P R E S E RVE M A K I N G S O F A D I F F E R E N T W AY O F L I F E
VOLUME ONE
P R E S E RVE
P R E S E RVE MAKINGS OF A DIFFERENT WAY OF LIFE
EDITORIAL DIRECTOR Lisa Guthrie
CREATIVE DIRECTOR Jerry Takigawa
DESIGN & PRODUCTION Takigawa Design and Jay Galster Preserve 1 Rancho San Carlos Road Carmel, California 93923 © 2016 Chamisal Press. All rights reserved. Printed in Canada by Hemlock Printers. No part of this publication may be reproduced, distributed, or transmitted in any, or by any, means without the prior written permission of the editor, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. The views expressed in Preserve are those of the respective contributors and are not necessarily shared by the company or its staff. Cover photograph: Allen Kennedy
CHAMISAL PRESS
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Welcome to Preserve
W
e naturally think of The Preserve as a place. But when you consider the word “Preserve” as a verb, it can wear many hats.
One can preserve contentment, space, flavor, joy, time, sanity, peace, relationships, energy, architecture, creativity, and—of course—the land, and the list goes on. The heart of Preserve is simply to call attention to the people, pursuits, pleasures, and philosophies that emerge from the concept of living in harmony with nature. The common thread is our love of the environment, convivial community, and life’s ongoing spirit of inquiry. We hope Preserve will become a welcome addition to your reading list as we bring you anecdotes, interviews, recipes, artwork, and insights inspired by the spirit of a distinctive California community—the Santa Lucia Preserve in Carmel, California.
LISA GUTHRIE
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Table of Contents CONTRIBUTORS 6 THE WAY BACK HOME 12 YOUR OWN PIECE OF GEOGRAPHY 16 A LIGHT FOOTPRINT 22 INSPIRED 24 SIMPLE GIFTS OF A GARDEN 28 FOUR RECIPES FOR A GARDEN DINNER 32 AT THE TOP OF ITS GAME 42 BURNS 1876: A LEGACY OF CRAFTSMANSHIP 44 ON THE WINGS OF A HORSE 48 NATURE ENHANCED 50 KEEPING IT WILD 52 NATURE’S DESIGN 58 OUR PARTNERS 62 SIGN LANGUAGE 72
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Contributors CHRISTY FISCHER Christy Fischer is a native of California’s Central Coast with over 25 years of conservation and natural lands restoration experience. Before coming to the Santa Lucia Conservancy in September 2011, Christy spent eleven years with The Nature Conservancy in policy and land conservation. She served as Central Coast Project Director and was responsible for all of TNC’s land protection and partnership efforts in the Monterey Bay region. In that position, she received state and national awards for leading collaborative conservation efforts with private landowners to permanently protect over 23,000 acres of land and 10 miles of rivers and streams, and working with Salinas Valley farming interests to ensure new federal agricultural policies protect biodiversity. She holds a B.A. in Environmental Studies from the University of California, Santa Cruz, and is an alumna of the California Agricultural Leadership Program, a two-year fellowship.
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P H OTO G R A P H Y A L L E N K E N N E DY
ALLEN KENNEDY Allen Kennedy is an advertising photographer based in Boulder Colorado, specializing in landscapes, with some architecture and lifestyle thrown in for good measure. He graduated from Art Center College of Design in Pasadena, and shot primarily studio work before realizing that it’s a big beautiful world out there, and you have to travel to appreciate it. Commercial assignments have taken him to far-flung destinations from St. Petersburg, Russia, to Sao Paulo, Brazil. When he’s not shooting, he’s an avid trail runner in the foothills around Boulder.
MARIANNA LEUSCHEL After running a design studio in Sausalito for 20 years focused on sustainability in land use, Marianna has taken on the role of communications advisor, helping individuals and organizations tell their stories to create positive change in the world. She is passionate about promoting innovative approaches to land conservation, protection of wildlands and biodiversity, the sustainable use of natural resources, and climate change solutions. MICHELLE MAGDALENA There is a Joie de Vivre in Michelle’s photos and that flavor is something that all of her clients are looking for. Michelle is best known for her fine art photography but was trained commercially at Brooks Institute of Photography in Santa Barbara, CA. Michelle has been awarded the International Photo Award, 2007; Penn Women of America; 2011; and Hallmark Hall of Fame in 2006. Excellent photography takes planning and foresight. Her favorite clients have a vision and know exactly what they want, which Michelle loves making a reality. Michelle’s message to her clients is—Let’s CREATE! FRAN ENDICOTT MILLER Fran Endicott Miller is a freelance feature writer for a variety of newspapers, magazines, and websites including LuxuryTravelMagazine. com, Haute Living, and Walnut Creek Magazine. A second generation journalist, Miller’s writing gene was inherited from her father, a celebrated political editor formerly with the Los Angeles Times and the Sacramento Bee. Miller is a self-confessed pop culture junkie with a colorful background in politics, television, and professional sports. (She takes particular pride in having established the Golden State Warriors community relations efforts.) She enjoys exploring the getaway gems, restaurants, and special events that make the Bay Area (and beyond) buzz.
TOM O’NEAL Tom O’Neal is a maverick in the world of wedding and people photography. His intuitive connection to people enables him to approach each unique event with a signature of its own. Reactive photography has been a part of O’Neal’s repertoire long before the term popularized. Privileged to have privately photographed famous musicians and celebrities, he learned how to observe and act on the moment. “I never work off a formula. I look for the individual character that tells the story with every session, event, or wedding. I put people in a relaxed state, and make it fun…” Tom O’Neal has earned a reputation as a top wedding photographer, and continues to approach photography with a painterly esthetic. His studio is in Carmel, California. GARY WAGNER Gary Wagner is a commercial photographer who has been based in San Francisco for more than twenty years. After studying journalism in college, he discovered two things: he likes to tell stories and loves taking photographs. Gary joined Gamma and Picture Group photo agencies, and shot magazine stories and documentary work for clients including Time, Der Spiegel, and Business Week. As the agencies went out of business he continued to work with trade publications and corporations, keeping his journalistic style and storytelling in the work. Whether it’s still photos or motion, Gary loves to shoot a story.
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PATRICE VECCHIONE Author Patrice Vecchione’s newest book is Step into Nature: Nurturing Imagination and Spirit in Everyday Life, from Simon & Schuster. Her other books include Writing and the Spiritual Life: Finding Your Voice by Looking Within, two collections of poetry, and several anthologies from such publishers as McGraw-Hill and Henry Holt. Patrice offers creative writing and collage workshops. Her newest venture is a one-woman show, Words Dressed & Undressed: Women, Identity & the Clothes We Love to Wear, that she’ll perform the first weekend in November at the Carl Cherry Center for the Arts in Carmel.
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www.burnscowboyshop.com
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Burns Cowboy Shop struck a deep chord when we discovered their rich, innovative history and commitment to excellence in materials and craftsmanship. The Burns family is dedicated to making all of their products at home in America. This commitment to support the artisans who create these time-honored crafts preserves a way of life and traditions for future generations.
