Categories
News

Post traumatic: Proposed shooting range stresses refugees

U.S. citizenship meant a new beginning for Tilahun Goshu and his family—one where they would no longer live in fear and they could begin building their dream home, which Goshu envisioned being passed down to his children and his children’s children. But no sooner than he moved into his new place, he learned that a proposed 20-lane open-air firing range could be located just a stone’s throw away from his backyard.

“I was rescued,” Goshu says, “and then I found myself in the middle of a battleground.”

Goshu, an Ethiopian ex-prisoner, businessman, writer and registered nurse fled his country to avoid a third imprisonment and another violent persecution. His crime? Writing books that criticized his country’s culture.

“Right after my first book published, there were protests in every city,” he says. “There were petitions to the government to take action in my life.”

Between 250 and 500 people showed up at Goshu’s various court hearings to protest his publications, which openly criticized the practice of female genital mutilation and encouraged members of his community, who he says are historically not self-sufficient, to work hard and be productive, rather than participating in many non-working religious holidays and relying on aid from developed countries.

Already twice-imprisoned for a total of three years, Goshu faced a third prosecution that would have incarcerated him for another five years when he fled to Kenya. After he left, his wife and kids were targeted. Protesters threw rocks and fired guns at their home, and one flashed a pistol at his wife, Meseret Workelul.

From the time Goshu escaped to Kenya, it took seven months for him to find someone in Nairobi who could rescue his family, the seven most stressful months he can remember. But what happened next changed everything—Goshu was granted U.S. citizenship five years after he resettled in Charlottesville through the International Rescue Committee in 2007.

Now that he’s had some time to adjust, Goshu says he sees no difference between the fear he felt in Ethiopia and the fear he’ll feel in Greene, if the firing range is approved.

He worries for the safety of his four children, who won’t be able to play in their own backyard because of the chance of being shot by a ricocheting bullet. His older children suffer from post traumatic stress disorder from their experiences in Ethiopia, he says,“They are doing well right now,” he says, “but when the gunshots start, the memories kept down in their mind will start working through.”

Lyle Durrer, the owner of Big Iron Outdoors gun shop who wants to open the shooting range, says assessments show that noise from the range will be no louder than ambient noise in the neighborhood.

Though many neighbors aren’t convinced this is the case, Goshu says it’s about so much more than noise. Not just for him, but for the 340 other homes within a mile of the proposed range—165 of them being only half a mile away.

“What are you going to do?” says Carolyn Politis with Greene County Neighbors. “From 10am to 8pm, [stay] out of your homes because there could be a bullet coming in, or do you put flak jackets on your kids?”

The Greene County planning commission meets tonight, August 19, at 6pm in the William Monroe High School auditorium for an open public hearing. The location has been selected to accommodate the mass of people expected to attend, according to Jay Willer, the commission’s chairman.

Categories
Arts

Movable type: Virginia Arts of the Book Center makes a shift

If you only know one thing about the Virginia Arts of the Book Center, it’s probably that its tagline is “Beneath The Art Box.” This hints at the rich history of underground presses but also provides a literal reminder to help geolocate the community printmaking studio in its off-the-radar location. However, that motto needs an update as the VABC expands upstairs to join The Art Box in a new collaboration known as Art On Ivy.

The partnership is an outgrowth of efforts by The Art Box owner, Anne Novak, who launched the Art On initiative in 2009 in Lynchburg, followed by a second location in Crozet. “Through The Art Box, we try to bring the highest quality art supplies and framing to Central Virginia,” says Novak. “Through the Art On initiative, we endeavor to spread the joy of experiencing art through classes, gallery openings and studio spaces. Each Art On location has been designed to react to each community’s needs and interests.”

In Charlottesville, those interests presented themselves through the VABC. Originally formed in the McGuffey Art Center in 1995, the VABC moved to the Ix and joined the Virginia Foundation for the Humanities in 2004, before again packing up to move to Ivy Square in 2010. This summer brought another change when Art On Ivy was born—a timely transition for the VABC, which celebrates its 20th anniversary this year.

At Art On Ivy, you can caress paper stock, survey paint colors or run a paintbrush through your fingers before purchasing art supplies. You can also pick up the kerning and leading that create space on a letterpress page. Unlike with digital design and printing, the VABC has physical, movable type. Indeed, their collection currently hovers around 350 cases, each containing piles of lead and wooden type. “We’re the biggest publicly accessible repository of type in the commonwealth,” says VFH’s chief operating officer, Kevin McFadden. These thin pieces can be held between thumb and forefinger or delicately positioned with tweezers. And as other bricks and mortar art shops struggle and even close, the tactile nature of what Art On Ivy offers is ever more vital. “It’s really important for this kind of work. You just don’t know until you can touch it and feel it,” he says.

That’s not to say that digital artists and designers aren’t welcome. “We’re not technophobes at all,” McFadden says. The center specifically seeks to foster tactile talents though, in a world that’s increasingly more concerned about building apps than books.

“We get folks who walk in saying, ‘We have all these ideas but we just have to wave our hands in the air when we try to explain them because we don’t know how to make this stuff,’” says VABC program director Garrett Queen.

