, and then Nature. The data on the dashboard is in real time.

The artists  commissioned for 100 Acres are told there might be flooding. The inaugural pieces are evidence of this potential.  Here are some images of the works impacted by the flooding back in March:

Kendall Buster, "Stratum Pier," 2010.

The guard shack of Eden II is always a fun photo in rising water:

Tea Mäkipää, "Eden II," 2010.

Even Park of the Laments gets into the act:

Alfredo Jaar, "Park of Laments," 2010.

This tag and pink ribbon are from USGS of the high water markings from the hundred year flood we had in 2005.

One of my favorite things I remember from the 2005 flood is seeing where beaver had chewed on trees at my eye level.

North American Beaver, Castor canadensis, do not climb trees. They were swimming in the water when they ate that bark.

Now in this first week of May, the river and lake are high, there’s water in the wetlands, the bench near the Outflow is partially submerged again, Rue-anemone and Sassafras are blooming, there are broken Robin eggs on the ground (hatched, I hope) and I even saw Aphids on some Elderberry. Life continues.

When the weather breaks this time of year and nature frees the plants to begin their cycles again, it is as if I have never experienced all this spring rebirth before. Never saw a crocus bloom before. Never smelled a witch hazel before. Never felt the velvety buds of a magnolia before. It is all completely and totally new.

The warm temperatures this week allowed me to go out and rediscover or re-experience many of the early spring plant awakenings. Or perhaps I should call it late winter. Early March straddles that winter/spring fence with a vengeance. I cannot say we are in the throes of one or the other. As a child I recall there being a DAY. On that day we went from winter to spring. There was no going back and forth between the two. It may be the distorted memory of childhood. But it may not.

So what did I find yesterday afternoon on my spring-plants-bursting-out-all-over walk-about? Crocus are usually one of the first to appear. Like every other year they did not disappoint me. Around Sutphin Fountain I planted a little species crocus, Crocus siberi ssp sublimis “Tricolor.” First I found them just emerged from the soil through the fallen leaves of the Dawn Redwoods. See that slightly thicker white spear in the middle? That is a flower bud.

They’ve been coming back for five years now. When I went to another bed, one that was getting more of that precious sun, I found flowers almost fully open and showing their brilliant colors.

Along Woodstock Drive near the Southwest Border Garden the “tommies” were blooming, Crocus thomasinianus. This species is famous for being squirrel resistant. And self-sowing. These were in full bloom.

I like the silvery reverse to the petals as well.

Look at all those bright orange flower parts – anthers and stamens, stigmas and styles.

Saffron is the stigma and style of a crocus. Not this species, a different one, Crocus sativus.

Another early spring bulb is snowdrops – Galanthus nivalis. I cannot help it, I just love seeing these again each spring.

This is a tough little plant. Here’s one surging its flowers upward from under a rock outside the Formal Garden.

I love this little double one too.

Of course few bulbs scream spring like Eranthis hyemalis, winter aconite. It generally blooms even earlier than the crocus.

Some of the early daffodils are coming along strong too. I found one showing color.

And though I’ve known of Hellebous x hybridus, lenten rose, for 20 years now, I still get excited when they start budding. Look at the striking colors of these from the Woodland Edge Garden. They were already growing under the last of the fallen leaves before the snow melted completely. These stem and leaf colors will quickly turn to deep green.

We remove the old winter damaged leaves but you would not have to, I suppose. But the flowers show off better.

These little seedlings are already up and growing. I love the yellow color but some sun and they will be dark green too.

The witch hazels are still blooming and perfuming the air.

Soon the bright blue Anemone blanda, Grecian windflower will bloom as well.

I never get tired of seeing these flowers of the Japanese butterbur, Petasites japonicus. I just love saying “butterbur”. They are so other worldly. I’m sure if we ever travel like they did on the original Starship Enterprise these are the sorts of plants we will find on those strange new worlds.

My hope is that every spring will be like this. Not the weather. Not the snow has melted. Not the “winter is over spring has started.” Rather, the “this is all new.” To start each spring like it is the first and yet carry all the memories of the ones past.