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The Way Back Home W O R D S B Y P AT R I C E V E C C H I O N E | P H O T O G R A P H Y A L L E N K E N N E D Y
“The quest for home has provided me with incredible joys, silly fun, and adventure.” —Christina Waters, Inside the Flame: The Meaning & Magic of the Everyday
W
here is home? Do you find it in the house you
page until suddenly they didn’t. My inner compass had
return to at the end of a particularly long day
lost its true north. The place my stories had been coming
or outside in a garden that’s just come into
from when I was in the flow is my truest home. After some
bloom? Are you most at home wearing the scruffy, old pair
nail-biting weeks, time that included many long bike rides
of slippers that your spouse insists ought to have been thrown
and lots of calming tea, my authentic voice returned. And
away a long time ago? Exactly what is home, anyway?
doesn’t our ability to feel at home in the world and with
My physical dwelling, the place where I wake up in
others stem from that internal sensibility?
the wee hours of morning, is a small, well-lit, suburban house where the doors stay open to the day in nearly every
Curious about how other people experience home,
weather. There’s always a bouquet of fresh flowers in the
where they find it, and how they know when they have,
living room. The scent of garlic often fills the kitchen at
I decided to ask around. Belgian born Gaston Georis, a
suppertime. One beloved husband and two beloved cats
man of many talents—restaurateur, college professor, and
know this as their home, too. My house is not the only
composer—says, “Home is a creation based on commit-
place where I feel at home. I have a few homes, but only
ment and love, where members of a family feel free, em-
one requires a key to enter.
braced, and seen.”
There’s Jacks Peak Park where I’ve hiked for years. If
When he and his wife began a family, they wanted
you were to come for a walk with me I’d point out the ridge
to create a safe, protected place where they hoped, even
where once I saw a mama and baby bear ambling along
once their two sons became teenagers, they’d want to hang
at a distance, seemingly quite at home. Then there’s Man-
out. Instead of rushing to get out of the house, the Geo-
hattan, my first home. It will forever be the place where,
rises’ home became a boisterous gathering place for their
despite the hustle-bustle, I feel a quality of ease unlike any-
sons and their sons’ friends.
where else. But my favorite home is one that doesn’t exist For Gaston, home doesn’t just exist inside a private
in the physical world. Some years ago, I received a contract to write a book. Work had begun well. The words drifting effortlessly to the
dwelling. “It’s made up of a group of people who take care of their garden, their beach, their town.”
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Ask interior designer Susan Wil-
year-old daughters, says, “My parents
liams, and she’ll quickly take you out-
divorced when I was five, and shortly
side, confirming that the landscape is
thereafter my mother remarried a man
as much a part of home as the house
who was abusive. As a child, home for
itself and the people who may share it.
me was not a safe place.”
Though she grew up in a large fam-
Maria pauses long enough that I
ily that was often on the move, she
can almost feel the passing of the years
spent each summer at her grandpar-
from then till now. “My childhood
ents’ property on Lake Michigan. “I’d
inspired me to make a safe home for
walk in the woods with my grandfather
my daughters,” she says. “That’s the
who’d point out all the different trees
first priority. Home is a place where
in the forest. He saw each tree as an in-
they know they’re loved.” She and her
dividual with as much right to be there
husband have made a home for their
as a person has.” Like Gaston, Susan
young family that’s warm, full of bright
discovered early that she’s a part of a
colors and art—a welcoming place.
larger sense of place.
“I love nature,” she says, “I find
In her interior design work she
it not only beautiful and healing, but
emphasizes the use of natural materi-
nature is a good model for how to be
als and the talents of local craftsmen
accepting.”
to create homes that invite people in.
With a laugh, she tells me, “My
“The unique beauty of the central
home is not always tidy. When I was a
coast—its rugged coastline, sweeping
child I was punished for not being tidy
valleys and intimate woodlands—in-
so now I allow my girls to have their
spires and directs our designs.”
messes!”
Susan is conscious of the fact that
The insecurity of my own child-
our fast-paced life makes a comfort-
hood led me to crave stability. I’m
able home more important than ever.
happy to have put down roots in the
When assisting clients, she empha-
home life my husband and I share.
sizes, “Home is about the spirit that
Though pulled to find a home further
we bring to a place. It doesn’t matter
away from cars and streetlights, I’m re-
whether it’s a shoebox or a castle.”
luctant to uproot.
Both Gaston and Susan had se-
The more people I asked—from a
cure childhoods out of which to create
renaissance man to a home designer to
their homes as adults. How does hav-
a teacher—the greater the floor plan of
ing a difficult start influence the home
my understanding about home got.
that one makes in adulthood?
Time to ask a psychotherapist,
California State University Mon-
somebody who attends to the deep-
terey Bay professor and writer, Maria
er meaning of things. Frank DeLuca
Villaseñor, the mother of twin four-
helps people to better understand
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Curious about how other people experience home, where they find it, and how they know when they have, I decided to ask around.
themselves and their relationships. He
their imaginations can run free.
understands that home is also about
sen Ohlone native people. Linda Yamane, Rumsen Ohlone basket weaver
connection, as “the intersection be-
Before our chat, Lisa Maldona-
and tribal scholar, shares this: “My
tween the physical atmosphere and an
do Bradford, who lives her working
Rumsen ancestors lived on the land
inner sense of self.”
life outside and on her feet, picks up
that is now The Preserve for thousands
“There’s something important,”
the dictionary. She is particularly in-
of years, following traditions and using
Frank says “about the relationship be-
trigued by one aspect of home, one
technologies that had been refined
tween house and self.” Not long ago,
connected to sports—“to bring it
through the ages. This resourcefulness
he and his partner left Carmel Valley
home, a returning to, a goal.”
assured their ability to not only survive
to resettle in Jacksonville, Oregon, in
An interpreter at Asilomar State
on the land, but to thrive. Surely they
part because they felt that the emo-
Beach, Lisa connects visitors to the
were as familiar with the minute de-
tional and spiritual growth they need-
park’s cultural and natural resources.
tails of this landscape as we are with
ed to do required them to find a new
She knows home to exist not only at
the homes we eat and sleep in every
place to live. “We were looking for
her house with her family but also as
day. For those of us whose Rumsen
a sense of harmony between what a
a place of employment, because at
ancestors lived there, it will always be
place could hold and who we are; we
Asilomar she also experiences “a con-
our home.”
weren’t just buying a house,” he says,
nection to a particular place, a sense
“We were saying we want to be a part
of belonging.” The waves offer that, as
The definition that catches my
of this community—the people, the
do the trees leaning into the wind and
attention is one that incorporates
place, the possibilities.”
the paths that wend through the open
seeking: “To navigate toward a point
Bernard
land. Connecting with visitors, who
by means of coordinates other than
Trainor, whose firm does a lot of rural
come from around the world to spend
those given by altitudes.” Yes, that’s
projects, is interested in the spirit of a
time in a place that uniquely blends
it. Whether it’s my home that opens
place. He turns to the land for inspira-
inner and outer, reaffirms for Lisa a
with a key or the one within my cage
tion. “Instead of home as shelter and
sense of connection, of home.
of ribs, when at a distance, I’m always
Landscape
architect
home as nesting,” Bernard tells me,
It’s with surprise that Lisa tells me
“we’re often trying to do the opposite
“that a number of tech companies
of that. Yes, we want people to be com-
choose to hold their annual confer-
fortable where they live, but we also
ences at Asilomar where there are no
want to draw them out.”
televisions or phones in the rooms and
His desire is to create an interface
where the Internet connection is spot-
between life lived inside and life lived
ty, at best,” because they know they
outside a house, to ease the dwellers as
need a break from being electronical-
they step out in the morning and re-
ly connected before they can interact
turn at day’s end. Due to the busyness
face to face with each other and the
of our lives, he also sees his work as
actual world.
“creating decompression chambers”
Santa Lucia Preserve has been
where people can have the opportu-
home to people for a very long time.
nity to think a little differently, where
The first to live there were the Rum-
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looking for a way back home.