McFadden sees the gap as well. “It does surprise me that there are a number of younger class participants who have never used a paper cutter,” he says. To this end, the VABC continues to offer letterpress and binding courses, as well as upcoming etching instruction and possibly even screenprinting—an addition that was never possible due to space limitations. But that’s just one of the perks of the new partnership.

“As we were considering a similar Art On initiative concept in Charlottesville, Kevin and Garrett came by with an idea,” says Novak. “Rather than lots of studios, we created one studio with lots of artists.” The result? Much of the downstairs VABC workshop remains in place, but with added breathing room and private studios. The Art Box will remain in situ upstairs, shifted and consolidated slightly to make room for a new, shared gallery space.

The gallery showcases work made by VABC and Art On Ivy members, ranging from letterpress cards to woodcut prints. In the front window, a small Pilot Press also attracts attention, especially during demonstrations by local artist Lana Lambert. This more informal instruction is made possible by the unique relationship between non- profit and for-profit. Operating in tandem with The Art Box, the VABC is able to expand its hours of operation and member access without overextending its current staff. VABC members benefit as well, since longer hours result in more sales and exposure for their work.

Further, the expansion has multiplied member opportunities, extending the traditional VABC membership to include Art On Ivy memberships as well.  Not limited to book artists, these members range from photographer Robert Radifera to Tupelo Press, which has a display area for literary publications and public readings.

“Having this space where we can have a dedicated offering of our books is really exciting,” says Kirsten Miles, director of the Tupelo Press Teen Writing Center. “The most exciting thing for an author is knowing someone is reading their work, so being here and able to talk about our books and authors is really wonderful.”

The grand opening of Art On Ivy will be celebrated as part of the VABC’s 2015 Wayzgoose event, which will feature drop-in printing, public demonstrations, food and drink. To learn more visit virginiabookarts.org.

What is your favorite hands-on studio?

Tell us in the comments below.

Categories
News

Trust us: Albemarle jumps through hoops for mystery company

 

 

The preservation of Albemarle County’s rural beauty can directly be attributed to its comprehensive plan, the holy grail of where development can occur and where it may not.

That’s why some are surprised the Board of Supervisors is fast tracking an amendment that moves 223 acres from rural to growth area for a beverage company that wants to locate at the Interstate 64 and U.S. 29 interchange. County officials refuse to identity the company, nor is it clear that the owners of the land in question are interested in selling. But officials are gung-ho to create more light industrial-zoned land and the supes backed a study of the amendment June 10.

“This is really, really unusual,” says former planning commissioner Marcia Joseph. “We’d just gotten through a multi-year review of the comprehensive plan. A month ago, the Board of Supervisors decided to add this entire parcel to the comprehensive plan. People got riled and asked why it was done with no public review.”

Assistant county executive Lee Catlin sees it differently. “We have made every effort to be transparent,” she says. “The compressed timeline is because of the needs of the business. While the process has been compressed, we don’t feel we’ve compromised any of the steps required for a comprehensive plan amendment.”

County staff briefed board members between scheduled meetings in groups of two or fewer to stay legal under the Freedom of Information Act, confirms Catlin, who declines to identify the company.

Joseph says it’s unusual for the county to initiate action. “This is the first time I’ve seen the county act as an applicant,” she says. “The whole process concerns me.”

However, Albemarle economic development director Faith McClintic, who represents the Board of Supervisors in pushing for the amendment, says it’s not unusual for communities to lead in adjusting comprehensive plans. McClintic, too, says she can’t disclose the identity of the company. “We have to protect the competitive market,” she says.

Another oddity in the boundary adjustment is that the landowner—Sweetspot of Albemarle LLC—has not been publicly involved in the county effort to redesignate the property. McClintic says she’s not at liberty to identify the owners. “We’re sure they’re agreeable and we hope they’ll come out and speak publicly,” she says. “The public has a desire to hear from the landowner.”

Sweetspot has an Atlanta address, according to county records, and Atlanta property records  identify that address as belonging to Douglas S. Holladay Jr., who is chair of the Jefferson Scholars Foundation, according to a UVA listing of foundation chairs. Holladay had not responded to a phone call and e-mail at press time.

For McClintic, the more important issue is that the county has been unable to accommodate requests from other Albemarle companies seeking to expand. “That is the bigger concern that keeps me up at night,” she says.

Joseph is not convinced and says the entity just didn’t like any growth-area properties that were available. “Costco brought jobs, too,” she says. “Costco went some place that was zoned properly.”

Planning commissioner Rick Randolph, a Democrat who’s running for the Scottsville District board seat, says he was briefed on the company—and has been asked by staff not to disclose who it is. He points that the unnamed company is looking at two other communities. “Sometimes complete transparency may not serve us well,” he says.

Some believe the company is Deschutes Brewery of Bend, Oregon, because of media accounts in North Carolina and South Carolina in which its president says the company wants to expand to the East Coast and also is considering Virginia and Tennessee for a brewery that will bring around 100 jobs. A call to Deschutes was not immediately returned.

Randolph touts the 104 jobs the unnamed company would bring, and says the company is a good corporate citizen and environmentally conscious.

