Help Lisa Ward Crowdfund Detroit's 'Flower House' On IndieGoGo

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Help Lisa Ward Crowdfund Detroit’s ‘Flower House’ On IndieGoGo

I’m Lisa Waud and I’m the creator of Flower House. In October 2015, along with the help from florists friends both local and from across the country, I will fill the interior walls and ceilings of a 16-room abandoned house with American-grown fresh flowers and living plants. 

Imagine it now: You walk across the crumbling threshold of a house that has been vacant for over a decade, signs of former lives gathered in the windowsills and trapped in the fencing. It overlooks six busy lanes of I-75 and the whooshing of cars on its one-way highway service drive street. The second you step inside, the city sounds are muted. Every surface is lush with color and life. A floral carpet, a wall of foliage, a ceiling dripping with vines. This disarray and decay was once a home and will blossom again.

Inspired by a long-time fascination with the installations of Christo and Jeanne-Claude, and moved by images of a 2012 Dior Show, I purchased two houses on the Hamtramck city auction in October 2014 to launch the project.

After the floral art installation, our project partners, Reclaim Detroit, will responsibly deconstruct the houses, diverting as much as 75% of the materials in the building from the landfill.

When the structures are gone, we will convert the plot of land into Flower House Farm, a functional, beautiful flower farm for my floral design business, Pot & Box.

I’ve been in business as Pot & Box for over 8 years, with one studio in Ann Arbor and one in Hamtramck. We offer floral design for special events and weddings, as well as horticultural decor and container garden services for residences and businesses across Southeast Michigan.

Eye | Prince Ea 'Anti Social Network | VIDA Sustainable E-commerce Site | Barney's Holiday Windows

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Barney’s New York’s Holiday Windows

Barney’s New York Unveils ‘Baz Dazzled’ Holiday 2014 Windows

Sustainable Fashion VIDA Startup

VIDA is a new sustainable e-commerce site founded by Pakistan native Umaimah Mendhro, who faced the music as an aspiring artist, recognizing how difficult it would be to enjoy career success. Blessed with an education at the Harvard Busines School and the acute knowledge that textiles were the backbone of GDP in her home country, Umaimah began working in social enterprise.

Enter onto the global stage VIDA, a site that pairs artists and designers with small-scale manufacturers. Fashionista reports that the startup has raised $1.3 million from investors like Google Ventures and Universal Music Group.

Umaimah, who is now married and living in San Francisco, worked at West and Microsoft where she halped build and launch technology products, writesTechcrunch.

The Vida site will launch any moment with a core collection of 75 products and a pricing strategy of items being $40-$95, perfect for a wide range of socially-conscious AOC Smart Sensuality women.

Techcrunch explains:

VIDA’s designers include painters, photographers, graphic designers, sculptors, 3D artists, architects, and textile and print designers from around the world, and include Elle Magazine’s ‘Up and Coming Fashion Designer from Sweden, Emma Lundgren,’ Vogue.com’s top 10 fashion grads to watch, Cigdem Keskin from Turkey, and Tokyo based ‘Top Hat Designer of the Year,’ Honoyo Imai.

They participate in the platform at no cost, then receive a 10% revenue share on products sold.

Daan Roosegaarde’s Glowing Van Gogh Cycle Path

Dutch designer Daan Roosegaarde’s cycle path, illuminated with patterns based on Vincent van Gogh’s painting The Starry Night, officially opens in Nuenen, dazzling our inner spirits.

Anti Social Network

Rapper Prince Ea ‘Why I Refuse To Let Technology Control Me  see FB

The Antisocial-Media App The New Yorker

In “River of Shadows,” her book about the pioneering photographer Eadweard Muybridge, Rebecca Solnit writes about how the development of new technologies in the nineteenth century—railroad networks, telegraphy, photography—was routinely referred to by the stock phrase “annihilation of time and space.” This annihilation, she writes, “is what most new technologies aspire to do: technology regards the very terms of our bodily existence as burdensome.… What distinguishes a technological world is that the terms of nature are obscured; one need not live quite in the present or the local.” The Internet has accelerated this process to a remarkable degree, alleviating more fully than ever before the burden of bodily existence. It allows us to be where we are not, but this also means not being where we are. By generating a kind of omnipresence—whereby we are always available, visible, contactable, all of us there all the time—the technologies that mediate our lives also cause us to disappear, to vanish into a fixed position on the timeline or the news feed. (“You are invisible,” runs the weirdly urgent message on my Gmail chat sidebar. “Go visible.”) Existing online means inhabiting a series of cloaks, a whole complex ontology of lurking and attenuated presence. And there is now that strange new sense of guilty truancy from leaving e-mails and phone calls unanswered while conspicuously tweeting or posting on Facebook—a social breach for which we don’t yet seem to have developed any sort of etiquette.

Georgia O'Keeffe's Sustainable, Slow Living New Mexico Lifestyle

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Georgia O’Keeffe’s Sustainable, Slow Living New Mexico Lifestyle AOC Living Essay

The gardens of herbs, vegetables and fruit trees and flowers she so lovingly and practically created at Abiquiu are now owned and operated by the Georgia O’Keeffe Museum with visitor tours available. Her first New Mexico property, Ghost Ranch, is not open to the public but used as an Education and Research Center. 

Currently the Museum in Santa Fe, NM, is offering the exhibit O’Keeffiana Art and Art Materials which explores O’Keeffes use of materials, mediums, her simplistic approach that underpinned her art by comparing her initial line drawings or Polaroid photographs to the completed works. She worked from the same simplistic value system that she lived by.