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P O R T R A I T B Y G A R Y WA G N E R
Your Own Piece of Geography A N I N T E R V I E W W I T H D AV I D H O W E R T O N , CO-FOUNDER OF HART HOWERTON. I N T E RV I E W M A R I A N N A L E U S C H E L | P H OTO G R A P H Y A L L E N K E N N E DY
D
avid Howerton first began work on what is now
We did this in several ways. First, by placing 18,000 acres
the Santa Lucia Preserve in 1987. His first task
in a preserve of open spaces and wildlands, we anchored
was in helping the Oppenheimer family plan
its underlying value. Second, by establishing an adequate-
the optimum transition for a 20,000-acre ranch that had
ly funded Conservancy, we guaranteed the protection and
been held in the family trusts for 50 years. Pacific Union
experience of this natural coastal setting for future genera-
acquired the ranch in 1990 and retained Dave and his
tions. Third, by committing that anything built or managed
firm, Hart Howerton, as master planners of The Preserve,
on the land would be subordinate to the natural wildness
and as architects and landscape architects of its facilities,
of this superb big-scale landscape. These principles apply
which included establishing the Design Guidelines for all
to everything within The Preserve—buildings, fences and
new construction, restoring the Hacienda, and building the
signs; new landscapes, roads and pathways, even how cattle
Gatehouse, the Golf Clubhouse, and the Sports Center.
are moved through grazing lands.
Unsurprisingly, Dave became an owner and member at The
Finally, taken together, these decisions helped craft a strate-
Preserve, and his firm has designed many of the homes here.
gy for creating a community. We knew we needed to attract
ML: What were the governing principles and considerations in creating the concept of a ‘Community Preserve’ and for generating the master plan for the Santa Lucia Preserve?
families who would grow to become a strong community. Since the early years of settlement of this continent a few notable American families acquired majestic landscapes to preserve and enjoy, and, in the process, secured family leg-
From the beginning, we believed that the extraordinary
acies. We wanted to extend this tradition at The Preserve,
value of this 20,000-acre property lies in the beauty, vast-
to give the families who fall in love with this one of a kind
ness and richness of its landscape. Placing the land in the
setting a way to protect it for those who would follow. We
care of a group of like-minded owners and structuring the
thought we had the perfect place to do that.
means to protect its vitality and beauty were fundamental in the planning.
ML: How did you select the original 300 home sites within the vast and varied landscape at The Preserve?
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We wanted each homesite to be a distinct piece of geography,
Which type of climate do you prefer? Warm, sunny days,
with its own setting, sense of place and strong identity. That
ocean-influenced cooling, extended winter sun? Where
is why the nature of the homesites varies so widely—from
will your social life be oriented—in Carmel, at The Haci-
open meadows and grasslands, to wooded hillsides, to oak
enda, at the Golf Club?
savannas, to knolls and ridge tops. Consequently, the Design Guidelines for each type of homesite are different as well.
The best way to find just the right spot for your family is by exploring—by hiking the canyons, by climbing to the
Month after month the developer and visionary of The Pre-
ridge tops, by getting out on the land and wandering the
serve, Tom Gray, and I explored every part of the 31 square
Chamisal, the Mesa, Las Garzas, Halls Ridge, Touché,
miles of The Preserve on foot and on horseback. We select-
Peñon, and Long Ridge. Experience it all. Feel which
ed sites that would provide special settings with great views,
places call for you to return.
yet, for the most part, would not be seen from any other homesite. We looked for places to build homes that would balance a sense of privacy, seclusion and “refuge” with the “prospect” afforded by vistas of the big surrounding landscape. As you can see, we found places that were just drop-
The mood of this place varies at different hours of the day, and, of course, with each season. Such is the liveliness of wild places. So, the best approach is to imagine how you want to live and explore how this geography best supports that.
dead spectacular, and then figured out how to best honor
Practically everyone who comes here—who roams and
the natural beauty and the ecological role of that place.
wanders and experiences the place—forms an individual
We also sketched out an idea for a home on each homesite to demonstrate ways to make full use of the particular qualities of its natural features—its topography, its vegetation, views and microclimates—to be sure the buildings and the owners’ use of the outdoor space would blend into the existing landscape. This helped us to establish the corners of the homeland boundaries. We thought about orientation
sense of place. It’s different for everyone, and it can be subliminal. It has to do with where you are from and what you are familiar with. It depends on the things you have experienced in your lifetime, where you are most comfortable, or most inspired. This can be thought of as your own personal “biophilia,” the instinctive bond each of us has with other living systems.
to the sun and local breezes. We considered how a fam-
The discovery process that worked so well with the orig-
ily would use and experience the site from both indoors
inal Preserve trustees and founding members can still be
and outdoors. We followed architect Joe Esherick’s mantra,
applied by prospective members today. Come stay awhile,
“Don’t build on your best spot; build next to it, so you can
explore and discover The Preserve for yourself, and dream
still appreciate that special place.”
about what living here at The Preserve might mean for you
ML: With so many distinct homesites, each with its own setting and
and your family.
landscape character, how should a new member approach selecting the
ML: After 20 years, over 115 homes have been built at The Preserve. How
‘right geography’ for their family?
would you describe the architectural vernacular that has emerged from
This really is where the fun starts, and there are many
using the Design Guidelines your firm originally authored?
questions to open this conversation. Where do you live
Our objective with the Design Guidelines was to create a
now? How do you want your experience at The Preserve
community identity that is distinctly The Preserve’s—one
to be similar or different from that? How much privacy or
that is unified but still diverse—through a combination of
seclusion do you want? What type of view inspires you?
new architecture and landscapes that celebrate and enrich
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the ongoing history and culture of the region and The Pre-
Travel, observe, and collect ideas. Part of the purpose of the
serve lands.
Design Workbook we’ve created is to help you ask the right
The primary design philosophy at The Preserve is to subordinate architectural design and buildings to the continuity of the landscape. So the Design Guidelines have more to do with controlling the siting, size, color, materials, orien-
questions and facilitate a conversation with your family and architect and landscape architect. It is designed to help organize your ideas, dreams and desires and think about how those can be represented physically at The Preserve.
tation and landscaping of homes. We wanted buildings to
Don’t forget, this is a once in a lifetime process you should
be climate responsive and use quality local materials, arti-
look forward to and enjoy. We had great times in the plan-
sans and resources, and these are the qualities of The Pre-
ning and design of The Preserve, and the design and con-
serve’s vernacular rather than an architectural style.
struction of your own home should be as exciting.
The intent of the Guidelines was in fact not to identify a
ML: Looking forward to the next 20 years, do you have any thoughts for
specific style or to reproduce replicas of older buildings, but
today’s members of the community to consider?
rather to inspire members of the community to interpret the Guidelines in their own way and encourage a range of personal expression, from traditional to contemporary, which is still rooted in the region’s indigenous architecture. It is the commitment to the basic design philosophy of the Guidelines, combined with each family’s individual interpretation of them, which has, in fact, created The
The Preserve has created a unique ownership opportunity for a philosophically like-minded group of people whom collectively value and care for the ongoing protection of this one-of-a-kind place. However, The Preserve is a work in progress. It is still, and should always be, a community in the making.
Preserve’s own vernacular—a design vernacular where the
One particular area of opportunity for members of The Pre-
landscape setting dominates the scene.
serve today is to create a more self-sufficient and resilient
ML: Designing and building a home at The Preserve is a rare opportunity given the limited number of members. How should a family begin to think about building a home here that will serve their needs today, as well as for future generations? This is a very exciting challenge. You should think about how you want to live here as a couple, as a family, as an individual. How do you want to spend special time alone and together with each other, with friends and family? The Preserve should be a place to relax, to renew and restore, an
community relative to renewable energy, water conservation and new building technologies—both at a home and community scale. This is the perfect place to apply many of today’s latest sustainable systems and design practices. What we did in the planning and design process was innovative 20 years ago. And, of course, any successful place must evolve and adapt to the changing needs of the people who make up the community—accommodating the way families want to live today, and in the future.
opportunity to balance work and life, and create a well-inte-
The Preserve community will continue to innovate, yet
grated living experience.
with intention that’s consistent with the philosophy that
As a legacy property, think about how your lives and families will evolve over time. Imagine how you want to live not only today, but after your children are grown and have children of their own. Imagine those possibilities, so it will last for the next generation and the generation after that.
guided the original planning of The Preserve and brought families here in the first place—to live immersed in the beauty and vitality of this extraordinary California landscape and the community of exceptional people that shares its stewardship.