And to those who want to know more, he says the Board of Supervisors and planning commission are elected and appointed bodies working to protect the best interests of the public. “You’ve got to have some trust and confidence,” he says.

Unlike Randolph, planning commissioner Karen Firehock was not briefed on the identity of the beverage company. She held a forum August 12 with Supervisor Liz Palmer, and says she heard a lot of concern about the way the amendment process has occurred.

“People are concerned about development south of I-64,” she says. “They don’t want 29 south to be like 29 north.” Citizens also want to know how the unknown business will impact traffic at the already dicey I-64 interchange, as well as who will pay for water and sewer, neither of which are connected to the property.

“We’re being asked to revise the comprehensive plan for more light industrial,” she says, but she’s seen several different numbers in the past few months and wants to see an analysis of what’s already here.

Morgan Butler at Southern Environmental Law Center has watched Albemarle and how it develops over the past decade. “The county has historically been very reluctant to expand the development areas at the wishes of a private company, much less carry the water for them during the review process as is happening now,” he says. “And while there may be a fair reason for keeping the company’s name confidential, that makes it even harder for the public to determine whether these significant breaks in precedent are justified.”

Next up in the public process, the planning commission will have a public hearing August 18 before it sends it recommendation the the Board of Supervisors, the BOS has a work session September 2 and a public hearing September 9.

Updated 8/18/15 to add that Deschutes Brewery of Bend, Oregon, is looking for an East Coast location in Virginia, among other states.

Categories
Living News

Off the grid: A model for environmentalism made easy

It’s affordable, actually sustainable and certainly not the modern American lifestyle most have become accustomed to, with multiple cars per family, smart phones for everyone and streaming video on demand. The 5-year-old project called Living Energy Farm is an off-the-grid, zero-fossil-fuel-emission community in the works in Louisa County, described in two words by its creator: real sustainability.

“Opposed to the fake version,” says Alexis Zeigler, the primary man behind the design, who believes the word “sustainability” is both overused and misused. His project aims to define real sustainability by developing 127 acres of land into a self-sufficient, income-sharing community, education center and farm that employs the best of old and new technologies, while using no fossil fuels and leaving no carbon footprint. It’s an ambitious project, but for Zeigler, it’s the natural progression of a life that’s been long focused on treating the earth kindly.

Lifelong dream

The main house is a three-bedroom dwelling that’s still under construction. Photo: Christian Hommel
The main house is a three-bedroom dwelling that’s still under construction. Photo: Christian Hommel

A longtime environmentalist, activist, author and farmer, 47-year-old Zeigler grew up on a self-sufficient Georgia farm and moved to Twin Oaks, a cooperative community in Louisa County, when he was 18. In the mid-’90s, Zeigler moved to Charlottesville where he led a campaign to build bike lanes, fought the construction of a Walmart on Fifth Street, published a few books and built conventional buildings and renewable energy systems, as well as a cooperative house that runs on less than a tenth of the energy an average American household uses. He had a grander vision, though: Create a community that uses zero percent grid-tied energy. The idea for Living Energy Farm was born.

A project like Living Energy Farm is a massive undertaking, and Zeigler knew he couldn’t do it alone. Fortunately, he found ample support from like-minded volunteers, interns, friends and family who were ready to get their hands dirty and who, like him, envisioned living and working together in a self-reliant community. The group met for several years to develop a plan for the community, which is classified as a 501(d) or “quasi-nonprofit” corporation, and in 2010, they bought the land in Louisa for $218,000, with half the money raised by the planners and Zeigler taking out a mortgage for the remainder.

When the farm is completed, Zeigler says, only $100,000 more will have been invested in building the community that could support over a dozen people. This low price comes from the number of donated and refurbished materials being used to complete the project, as well as its design, which uses simple, cheap materials. In a few years, Zeigler imagines building a couple of houses on the property, but for now, he says they’ll stick with the three-bedroom house and kitchen building with a bathroom, plus an array of fields where over 25 fruits, nuts and vegetables are farmed. The aesthetic emphasizes fresh air and light and minimizes costly trim and detail.

With financial support from the nonprofit Virginia Organizing Project for educational programming, Zeigler’s ultimate goal is to introduce Americans to the truly sustainable cooperative lifestyle, and to say, “Hey, it’s not so hard. This is OK.”

Old and new

A solar parabolic cooker known as the “death ray” is used to cook many meals for the community. Photo: Christian Hommel
A solar parabolic cooker known as the “death ray” is used to cook many meals for the community. Photo: Christian Hommel

Right off Bibb Store Road in Louisa, passersby are greeted with a sign for Living Energy Farm and, upon pulling off, another one that reads No Vehicles Beyond This Point. Guests are then expected to leave their cars parked in a makeshift lot on the edge of the farm and from there, it’s about a quarter mile hike up a beaten gravel and dirt path to the kitchen, the first finished building on the property. To get around, Zeigler, his family and his crew of volunteers and interns rely heavily on their feet and bicycles, which are stationed throughout the community. For transporting materials, they have a couple of tractors, one from 1939 and one from 1961, designed to run on woodgas and biofuels.