The intention of i-Tree is to allow communities and other users to assess their current urban forest cover, create awareness and educational opportunities, and guide application for better management of those trees.  It has frequently been applied on a city-wide scale, but can also analyze an entire state’s urban forest, or a small, local city park.  The results are based on field data collected from random plots, accounting for tree species, height, trunk diameter, and canopy characteristics.  The data is then entered into the Urban Forest Effects (UFORE) analysis model, which calculates the amount of air pollution removed, carbon sequestered and stored by the trees, and sustained economic benefits.

100 Acres: The Virginia B. Fairbanks Art & Nature Park

To elaborate on the terminology of carbon sequestration and storage, a brief review of plant photosynthesis may be helpful.  Photosynthesis is the process of converting light energy to chemical energy in the form of sugar (glucose).  Carbon dioxide (CO2) and water (H2O) molecules are broken down with energy from the sun into glucose (C6H12O6), a usable energy form, and oxygen (O2), which, lucky for us, is expelled into the environment as a waste product.

Simplified diagram of the photosynthetic process, from biomassauthority.com

Eventually, that glucose can be reorganized into different forms: sucrose, starch and cellulose.  Each of these sugars is made of a different 6-carbon compound, which are used as sources for plant energy, or stored as organic compounds to develop plant growth and the structural form of the plant (i.e. the inner wood of a tree).  Think of these terms when discussing carbon sequestration and storage, where you can associate sequestration with removing carbon from the air for the process of photosynthesis, and associate storage with the amount of carbon that has been accumulated in the size development of the tree.  This is important, because if the tree were to die, all that stored carbon would be released back into the air or soil as the tree decomposes.

The carbon cycle as it relates to the environment (found here).

Fallen trees litter the woodland floor of 100 Acres.

The results of measuring carbon sequestration and storage have more meaning when you can understand, in part, how they fit into the plant’s life cycle.  Now that you know some of the conditions and terminology, you’re ready to hear what we found about our own, IMA urban forest!

Dwarf Fothergilla (Fothergilla gardenii)

In evaluating the entire IMA campus, including 100 Acres and the Oldfields estate, we found that an estimated total of 750 tons of carbon is sequestered annually by our tree cover, and over 10 tons of pollutants are removed from the air.  Assigning an economic value to that number means that these trees are naturally filtering the air for what would annually amount to a savings of about $47,500 associated with health costs and reduction controls.  It is interesting to note that the amount of carbon sequestered by the Oldfields estate’s mature tree cover alone is enough to counteract the annual carbon emissions from 300 automobiles, which theoretically means that we balance out our yearly carbon emissions from all staff vehicles.  That doesn’t even take into account the amount being sequestered by the remaining tree canopy.  Of course, we could never achieve zero-output on emissions using vegetation alone, but it’s encouraging to realize the impact of what currently exists.  Considering that the museum has reduced building emissions by 12,500 tons over the past five years (about 2,500 tons/year), it is clear that a significant means for balancing emissions comes not from enacting curative measures, but applying preventative measures and reducing output in the first place.  Perhaps the next step would be to measure the total output of carbon and pollutants from the campus buildings for a scale comparison.

Wooded path along the canal behind the Lilly House.

In terms of carbon storage, there are approximately 30,000 tons of carbon currently stored in tree mass at the IMA.  The amount stored annually varies according to tree type, maturity, size and health of an individual tree, but taking into account that the process of decomposition is much faster than that of building and accumulating plant matter, it is wise to consider the amount of carbon that would be emitted back into the atmosphere if we were to lose or remove the current tree canopy.  From one perspective it would seem that fallen trees themselves are contributors to the global concern for increased levels of carbon in the atmosphere, but bear in mind that a dead tree decomposing on the forest floor is a natural part of its life cycle and ecosystem.  It provides habitat for wildlife, and the decaying tree releases carbon into the soil which supplies nutrients for the live vegetation around it, food for microbes and insects, and contributes to good soil structure.  There are many such trees in 100 Acres.

Decaying tree trunk in 100 Acres plays a role in establishing a strong and balanced ecosystem.

What is of greater concern is a lack of balance, where trees are removed for the development of buildings and other such construction that will output large amounts of carbon, gases and particulate matter.  Where there is no consideration for counterbalancing these outputs is where the danger lies. Nature is in a constant process of trying to maintain equilibrium in the environment, and with tools such as i-Tree to aid our understanding of where we currently stand, we can make educated decisions that will support that process.

Eastern Redbud (Cercis canadensis) leaves in early fall color.