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M E D I TAT I O N S O N G O L F
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A L I G H T F O OT P R I N T What makes a community special? Geography, history, culture, and its people, of course. This philosophy is also at work on this golf course. Today’s golf course operators take their responsibility to the land seriously, availing themselves of newly available resources and technologies to more gently maintain golf courses. Recent renovations to the course at Santa Lucia Preserve were designed not only to improve play but also to sharply reduce the amount of water needed for irrigation. Because “preserve” is more than just part of the name. PRESERVE 23 P H OTO G R A P H Y A L L E N K E N N E DY
Inspired WO R DS BY F R A N E N D I COT T M I L L E R | P H OTO G R A P H Y M O N I CA R I C H KO S A N N
P
arker and Graham Phillips chose their home
rector and a stage actor with the Los Angeles-based Echo
ground of the Santa Lucia Preserve as the backdrop
Theater Company. For several years, he and his younger
for their critically acclaimed short film, The Mediator.
brother. Graham, a 23 year-old Princeton student, have
A classic western set in the 1890s, no setting could be more
retreated to the family home within The Preserve, where
perfect that one of California’s remaining intact land grant
hiking and horseback riding in an untamed land are favor-
Ranchos.
ite pastimes, and bits of croquet, lawn bowling, and golf
The Mediator tells the story of ‘The Boy’ (played by Graham) who has stolen away the only daughter of ‘The In-
provide a counterbalance to the hustle of their homes in Los Angeles and New York, respectively.
dian’ (played by Darrett Sanders). The two standoff atop
“The Preserve is digital detox for us,” says Graham,
horses across a pasture surrounded by lichen-clad oak and
whose acting roles include Zach Florrick on the CBS se-
brush. Their dispute—whether The Boy will be allowed to
ries The Good Wife. “We spend our holidays with family at
keep the daughter and, if so, at what price—is negotiated
The Preserve, and tried to infuse the film, especially role
by ‘The Mediator’ (played by seasoned stage actor and voi-
of the Mediator, with what we call ‘Preserve time.’ Here,
ceover artist Michael McColl). He brings a cowboy-style
we enjoy the slower pace of vaqueros, the Spanish cowboys
shuttle diplomacy to the film by riding back and forth be-
who once lived and ranched this land, and who trained
tween the parties, communicating offers until a resolution
their horses with slow and steady commitment rather than
is reached.
through force.”
The authenticity of The Preserve inspired the Phillips
The Phillips brothers cast their family horses for appro-
brothers to make their film on this land. Unquestionably,
priate roles, of course. Parker and Graham thought why
this majesty pops from the screen. Viewers will be happy
not: They knew their horses and the horses knew them.
that the writing, acting, cinematography, and sound effects
But the Jose Cuervo and TJ did not know cameras, drones,
also deliver.
clappers and all the other noisy movie-making gear. Al-
“We knew we wanted to film a western and The Pre-
though generally cooperative, it took a few takes to get two
serve was perfect for the era,” says Parker, 28, the film’s di-
non-Hollywood horses in sync. But they did eventually hit
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their marks, complemented by expert sound and film ed-
setting for the weekly TV series Lancer. Many commercials
iting that captured their footsteps, the movements of the
and a number of films. including Escape to Witch Mountain,
saddles, stirrups, and bridles—everything that bonds a rider
the first Muppet Movie and Woody Allen’s Sleeper also rolled
to his steed.
here.
The bar fight scene was filmed in the historic hay barn
The Mediator is the first film to capture the setting from an
which The Preserve rebuilt using the original barn wood
insider’s perspective, though. A fellow Preserve landowner
from the 1920s to create a unique event venue. To recre-
granted the Phillips brothers access to any of his parcels,
ate the 1890s time period, the Phillips used the contractor
opening up a world of location possibilities. The quality of
who built their Preserve home to fashion a bar built with
the production, set amid authentic, expansive, untouched
wood from an 1800s barn. They nabbed their sister, Aman-
natural beauty, earned The Mediator an official selection at
da Saunders, to play the bar’s good time girl, and the Ray
national and international film festivals, and the top prize as the Best Short Film at the 2015 Carmel International
“We spend our holidays with family at The Preserve, and tried to infuse the film, and especially The Mediator role, with what has come to be known as ‘Preserve time,’ a slower pace exhibited by the Vaquero cowboys who once inhabited this land and trained their horses with a slow and steady hand rather than through force.”
Film Festival. Success of The Mediator must be credited as well to Parker and Graham’s father, Layn Phillips, a renowned former judge who heads a successful mediation business. After Parker and Graham had settled on The Preserve as the site for their first western, story ideas came and went until one evening when their dad relayed the details of a heated mediation between two obstinate clients. “Then it hit us,” says Parker. “We’ll do a short about a tense mediation, present a human dilemma, raise the stakes, and set it in 1890’s gold country.” As the credits roll at the end of the film, the senior Phillips is subtly honored: “Dedicated to the greatest mediator of all.”
LeMaire, The Preserve’s Food & Beverage Director, as
The two brothers have chosen their next project—a
the bartender. But that wasn’t LeMaire’s only job. He also
neo-Western thriller inspired by true events. They feel for-
kept the production crew and actors well fed. He obvious-
tunate to have cut their filmmaking teeth at The Preserve.
ly made an impression. When McColl was asked to name
As their The Mediator star McColl says, “I’ve heard of heaven
challenges faced during the production, he said, “Choos-
and hoped to see it someday. Until then, there’s the Santa
ing my breakfast sandwich and smoothies. They were all so
Lucia Preserve in Carmel.”
damned good.” The Mediator is not the first time the entertainment industry has set up in this land. In the 1920s, during George Gordon Moore’s ownership and still known as Rancho San Carlos, starlets and chorus girls arrived to enjoy polo matches and lavish parties. In the 1960s, the Rancho became the
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Simple Gifts of the Garden WO R DS BY F R A N E N D I COT T M I L L E R | P H OTO G R A P H Y TO M O ’ N E A L
W
hat is a community garden’s role in a fast-paced world where any food item is available at any time, prepared in multiple fashions, at reasonable prices? Why, when never before has so much sustenance
been so readily accessible, do we continue to crave the garden experience? When our daily to-do lists rival the length of a bestselling novel, why do we yearn for sun and soil, and the manual labor involved in growing our own food? Ask gardeners and the answers will vary, but the heart of each reply will include one simple truth: gardening nurtures mind, body, and soul. Pulling a carrot from the warm earth or picking a sun-ripened tomato from the vine elicits something primal in us. Tending to the earth and creating bounty, and receiving nourishment in return, is how our ancestors survived. It is what man was hardwired to do. When we garden, we connect to a true essence of being human. Consider that the first American grocery stores did not appear until the mid-1940s. What did we do before then? Where did our food come from? We were in the garden or the field growing and gathering the ingredients for our meals. Modern conveniences have made it possible for cultivation and preparation of food to be simply a hobby. But as with many things in life, everything old becomes new again. What was once a necessity has become a voluntary passion. The proliferation of cooking shows and competitions, photo-driven cookbooks, glorious farmer’s markets, and the burst of food-centric blogs underscores our fascination with food—where it comes from and what to do with it. We’re feeling our roots. It’s a good thing. In addition to improving nutrition, gardening benefits phys-
“A garden is the best alternative therapy.” —Germaine Greer
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ical health. A day of planting, harvesting, wheelbarrow pushing, and dirt shoveling provides the same physical fitness boost as a day at the gym. And the rewards go far beyond a slimmer waistline. Time spent in the garden improves muscle strength, increases flexibility, and helps prevent osteoporosis. Garden time can also improve mental and emotional well-being. While hardly scintillating, weeding and watering can be therapeutic and restorative. These simple acts improve mood and mental outlook by reducing stress, anxiety, and depression. To widen the benefits, community gardens also create social ties. Stewardship of a garden builds a greater sense of community. Children, in particular, benefit. In addition to the health benefits of fresh and organic fruits and vegetables, they learn cooperation, creativity, and leadership. Sharing food from a community garden builds relationships, improving community cohesion. Gardens provide the perfect ground for people of all ages and backgrounds to pitch in, interact, and share both the work and the rewards Humans, plants and animals alike benefit from a well-tended garden. Community gardens reduce negative environmental impacts and improve the ecology of an area. They improve air and soil quality, increase biodiversity of plants and animals, and reduce food miles required to transport food and waste through composting.