The kitchen is separated from the house, and its roof is decorated with a grid of flat plate solar hot water collectors that are connected to the storage tank inside. “It’s like every bad pattern from the ’70s and ’80s combined,” says Zeigler about the floor which is slated with refurbished tiles in reds, blues, greens and yellows with a wood stove sitting against a wall. He plans to use a solar ammonia loop refrigeration system that has no electronics, no moving parts and can be built out of low-cost materials, but for now, there’s a mini-fridge in the corner to store his daughter’s antibiotics.

A shiny, silver metal table looks like something found in a factory. And, kind of like a factory, this space doubles as a community food processing facility where no fossil fuel is used to heat or cool the building, or to cook and preserve food. Since the kitchen stands apart, food canned in August doesn’t dump heat into the house, and in the winter, the active and passive solar features will provide warmth, and the buildings will need almost no supplemental heat, Zeigler says.

Active features include solar panels and other technologies, but passive solar is all about design and thermodynamics—windows often face south to collect more sunlight; this way, heat is easily transferred into a room. The passive design is commonly seen in greenhouses and sunrooms. For extra heat, they’ll burn wood as a last resort.

And for cool air, the farm’s irrigation system—a bundle of water pipes—runs under the kitchen and the unfinished house beside it. The water in the pipes provides a cooling that is almost free, thus achieving “air conditioning,” Zeigler says. They use surface water pumped from creeks for irrigation.

Both the kitchen and main house are super-insulated with 18-inch straw bale walls, so once they’re filled with warm or cool air, they will maintain that temperature for days.

The lighting at Living Energy Farm comes from DC-powered LED bulbs, which are powered by nickel iron batteries that are low-output and not toxic or explosive like standard lead acid batteries. The nickel iron battery in the kitchen is 80 years old, Zeigler says, and though obtaining one is a bit of an investment, he says it’s well worth the money and it will last a lifetime.

And the bathroom? Composting toilets built with a simple, two chamber design can be found down a hallway flanking the kitchen. The waste is used as fertilizer—it’s buried under fruit trees on the property.

A short walk down a dirt path from the kitchen and house leads to the other side of the property where Zeigler and his crew have set up a camping facility. This is where he and his family sleep while staying at Living Energy Farm, though they usually stay in a local house called Magnolia. Regulations prevent them from living at the farm until they receive a certificate of occupancy, which will be at the end of this year or the beginning of 2016, when the community is operating.

At this camping facility, 33-year-old Debbie Piesen—the mother of Zeigler’s children—and guests are chatting and preparing lunch while the kids play and rummage for firewood. A shack-like structure built off the tractor barn has been turned into a temporary cooking facility with fresh foods, water jugs, a table, dishes and a couple things bought from a grocery store, like coffees and sweeteners tucked away neatly.

“Nothing is over the counter for us,” Zeigler says. “Or almost nothing.”

Piesen is cooking rice in a hay box, or insulation cooker, which retains the heat and uses it to cook the grain thoroughly. It will be eaten for lunch and dinner.

On a nearby wood stove, Piesen heats carrots and oil to fry the rice. When she takes a break from the cooking, Zeigler picks it up and adds kale and some other veggies to the mixture. It smells fantastic and the two, along with their kids, guests and laborers, get in line for a communal lunch before anyone has the chance to sound the cornet—the Living Energy Farm way of signaling workers on the other side of the property that lunch is ready.

“We call this the death ray,” Zeigler says, standing next to a solar parabolic cooker. He holds a thin piece of kindling in front of the cooker’s dome to demonstrate the intensity of the cooker by showing how quickly the stick starts smoking when placed in the sun’s direct ray.

On this side of the property, there’s also a batch collector. It’s a tank inside an insulated box with a glass cover, tilted to catch the sun. Pressurized water comes in the cold side of the collector and passes out the hot side to the tap, without using any pumps or electronic control systems. Water can remain in the collector for long periods of time, and for six months out of the year, Zeigler says, it stores all the hot water they need here.

He says batch collectors are by far the most common means of water heating on the planet, but Americans don’t seem to know much about them. The pressurized water comes from the same pressurized source used for cold water, which in Zeigler’s case, is a hand pump, but he says city water would work just as well for urban dwellers.

To wash clothes, the crew is tinkering with an exercise bike hooked up to an old washing machine. Doing a load of laundry could take a few miles of spinning; four or five clotheslines are hung up to dry damp clothing.

When Zeigler, Piesen and family camp out at Living Energy Farm, they’re not quite roughing it. Their camping facility is built from scraps from the Habitat for Humanity dumpster in Charlottesville, and instead of insulating with straw bale like the kitchen and main house, this cabin has 12 inches of fiberglass wrapped around it. It has a passive solar design with its windows on the south side and is lit by DC LED lighting and nickel iron batteries, like the other side of the property. Zeigler says anyone could copy the passive solar design, but most don’t, since American culture is more apt to focus on appearance than sustainability.

Some Americans aren’t too keen on the unsightliness of decorating their properties with solar panels, either, but that hasn’t stopped the folks at Living Energy. They have solar photovoltaic, or PV, panels in four locations—two near the main house, one at the tractor barn and one small set used to run an irrigation system in a remote location near a field.