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Perhaps it is the work involved in
restaurant and catered events.
gardening that truly binds a commu-
The Goddesses started a humble
nity. Growing, tending, and harvesting
garden that is now managed by pro-
crops is not a simple process. A gar-
fessional gardener Nicky Thomas. Its
den’s success depends on soil chem-
bounty is featured on The Preserve’s
istry, drainage, plot size, spacing, and
food and beverage menus. And, beau-
weather patterns. Each must be reg-
tifully, it supports The Preserve’s CSA
ularly assessed. These are chores, yet
(community-supported agriculture)
their doing and their results provide
program that hand-delivers a box of
meditative pleasure. To grow healthy,
fresh garden produce and a bouquet of
fruitful crops is a challenge—yet one
garden-grown flowers to Preserve res-
that delivers immeasurable rewards.
idents each week. Each box contains a mix of whichever fruits and vegeta-
“There is more pleasure in making a garden than in contemplating a paradise.” —Anne Scott-James
bles are at their peak of flavor: lettuces, herbs, carrots, potatoes, beets, green beans, and varied fruits. A community garden’s most basic functions are to provide food, to share the fruits of planning and follow-through with your home commu-
Santa Lucia Preserve residents
nity. A green bean that has traveled
Laura Gamble, Pat Eastman, Sue
only a few feet from soil to sink to pot
Fuller, Sandi Hahamian, and Teri
to plate is one of humanity’s oldest
Goodman, The Preserve’s “Green
gifts, and a newly modern one here at
Goddesses,” were each well aware
The Preserve.
of the rewards bestowed on those who aren’t afraid of a little dirt under their fingernails. The quintet came together in 2014 to establish the Hacienda Garden on a swath of land just outside The Hacienda dining room. It inspired other residents and management. It grew and grew, and now provides the basis of The Preserve’s ‘farm-to-fork’ program. It provides Executive Chef Jerry Regester a bounty of fresh, organic ingredients for his outstanding cuisine for The Hacienda
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Four Recipes for a Garden Dinner P H OTO G R A P H Y M I C H E L L E M AG DA L E N A
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Lavender Martini B Y R A C H E L T O V E S - F AV E R O
Lavender Simple Syrup 1 cup Sugar 1 cup Water 8 sprigs Fresh Lavender Combine sugar, water and lavender in a saucepot. Over high heat, bring to a boil. Cook only until sugar is fully dissolved. Remove from heat. Allow to cool completely. Martini Fresh Squeezed Lemon Juice (1 cup) Vodka of your choice Ice Lemon Wedge Sugar for rimming Fresh Lavender Sprigs (for garnish, optional) Fill a martini shaker with ice. Add 1/2 oz lemon juice, 1/2 oz Lavender Simple Syrup, and 3 oz vodka. Moisten the edge of a martini glass with the wedge of lemon. Dip rim in sugar. Shake martini vigorously. Strain into glass. Garnish with a lavender sprig.
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Hacienda Garden Lettuce-Sorrel Vichyssoise Shaved Cucumber and Chive Flowers BY EXECUTIVE CHEF JERRY REGESTER
Yield: 6 Servings Vichyssoise 2 tbsp Butter 2 each Leeks (white and light green parts only) 1 each Large Potato (peeled and diced medium) 3 cups Vegetable Stock 2 each Cucumbers (peeled, 1 diced small; 1 shaved into thin strips) 2 heads Green Leaf Lettuce (chopped) 1 cup Fresh Sorrel 1 cup Fresh Spinach 1/2 cup Heavy Cream 1 cup Extra Virgin Olive Oil 1/2 each Lemon Salt and Pepper (to taste) Chive or other edible flowers for garnish (optional) Clean leeks well and dice small. Melt the butter in a soup pot. Add leeks and a pinch of salt and pepper. Cook slowly for approximately 10 minutes, stirring as needed to make sure the leeks do not brown. Add diced potatoes and stock. Simmer until potatoes are tender, about 15 minutes. Add lettuce, cream and diced cucumber. Simmer approximately 5 minutes. Place hot soup, sorrel and spinach in blender. Blend until smooth. Strain through a fine sieve. Chill for several hours. Check seasoning. Add salt and pepper to taste. Plating Serve cold. Garnish with shaved cucumber, and chive or other edible flowers, or even crab meat, if you like.
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Summer Melon Salad Arugula, Frisée, Candied Walnuts, Vanilla Bean Vinaigrette BY EXECUTIVE CHEF JERRY REGESTER
Plating
Yield: 6 servings
1 lrg Summer Melon (cantaloupe, honeydew or whatever
Vanilla Bean Vinaigrette
is ripe)
2 ea Vanilla Beans
2 cup Arugula
4 oz Champagne Vinegar
1 head Frisée
1 tsp Ground Black Pepper
4 oz Vanilla Vinaigrette
1 tsp Sea Salt
1 cup Candied Walnuts
12 oz Extra Virgin Olive Oil Split the vanilla beans lengthwise. Steep the vanilla bean pods and seeds in the warmed champagne vinegar. Season with salt and pepper, add olive oil and blend with hand blender. Strain through a fine sieve.
Peel, seed and slice the melon into about 1/4-inch slices. Place two slices of melon on each plate. Toss the arugula, frisée with the Vanilla Bean Vinaigrette. Place on top of the melon slices, Sprinkle with Candied Walnuts.
Candied Walnuts 1 lb Walnut Halves (shelled) 1/2 lb Powdered Sugar Fill a pot with enough water to immerse the walnuts, and bring to a full boil over high heat. Add the walnuts, turn off the burner and move the pot off the heat. Let sit for 2 minutes, only. Drain the walnuts promptly in a strainer or colander. Toss with the powdered sugar. Deep fry the sugared nuts at 325° until golden brown. Drain, and let cool.
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Ricotta Gnocchi With Charred Tomato Sauce, Heirloom Tomatoes and Dry Jack Cheese BY EXECUTIVE CHEF JERRY REGESTER
Plating
Yield: 6 Servings
2 lbs Red Heirloom Tomatoes (rough chopped)
Gnocchi
1/2 cup Dry Jack Cheese
1 cup Durum Semolina Flour
5 leaves Fresh Basil (chopped, at last minute)
1 cup Ricotta Cheese 1 ea Egg
Sauté the Gnocchi in a Teflon sauté pan in a splash of extra
1 pinch Nutmeg Buy a good quality ricotta cheese. Place the flour and nutmeg in a bowl. Mix in the ricotta cheese and egg. Form the mixture into logs. Cut into 1-inch pieces or use a small spoon to spoon dough directly into a pot of simmering salted water. When the gnocchi float, they are cooked. Lift the
virgin olive oil until golden brown. When gnocchi are golden, add the basil, and a pinch of salt and pepper. Add the chopped tomatoes and stir gently only until warm. Ladle the Charred Tomato Sauce into bowls, top with Gnocchi, and sprinkle with Dry Jack Cheese.
gnocchi out with a slotted spoon or spider, and set aside. Charred Tomato Sauce 3 lbs Yellow Heirloom Tomatoes 4 cloves Garlic 2 fl oz Extra Virgin Olive Oil 1 tbsp Fresh Thyme 1 cup White Wine Char the tomatoes over an open burner or grill until skin is completely black, and set aside. In a medium-size pot, cook the garlic in the olive oil over medium heat until golden brown. Add the charred tomatoes, thyme, and a large pinch of salt. Stew for about 10 minutes. Add wine and reduce by half. Transfer into a blender. Blend until smooth.
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M E D I TAT I O N S O N G O L F
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AT T H E TO P O F I T S G A M E How do you judge a golf course? Is it conditioning, difficulty, walkability, awards? Or is it the ability to commune with nature? Every golfer uses his, or her, own set of criteria, but who doesn’t thrill to the embracing beauty of towering trees, the tangy resonance of ocean breezes, and a landscape that rises, falls, and subtly changes from hole to hole, varying the challenge but never the charm. We like to think the course at Santa Lucia Preserve is at the top of its game, and are proud that others agree: The course ranks among the top 100 on Golf Digest’s list of America’s Greatest Courses and Golfweek’s Best 25 Residential Courses in America. PRESERVE 43 P H OTO G R A P H Y A L L E N K E N N E DY
The Code of the West B Y J A M E S P. O W E N
Live each day with courage. Take pride in your work. Always finish what you start. Do what has to be done. Be tough, but fair. When you make a promise, keep it. Ride for the brand. Talk less and say more. Remember that some things aren’t for sale. Know where to draw the line.
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Burns 1876: A Legacy of Craftsmanship WO R DS BY F R A N E N D I COT T M I L L E R | P H OTO G R A P H Y K I R ST I E L A M B E RT
T
he Santa Lucia Preserve and the Santa Lucia
shaping that would satisfy men who spend days in the sad-
Conservancy share responsibilities in a common
dle, men who need the saddle to stay in the middle while
goal—to create a legacy for future generations
roping a 1000-pound animal on a slippery sidehill, men
through the perpetuation of the legendary, timeless and
who might be using their saddle as a pillow. Miles Burns
irreplaceable qualities of one of California’s original land-
knew how to make saddles for working cowboys—saddles
grant ranchos, vaquero land. It is only natural then to shine
that would sit well, ride well, not hurt the horse, and not
a light on people with symbiotic values and traditions.
endanger the rider. Cowboys would start talking about such
Meet Danna Burns-Shaw and her husband Scott,
a craftsman. And they did.
whose rich and colorful family legacy embodies the best
Since the 1876 incarnation, each Burns generation has
traditions of the Old West. Name ‘em: family, craftsman-
honored their trailblazing forefather who built a good life
ship, graciousness, respect. In short, they spend each day
for his family and delivered a legacy built on quality and
in the pursuit of getting it right. In long, they operate the
trust.
world’s oldest family-owned retail business. They live what
For six generations, Burns 1876 has been dedicated to this cowboy way. From saddles and harnesses to canvas and
it means to “ride for the brand.” This family legacy is, of course, Burns 1876. The same
leather goods, clothing and silverwork, each member of
year that Custer made his stand, Danna’s great-great-great
the Burns family has taken part in the stewardship of the
grandfather, Miles Lamonie Burns, opened a saddlery shop
family company. “Each person contributes his and her own
out West, in Salina, Utah. The pioneers would need sad-
thoughts, sometimes mistakes, but always with love and
dles. He knew how to make saddles, and set out to become
shared sense of responsibility for the business,” says Dan-
known for making the best. He appreciated what a working
na Burns-Shaw, a fifth-generation owner. “Growing Burns
cowboy needed—the quality of materials and nuance of
1876 organically for the last 140 years has included a few
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struggles, but challenges have a way of helping us to reflect,
In the early 1900s, Miles’ son, Vivian, expanded from saddlery to high-quality harnesses. In the early ‘50s, Vivian’s
to regroup, and to restructure when needed.” The fourth Burns generation recently retired. Gener-
son, Vern, added riding equipment and canvas products. In
ations five and six now oversee all operations, and gener-
1962, Vern received a patent for his Pik Pocket, a storage
ation seven (which includes seven grandchildren) are in
solution for pickup cowboys that hooks to the back of the
line for when their turn comes. Danna’s fondest childhood
seat. That same year, Vern’s son, Dan, became a partner.
memories center around working with her parents, learning
In 1969, Dan and his wife, Donna, bought the business.
how to make things as beautifully as her parents, and meet-
In 1971, they added Indian blanket-type seat covers. Dan-
ing the customers, finding out about them. “We are very
na, their daughter, joined the team in 1978, and with her
fortunate, as a family, to have the legacy of a business that
husband, Scott, oversaw the 1984 construction of a 13,000
has been sustained for seven generations,” says Danna. “It’s
square foot store in Salina, Utah. There, she added artisan
rare. And beautiful. It’s not easy—building and creating,
clothing, boots, and western-lifestyle gifts and accessories.
communicating the dedication, infusing purpose, aligning
The common element for each adaptation is the
visions, transmitting the passion—but it’s possible because
standard set by Miles Lamonie Burns—use only the fin-
we have a deep love for each other.”
est materials and apply singular craftsmanship. Exquisite craftsmanship is perennially fashionable, but the most re-
Miles Burns knew how to make saddles for working cowboys—saddles that would sit well, ride well, not hurt the horse, and not endanger the rider.
markable testament of Burns 1876 is its ethos, its enduring respect for the Code of the West. The beautifully realized legacy of Burns 1876 is alive at the Carmel store, of course, but to more fully appreciate their workmanship, come to The Preserve’s California Vaquero Gallery at The Fandango. Learn about the materials and workmanship that distinguish Burns 1876.
These days, Danna is the creative director and CEO. Her husband, Scott, oversees the company’s silver shop. Their son, Braydan, lives in Park City, Utah, and is president of Burns 1876. His wife, Misty, oversees the marketing department, and their daughter, Destiny, oversees Burns Events, which produces world-class equestrian events and coordinates trade-shows. “It took a lot of birthdays for me to realize the importance of the family legacy and of continuing its rich heritage,” says Danna. “Now, it is everything!” The company has evolved through the years, adapting to changing landscapes. Burns 1876 started with items of sheer necessity, crafted for suitability and durability. Those standards have never waned, but today the company applies the same craftsmanship to products that highlight the lifestyle and romance of the West.
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On the Wings of a Horse W O R D S B Y F R A N E N D I C O T T M I L L E R | P H O T O G R A P H S T H E K E L L E H E R A N D B E T H E FA M I L I E S
A
horse combines mass, power, speed, and surpris-
set, unpack a picnic, or find the most ladybugs? The Horse
ing kinetic delicacy. Learning how to care for
Girls can tell you. They have explored again and again and
and manage a horse is a fantastic responsibili-
have discovered many of The Preserve’s best secrets. They
ty for a young person, one that builds both confidence
are, indeed and naturally, Preserve ambassadors.
in the person and a bond with the animal. The skills
Sofia Kelleher (age 11) and her sister Ana (age 7)
learned in fulfilling these responsibilities while young
visit the family Preserve abode nearly every weekend
shapes and strengthens us as adults. In this way, a horse
from their Palo Alto home base. Olivia Bethe (age 11) is
is an instructive companion, and one which expands our
a Carmel Valley resident who spends every moment she
range, literally, as a mode of transportation.
can at The Preserve. The friends meet up at the Eques-
Although anyone can dabble—ride, and hand the
trian Center, where each girl can tack-up in minutes. To
reins to someone else afterward—to fully know and en-
watch them handle their respective horses is to witness
joy what a horse has to offer, you must commit. You must
composure, even elegance. This self-assurance comes
groom and tack and train and whisper, and then ride.
from dedication—their willingness to pay attention, to
Meet the “Horse Girls” of Santa Lucia Preserve. This
honor the details, to respect the bond between horse and
trio is as familiar with the area’s trails and open spaces as
rider, and, yes, to the range of freedom and indepen-
anyone on the property. Where’s the best spot to view a sun-
dence The Preserve allows them.