A solar shower is outside the camping facility, facing the woods, but the kids have stripped down and are splashing around in a small pool to cool off.

Community

While standing around the table, volunteers and interns chat and drink tea. Photo: Christian Hommel
While standing around the table, volunteers and interns chat and drink tea. Photo: Christian Hommel

Most parents are proud of their offspring, but Ziegler and Piesen believe their way of life is giving their children certain advantages. Both of their children, Rosseyanka, 4, and Nikita, 9 months, are named after persimmons—Zeigler’s favorite trees.

Though Zeigler and Piesen agree that Nikita is primarily focused on learning how to walk, they’ve seen Rosseyanka, who goes by Rosa, perform in ways that are different than that of most 4-year-olds: She understands grafting trees. She knows which weeds are edible. She likes bugs. She names the wild rabbits on the property like they’re her pets.

“It’s good for my kids to be exposed to [environmentalism] from a really early age, that it’s not just this kind of abstract thing,” says Piesen, who grew up in New Jersey suburbs, but moved to Twin Oaks, where she met Zeigler. “When I was a kid, it was like ‘I’m reusing toilet paper tubes for a project and I’m saving the earth!’”

She says her kids are learning early on how the plants react to different weather patterns and seasonal changes. They’re learning how the weather affects them and how it affects the land, she says, calling this one of the most challenging aspects of living off the grid. They must pay close attention to what the sun is doing at all times, since nearly all of their operations rely heavily on solar power.

The Living Energy community is flourishing; long- and short-term interns and volunteers of all ages work on farming or building almost every day. Until the main house is finished, these people camp out in their own tents when not staying at Magnolia. Tom Lever, who has volunteered at Living Energy for three years, says living in the community has been an enormous growing experience.

“It’s a great life,” says Lever. “It just feels right.”

Growing healthy foods and preserving agricultural heritage is Lever’s passion. He loves orange glow watermelon with bright, golden flesh harvested in late July or mid-August. “You eat so much you get a headache, a sugar rush,” he says. He also swoons over harvesting multicolored corn cobs with purples, yellows, blues and tans.

For him, farming teaches a sort of patience, humility and perseverance that help him to become better acquainted with the sky and the earth. His favorite part of working at Living Energy has been “honchoing,” or being in charge of some seed-growing work shifts.

Piesen is the farm’s manager, however, and seed-growing is how Living Energy Farm supports itself. The community is income-sharing and its members sell open-pollinated seeds to wholesalers for profit. They sell some produce, like sweet corn, summer squash, kale, beets, watermelon and strawberries from their gardens, too. With farming and building, Zeigler says hundreds of people have probably worked on their community thus far.

A volunteer, Talis Basham, says farming in blazing heat is the most challenging aspect, and to that, another volunteer, Baccarus Foster agrees, “The sun is brutal,” he says.

They rely on it, though, and this operation would be impossible without the sun’s strong presence.

Cooperation

Baccarus Foster stirs the community’s meal that cooks on the woodstove. Photo: Christian Hommel
Baccarus Foster stirs the community’s meal that cooks on the woodstove. Photo: Christian Hommel

In the heat of the day, the volunteers sit around a table in the shade with the rest of the community, as one member arranges freshly picked flowers in a jar and chats with Rosa, and the others crack jokes and scarf down their fried rice. One would never guess that they had met each other semi-recently, as interns and volunteers, and that they hadn’t grown up together in a similar environment.

The communal lifestyle demands cooperation between its members. “People are fascinated by the technology, but it’s really the cooperation that makes it work,” says Zeigler. “You can define that however you want, but we can’t build renewable energy with 7 billion independent renewable energy systems, nor can we build sustainable renewable independent energy systems on an industrial scale. It really has to be done on a village scale. That’s how it works.”

Zeigler has plenty of local environmentally minded friends, and he’s done years worth of research on what makes environmentalism work. He’s even written a couple books about it, including the 2013 tome Integrated Activism: Applying the Hidden Connections Between Ecology, Economics, Politics and Social Progress.

While developing the idea for Living Energy Farm, he asked his friends to send him records of at least three years of their residential energy usage. In his research, the lowest number he found came from the cooperative house he owns in Charlottesville that uses 9 percent of grid-tied energy. Other local communities like Twin Oaks came in between 10 and 40 percent, he says. But he was shocked by the numbers he received from his like-minded friends who live in private houses—their energy usage was between 120 and 150 percent above average for Americans.

Most Americans live in apartments in cities, Zeigler says, and living in a free-standing house has more economic and environmental costs. His research shows that community living cuts down on energy usage tremendously. Taking the final step from 10 percent energy usage to zero, like Zeigler is doing with Living Energy, is the tough part, but living at the 10 percent mark, he says, is actually pretty easy. It only requires living cooperatively.

“I’ve given this speech to thousands of people and most people don’t want to live cooperatively, but that’s because most people don’t care much about the environment,” Zeigler says.

Americans tend to live less cooperatively than people overseas who are confined to living in villages, and therefore, projects like Living Energy Farm are more likely to spread overseas, he says.

“If we could go into villages and set up better cookers and better hot water heaters, they’ll love that,” Zeigler says, claiming that Americans are the most dominant culture, obsessed with consumption and mostly responsible for destabilizing the climate.

“We’re annihilating the planet for the sake of our own short-term consumption and all we have to do is change our lifestyle,” he says. “But we don’t want to because our lifestyle is what makes us powerful.”

 Correction: The original version of this story misstated the depth of water pipes. Most are two to three feet below ground, and one descends 240 feet to a submersible pump at the bottom of the well.

Categories
News

City Council approves William Taylor Plaza

The controversial development that puts a Fairfield Inn on the corner of Ridge Street and Cherry Avenue, nixed by the Planning Commission 5-0 and rejected by more than 500 petition-signing residents, got a 3-2 go-ahead from City Council July 21.

The Southern Development project was in front of council a few weeks ago, and a  decision on a rezoning amendment was postponed when the developer said residential wasn’t a necessary component in the mixed-use parcel. Later, Charlie Armstrong admitted he was mistaken about the residential portion being optional.

City Councilor Dede Smith, who was one of the “no” votes along with Bob Fenwick, isn’t reassured. Her concern is that if Marriott buys the entire parcel, it could decide to never build the residential portion on Ridge Street.

For resident Kim Lauter, the decision was disappointing and she says not supportive of the historic neighborhood. “It should be a wonderful gateway to the city,” she says. “Instead it’s a chain hotel that could be on any corner in America.

City Councilor Kathy Galvin, who is running for reelection, called the “insinuation that people can be bought and sold” for accepting donations from the Monticello Business Alliance, a developer-heavy PAC that includes Southern Development, “character assassination.” She noted that the $500 donation she got from the group was public record, and a small portion of the $17,000 she raised. Candidates Wes Bellamy and Mike Signer also received $500 donations from the group.

Categories
News

‘Switcheroo’? William Taylor Plaza developer stuns City Council

The darling of 21st-century community design is the “planned unit development,” which typically combines commercial and residential for high-density, pedestrian friendly living. So when the developer of the already controversial William Taylor Plaza PUD told City Council July 6 there was no requirement for a residential component, councilors put the brakes on a rezoning amendment they’d seemed poised to approve

“Eliminating the residential portion was not an option when the PUD was approved in ’09 and no one who sat through the whole excruciating process would think otherwise,” says resident Antoinette Roades.

For more than a decade, Southern Development has been trying to build on the corner of Ridge Street and Cherry Avenue, with opposition from some residents in the historic African-American community and concerns that there may be a 19th-century cemetery on the site. In 2008, the city agreed to sell two parcels it owned on the corner to the company, and in 2009 the entire 2.9-acre lot was rezoned for mixed use, with residential fronting Ridge Street and the commercial on Cherry.

Southern Development now wants to put a Fairfield Inn on Cherry Avenue, and had requested a rezoning amendment for more surface parking, which was rebuffed in May by the Planning Commission 5-0.

“PUDs are usually about residential,” says City Councilor Dede Smith. “The fact this is now focused on commercial, that was the big shocker. I think everyone was shocked.”

After Southern Development’s Charlie Armstrong asserted that the parcel could be all commercial at the council meeting, City Attorney Craig Brown read notes on the development plans. “It says it shall be mixed use—commercial and residential,” he says. “The applicant needs to make revisions to eliminate the contradiction between saying it could be all commercial and notes that say it should have some residential.”

A couple of days after the City Council meeting, Armstrong admits, “We had a different interpretation. We didn’t think it was required in 2009. Craig Brown was right.”

Adds Armstrong, “We’re clarifying the language in the amendment and making it very clear it will include residential.”

Not everyone is reassured. Councilor Smith isn’t pleased that Southern’s plan uses the term “arboretum,” which has a specific definition of trees grown for study or display. “They’re preserving green space, but it is not an arboretum. It’s emblematic of this project that we’re being misled. We believe something is going to happen, and Charlie Armstrong is saying what they want to do is different.”

Even those councilors who don’t think the Fairfield Inn is the best choice agree that under the 2009 PUD rezoning, the type of commercial use allowed isn’t really defined.

“A hotel is already allowed there,” says City Councilor Kristin Szakos.

Residents hate the idea so much they collected more than 500 signatures on a petition presented to City Council July 6.

Former City Council candidate Melvin Grady, who helped gather signatures, acknowledges his NIMBYism. “I don’t want a hotel in my neighborhood, period,” he says. “Do we need more hotels?”

And he calls Szakos’ support of the rezoning amendment because it would provide jobs “condescending.” He describes it as saying, “We know what’s best for you in your own neighborhood.”

Szakos says she’s not supporting the hotel, she supports the zoning amendment, and she says she’s heard two very different things from the people in that neighborhood. “The lack of economic development on Cherry Avenue is hurting people and has hurt the neighborhood,” she says.

Kim Lauter’s backyard butts up to what will be parking at William Taylor Plaza and she says the developer’s plans feel like “a switcheroo.” She lives in an historic, 1895-built house on Ridge. “Putting a Fairfield Inn doesn’t keep with the historic character of the neighborhood,” she says. “It’s very offensive, particularly to the African Americans who grew up here.”