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“The Preserve is the only place, other than school, where my parents leave me alone to explore.” says Olivia. “I love going places and doing things all by myself.” “We can just play here,” echoes Sofia. “There is so much room, and lots of space to ride and run.” Favorite riding spots include the Moore’s Lake loop, the trail to Chicken Flats and the view overlooking The Hacienda. “The Preserve is awesome, beautiful,” says Olivia. “We’ve spotted deer, wild turkey, bobcats, butterflies galore, and, of course, to hear the birds!” The friends love swimming in Moore’s Lake, where
the vast range. Simply fantastic.”
they’ve discovered various “islands,” such as “Chocolate
“Guinness loves it here,” says Olivia. Her pal of four
Brownie Island,” a mud pile from which they emerge cov-
years, Guinness knows Olivia’s voice and runs to his stall
ered in thick brown mud. And they love Fridays, because
window and whinnies when he hears her arrive. Watching
then it’s S’mores at Moore’s, lakeside.
them interact proves that Olivia has established a bond.
The girls aren’t shy about admitting another favorite—
“Guin-Guin is my best friend,” says Olivia.
monthly movie night in the horse barn, often featuring,
As for Sofia and Ana, the option they like best is
yes, horses—Black Beauty, The Black Stallion and others among
choice—the ability to alternate between English and
the equine clan. “We sit on hay bales and have dinner with
Western riding styles. “At most other places, you have
the horses,” says Sofia. “It’s so fun,” adds Ana.
to choose just one style,” says Sofia, “But here, we can
For these young equestriennes, The Preserve is their haven. They claim that if they were equines, they
choose whichever style we want at the time. English is more comfy, but I like having the choice.”
would be very happy here. They smile and give nod to
“That’s the thing. That’s what I like most about The
the clean, spacious stalls, the turnout areas, and the great
Preserve,” says Olivia. “We are free here. It’s safe, and I
wranglers. They point to the organic chrysanthemum oil
can just ‘be’ when I’m at The Preserve.”
fly spray misting from overhead pipes, and out to the large
While the Equestrian Center is their main magnet,
pastures. “It so much more than the really great food fed
the girls also have taken up tennis (clay court preferred),
to our horses,” Olivia says. “It’s the whole package, and
and they love to swim and slide at the pool. After dinner with family, the girls were spotted doing gymnastics on the great lawn at The Hacienda. Olivia explained the impetus: “We had the skillet,” referring to The Hacienda’s popular dessert—a fresh baked cookie topped with ice cream and chocolate sauce. “It’s the best!” exclaimed Olivia, as she cartwheeled the calories away.
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M E D I TAT I O N S O N G O L F
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N AT U R E E N H A N C E D When done well, golf course design isn’t construction, it is collaboration. The masters of this outdoor art form use the land that Mother Nature has provided them and lay upon it a game board of infinite possibility. The true greats, like Tom Fazio, make it seem as if the terrain was destined for no other purpose than to entertain us while examining our shot-making skills and playing prowess. At Santa Lucia Preserve, Mr. Fazio has brought strategy to the scenery and makes every round both a test and a treat, a serene walk in the woods that will prove rewarding no matter who wins the battle between golfer and ground. PRESERVE 51 P H OTO G R A P H Y A L L E N K E N N E DY
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Keeping It Wild For Nature’s Sake and Our Own WO R D S BY C H R I S T I E F I S C H E R | P H OTO G R A P H Y A L L E N K E N N E DY
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We find ourselves in a paradox: People need natural wild spaces to thrive; yet, too many people make these spaces less wild.
H
ow do we value the flutter of a butterfly’s wings? Why stop to notice the way a summer fog pours over a ridge crest?
place’s natural and cultural values. We have long known that protecting nature is not just for the birds. Managing development on steep slopes and
Over three million visitors arrive in Monterey each year,
along streams can safeguard drinking water supplies, re-
drawn from around the world to experience the unique nat-
silient forests and grasslands sustain better air quality, and
ural beauty of the Big Sur Coast, the Santa Lucia Moun-
healthy biodiversity reduces outbreak of disease and pro-
tains, the Monterey Bay Natural Marine Sanctuary and
vides resources for medicine and other benefits.
majesty of California’s Central Coast, one of the most eco-
Recently, an exciting new line of scientific inquiry is of-
logically diverse and spectacular places on Earth. Few are
fering us valuable insights into additional human benefits
disappointed.
of protecting and—importantly—experiencing wild places.
After five decades of public and private conservation
It turns out our brains have limited capacity to stay calm
efforts, today thousands of acres of local parklands and pub-
and focused when taxed by the constant demands and in-
lic beaches are available for exploration and enjoyment.
trusions that have become standard in today’s world. Brain
These investments provide terrific advantages to our local
fatigue can result, leaving us easily distracted, forgetful, and
economy and culture. The same mild climate and dramatic
less mentally balanced and resilient. For children and adults
topography that supports an astonishing diversity of native
alike, this form of weariness increases stress while reducing
plant and wildlife communities also attracts and benefits
creativity, compassion, and problem-solving ability, with in-
thriving human communities.
evitable cascading detrimental effects on our quality of life.
Yet, as our region’s popularity and population grows, our beloved natural places face becoming less wild. As the
The Antidote? Nature.
beaten paths widen, opportunities to immerse oneself in
Spending time in a natural setting, where human-sourced
the solitude of a scenic vista or the quiet sounds of song-
interruptions are limited, gives the mind a break from sharp
birds, the rustle of wind in the trees and the timeless pulse
focus and the attention-grabbing distractions of electronic
of the surf are fading. This is not unique to California—in
sounds and interactions. This in turn allows the mind to
fact the National Park Service has recently begun to active-
wander, creating a state called ‘soft fascination.’ Pioneering
ly work across the nation to protect wild places and their
researchers Rachel and Stephen Kaplan explain that some-
‘soundscapes,’ recognizing the tremendous importance na-
thing that is ‘fascinating’ involves attention but requires no
ture’s sounds play in allowing people to truly experience a
effort. This is very restorative for the brain. The myriad fas-
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cinating components of the natural world are beneficial be-
New efforts are afoot across the country to ‘re-wild’
cause they attract and, yes, fascinate us. Our minds wander,
our built environments and to restore natural pathways for
become reflective, and heal.
people and wildlife across landscapes. Community leaders
The Kaplan findings, and other researchers who have
are working vigorously to designate more parks and open
followed them, verify that interwoven natural patterns that
space, particularly in communities where access is current-
can be seen, heard, touched and smelled have a powerful,
ly limited. To ensure that our wild areas remain healthy and
restorative effect. Think back, remember: birdsong along
resilient as neighborhoods and cities grow and spread will
a flowing stream; breezes waving through a grassland; the
require this diligence, care, and vision.
color and panorama of sunrise and sunset; the hum of bumblebees in a wildflower field.