Dede Smith points out that urban renewal altered the neighborhood when Fifth Street Extended was built and a house on that corner was torn down. “I just think we owe it to this neighborhood to be careful about what we allow—if we have a choice.”

Former city councilor Kendra Hamilton signed the petition, and says when the project first came before her, council was looking for a gateway to the city with affordable housing and a “huge public access/public benefit component” with respect for the historic character of the neighborhood. When she looks at the latest proposal, she doesn’t see that, and instead sees a “crappy hotel chain,” she writes in an e-mail. “But people can walk to their minimum wage jobs, so we’re told to be grateful.”

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News

Big box bickering: Why some locals are wailing over Wegmans

The Fifth Street development project, now known as 5th Street Station, is soon to be a big box retail sanctuary with almost half a million square feet of space, an abundance of parking and a buffet of popular brands—and it only took about two decades to build on this historically sought-after plot of land previously owned by Grand Piano and Coran Capshaw, that once housed a landfill.

Since the ’90s, ideas for the site have been repeatedly pitched, supported, shot down and deferred. Approved in 2008, 5th Street Station is officially underway, promising popular shops like Wegmans, Field & Stream, Dick’s Sporting Goods, Mattress Warehouse, Panera Bread, PetSmart, Sprint, Great Clips, Hair Cuttery, Lee Nails, Jersey Mike’s Subs and the Virginia ABC. Eight other leases are currently in negotiation.

And, as the story goes, many are thrilled to have these big brands within reach.

“Wegmans—that’s the best thing since sliced bread. They make Whole Foods look penny-ante,” says Blake Caravati, owner of Vector Construction and former mayor of Charlottesville.

Though Vector isn’t involved with this project, Caravati stays on top of local construction.

“The only unfortunate part is that it’s in the county,” he says, jokingly, as a city resident acknowledging that a large sum of tax dollars will be pumped back into Albemarle as a result of the shopping center.

However, not everyone is excited about the presence of this big box development.

Mike Meintzschel, nature lover and local resident of over 20 years, is concerned about the project’s negative impact on Moores Creek. And he has photos to back it up.

According to Meintzschel, he and other residents of the Willoughby neighborhood thought they had reached an agreement with the developers, a “small victory” he says that has not been fulfilled. The developers, he says, originally planned for the shopping center to be situated closer to Moores Creek, one of the area’s most polluted water traces which surrounds three sides of the development, but agreed to push the shopping center inland far enough that it would not interfere with the watershed, and to stabilize the floodplain by filling it in with dirt.

“They’re right up against the creek, there’s no denying that,” Meintzschel says, concluding that “the preliminary stuff that we see along the creek bed is not what we expected.”

He doesn’t like the rock that’s been put around a few storm drains, and says the stones are small and one storm could wipe them all away. Meintzschel says the developers “just sort of threw the rocks down,” while the county and city set a better example by meticulously laying larger rocks around storm drains during other restoration efforts on Moores Creek.

“What’s happening doesn’t match the intelligence of the city,” he says.

But the attorney for the developers, Fairburn, Georgia-based S.J. Collins Enterprises, says they have volunteered to go beyond what the county required to carry out a number of site improvement projects. Those efforts include cleaning up the old landfill on the property two years earlier than mandated, implementing stream bank improvements to Moores Creek and removing invasive plant species that are crowding out native species on the riverbank, says Valerie Long of Williams Mullen law firm in an e-mail. The developer also plans to implement a water treatment facility to detain polluted water that runs off the highway and treats it before it reaches the creek.

Richard Randolph, planning commissioner for the Scottsville district where 5th Street Station is located and a Board of Supervisors candidate, says he gives the developers the benefit of the doubt.

“It’s easy for one to take photographs and point fingers, but this is a process of transition and it’s not completed,” he says, noting that the health of Moores Creek actually increased from a very poor rating to a rating of poor in nonprofit StreamWatch’s latest assessment, which was released in June.

According to Randolph, the results of the assessment are “hardly a point where we declare victory,” but he hopes to see the water quality of Moores Creek improve further with the help of S.J. Collins and “there is an expectation that it will.”

The health of Moores Creek isn’t the only concern locals have, and even Caravati, a fan of the project, notes that access to the shopping center could be “a bit strained,” as Fifth Street is already a busy road during rush hour. He says traffic is usually backed up from cars that are headed downtown from I-64, and 5th Street Station will add to that congestion.

On the bright side, folks living on the south side of town won’t have to make the long drive up Route 29 North just to get to an upscale grocery store, says Long. She says this new convenience for southsiders may result in reduced traffic congestion on Route 29, and the long-awaited connector road between Avon and Fifth streets will also significantly improve the transportation network.

And beyond traffic or stream health, there’s the undeniable glee that many people seem to feel from the impending arrival of the beloved grocery chain.

“We are told that shoppers come from up to 90 miles away to shop at Wegmans,” Long says.

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News

New digs: More construction on West Main

The mixed-use residential complex going up on West Main and 10th streets now has an official name: Uncommon. And the developers have a description of the type of people they hope will live there.