Planning development to sustain large interconnected areas of native wildlife habitat increases the health of
Through technological advances in brain science, re-
nearby protected lands and provides residents with natural
searchers now document lasting physical and mental ben-
spaces to wander, to play, to stand fascinated. As the bene-
efits from simply walking through nature for 20 minutes
fits of these wild places become better understood, and thus
several times a week. These include:
more fully appreciated, residents embrace stewardship of
Physical Benefits: Being outdoors inspires us to be more
the natural beauty that benefits us all. The Santa Lucia Pre-
active, with documented effects of lowering blood pressure,
serve is a premiere example of this model. By design, The
improving immune system function and endocrine bal-
Preserve carefully welcomes a community of families while
ance, and increasing healing rates while decreasing pain.
honoring and sustaining the wild natural beauty and biodi-
Mental Benefits: People participating in these studies
versity of its landscape. As a conservation community, 300
report and exhibit better mental well-being, less stress and
homeowners of The Preserve work closely with the Santa
greater social resilience. Scientists also document better
Lucia Conservancy to steward the land and keep people
cognitive performance and memory, quicker recovery from
connected to its 18,000 acres of protected wildlands.
stressful events, and improved creativity and problem solving.
The Conservancy also works with academic institutions
Emotional Benefits: People of all ages and abilities re-
and school districts to develop research and provide access
port more positive emotions and a deeper sense of compas-
for outdoor education and eco-literacy programs. Today’s
sion, as well as greater self-confidence.
efforts and success depend on future generations also rec-
Spiritual Benefits: Both youth and adults report greater tranquility, serenity and faith in the future.
ognizing the value of wild places. Research and direct experience shows that keeping
So what does this mean for conservation and how we
people and nature connected is increasingly essential.
manage our precious, fragile natural lands? We find our-
Each one of us must decide how valuable the flutter of a
selves in a paradox: People need natural wild spaces to
butterfly’s wings over a field of wildflowers really is, and to
thrive; yet, too many people make these spaces less wild.
accord it the respect it deserves.
One answer lies in rethinking the design of our homes, communities and parklands—working creatively and collaboratively to honor and sustain our remaining wild areas and to find ways to weave nature back into our communities and into our daily lives. The benefits are mutual—restorative for us, as well as for the natural world.
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Nature’s Design W O R D S B Y F R A N E N D I C O T T M I L L E R | PA I N T I N G S R AY R O B E R T S
A
picture tells a thousand words. A painting tells a thousand more. Every brush stroke carries backstory; every color choice conveys narrative. For celebrated California plein air artist Ray Roberts, canvas is a diary,
and each artwork is an entry in his chronicle. Plein air painters paint outdoors—in the open (in full) air. They try to capture the atmosphere in its quick-change moments. Most plein air artists concentrate on the ephemeral qualities of light, capturing a sense of place and a deep connection to the natural world. This means plein air artworks convey the spontaneity and freshness of nature, very different from traditional studio painting. Outdoor conditions are fleeting, and plein air artists chase that challenge. “I look for nature’s patterns and designs,” says Roberts. “I love any kind of light. And at The Preserve, the morning and evening marine layers and their heavily watered misty air make a beautiful painting environment. It’s every painter’s dream to find those wide-ranging types of atmospheric conditions.” Roberts’ Santa Lucia Preserve paintings take the viewer into the unspoiled California that influenced his youth. Born in 1950s Orange County, California, Roberts was raised 15 minutes from the coast and free to explore surrounding big ranch properties with their sycamore trees, rolling hills, and desert scrub. He would sneak onto these wild lands and roam in wonderment. He recalls feeling
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that same sense of awe when he first visited The Preserve
light might last 90 minutes, for instance; but very early
ten years ago with other artists who had been encouraged
morning light lasts for no more than 15 minutes. In plein
to explore, seek inspiration, and try to capture the natural
air, time is the essence. Roberts starts with a 12” x 16”
beauty of The Preserve on canvas.
canvas for an on the spot field study, trying to capture the
That visit was a revelation for Roberts. Given full access
color notes of the landscape. He sometimes supplements
to all corners of the property, Roberts was astonished to find
with photos, but acknowledges a photo’s limitations. “Un-
so much untouched land. “It’s in its name,” says Roberts.
like with a photo,” he says, “when you are painting, you
“The Preserve unveils a raw, undisturbed beauty that is
are able to paint those true colors you see. The end result,
striking and unusual. It makes me step back and ask if this
when done correctly, is a luminous, intriguing image for
place is for real. It’s like going back in time to the period of
the viewer to behold.”
the early California impressionists.”
Roberts has painted in all corners of The Preserve, creating dozens of images of the coastal mountains in all
“It’s uncanny how each road on this property leads to these outstanding views,” he says. “I’ve been to many beautiful locations, but The Preserve strikes a particular chord within me.”
their varied, illuminated forms—many of which hang in Preserve homes. He counts the days until he can return to The Preserve images. Like a book read several years after an initial reading, or a movie watched long after the first viewing, an artist sees things anew after the passage of time. “I’m more mature, and see things in different ways as I get older,” says Roberts, who resides with his wife, Peggi, on a 20-acre ranch in historic Angels Camp. “As time passes, I find new meaning with the familiar.”
Roberts counts as inspirations California impression-
Artists tend to acknowledge true artistry, and Roberts
ists Maynard Dixon, Hanson Puthuff, William Wendt, and
sees artistry in the aesthetic vision and skill of those who
William Ritschel. These masters share a reverence for the
conceived and planned Santa Lucia Preserve. “It’s uncanny
land and a marked spirituality in their work. But over the
how each road on this property leads to these outstanding
years, constantly searching and evolving, Roberts has be-
views,” he says. “I’ve been to many beautiful locations, but
come his own artist. “When I go out to paint, whether it’s
The Preserve strikes a particular chord within me.”
on the coast, in the mountains, or in the desert, I look for
When pressed to name a particular favorite location
something that speaks to me emotionally, and I try to com-
within The Preserve, Roberts claims every hill, tree and ra-
municate that in my work,” says Roberts. “The Preserve
vine: “The beauty here is unlimited. It simply doesn’t end.”
speaks to me in a very primal way. The land reveals nature’s
Ray Roberts paintings will be on display and available
design; the north facing hillsides covered with scrub oak
at the California Vaquero Gallery at The Fandango.
and oak trees, and the drainage from the hillside make for dynamic graphic compositions. The Coast Range is unique, and to find an area so untouched is nearly miraculous. The winds organize the oak trees in these ravines, revealing a rhythm of the land that is compelling.” Like most plein air painters, Roberts seeks to capture a particular image at a specific, elusive moment. Morning
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A W O R D A B O U T O U R PA R T N E R S Authentic storytelling of The Preserve lifestyle is this magazine’s primary obligation. Like Santa Lucia Preserve’s serene, natural surroundings, Preserve leadership has decided against traditional advertising’s interruption of our editorial content and aesthetic environment. We have created a separation between editorial and advertising by creating distinct sections for each—valuing our advertisers as partners. To that end, we design our partner’s messages and include only brands with whom we have firsthand experience. We’re not interested in selling the next new product or service. Instead, we seek to complement and enrich your lifestyle with resources that elevate and shape your dreams to goods and services that we use in our
P H OTO G R A P H Y A L L E N K E N N E DY
own lives—all created by companies we respect.
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Sign Language Carmel residents have a long-standing tradition of unique signage to identify their homes. “This Is It!” and “Nothing Happened Here in 1936” are examples of signature names chosen to adorn Carmel cottages. The fact that the city of Carmel doesn’t utilize house numbers is a primary reason for the charismatic monikers, but the signs also reflect the individuality of the town’s early dwellers. The Preserve’s homeowners also display their creative side with property signs that provide positive identification with personality, while maintaining privacy.
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CHAMISAL PRESS Published by Chamisal Press for Santa Lucia Preserve 1 Rancho San Carlos Road Carmel, CA 93923 www.santaluciapreserve.com Please direct inquiries to: Lisa Guthrie lisa@thepreservelife.com 831-620-6762