“Uncommoners are trendsetters who don’t try too hard,” the development’s website says, but this hip tagline doesn’t describe the planning they’ve put into building such trendy digs.

The city had previously granted a special use permit to build a nine-floor, 101-foot structure, but Erin Hannegan from Mitchell Matthews Architects says the residential building “was reduced for a variety of reasons.”

That’s probably just as well after the outcry following the development of The Flats @ West Village, the sheer bulk of which has caused some city councilors to ask whether such density is appropriate for West Main.

According to the developer, Ryan Doody of CA Student Living in Chicago, a smaller building with fewer units is better suited to fit the needs of the student population and is more in tune with the character of West Main Street.

Charlottesville city planner Brian Haluska says the decision on how high to build a particular site comes from cost of land, construction type, terms of the loan, minimum requirements or formalities of the building and that “there aren’t many sites left for large scale brand new buildings,” on West Main.

The Sycamore House Hotel is a nine-story hotel in review, but beyond that, he doesn’t see many more popping up.

This hotel will be built where the current Sycamore House Studio Art Shop sits at 1108 West Main St.—right down the block from Uncommon. John Bartelt, owner of the art shop, says the development of West Main Street isn’t preferred, but it’s inevitable. He’s noticed more foot traffic past his shop since the opening of The Flats.

“I don’t know if it necessarily translates to more business,” he says, “Probably not.”

Bartelt thinks business on West Main won’t increase until more retail shops are created instead of residential areas. He says the 7,100-square feet of retail provided by Uncommon isn’t enough.

The now six-floor, 66-foot-tall residential complex at Uncommon will house 162 units of 4-bedroom, 3-bedroom, 2-bedroom and studio apartments. Uncommon will include a community room along Roosevelt Brown Boulevard, which will be similar to CitySpace on the Downtown Mall, and scheduling preference will be given to the Fifeville and 10th and Page neighborhoods or residents in the building, according to Hannegan.

Residential and commercial parking will be under the building and the complex will include a fitness room, study lounge, club room, yoga studio and terrace-level swimming pool.

“Uncommoners live on the edge, but just down the street,” the Uncommon website says. As developments in this area continue popping up, more and more people may soon be “living on the edge” in an area that once took pride in staying true to its historic aesthetic.

However, Haluska says the building was approved by the Board of Architectural Review, which ensures that new construction is compatible with existing historic districts. Now that it’s only six floors, it will better fall in line with the UVA Children’s Hospital, which was an original concern, Haluska says.

And the changing of West Main continues across the street from Uncommon, where the former Team Tire building is being renovated for as-yet-undisclosed retail/restaurant use, according to Ecorp Real Estate president Mark Green.

Categories
Arts

Monumental questions: Local statues are a lesson in history and a source of controversy

For a city its size, Charlottesville has a truly amazing collection of world-class statuary. Standing at Court Square and two nearby parks, bookending West Main Street and of course liberally sprinkled across the UVA Grounds, they remind passersby of the Old Dominion’s leaders and heroes.

Four in particular—of Confederate Generals Robert E. Lee, Thomas J. “Stonewall” Jackson and two southern soldiers—call to mind a slice of Virginia history that still evokes passionate debate: the bloody Civil War.

Some folks prefer not being reminded.

Following a 2012 Festival of the Book luncheon speech by Civil War historian Edward Ayers, then Charlottesville vice-mayor Kristin Szakos asked about the city’s Confederate statues. It became, in effect, “the question heard ’round the South.” Should the city, she wondered aloud, “talk about tearing them down or balancing them out?”

The reaction was both immediate and sustained. People seated nearby gasped. She later became the target of nasty phone threats as well as bigoted comments on numerous news websites.

Three years later, Szakos, a former journalist who was first elected to City Council in 2009, has backed off the notion of removing Charlottesville’s Confederate statues—it’s actually illegal in Virginia—but she remains interested in a community dialogue about them, a conversation on how the statues and that history are presented to the public.

The four most controversial city statues went up between the 1890s and the mid-1920s. All were executed by artists connected with the National Sculpture Society and were gifts from Paul Goodloe McIntire (1860-1952), the Charlottesville-born philanthropist who amassed a fortune in the Chicago and New York Stock Exchanges before returning home and sharing his wealth with the city and university. At the time the statues were bestowed, says Szakos, “white southerners were dismantling the advances of Reconstruction through violence and intimidation.” She points out that 1924, the year the Lee monument was dedicated, saw a peak in the number of lynchings in Virginia. And while Szakos and others have speculated that a photo of the statue’s dedication that year shows Klansmen in full regalia in attendance, Margaret O’Bryant, librarian for the Albemarle Charlottesville Historical Society disputes the notion, explaining that the large number of billowy white objects in the crowd are not KKK robes, but are instead part of the tall caps called “shakos” worn by one of the Virginia state militia units in attendance: the Richmond Light Infantry Blues. Nonetheless, Szakos says the time in which the statues were erected was problematic.

“It was a shameful period in our history,” she says. “[I]s that still the narrative that we want to convey in the 21st century?”

Not everyone sees the Confederate statues in that light.

“I see Lee and Jackson as honorable men, reluctant secessionists who made the difficult decision to remain loyal to their home state and to defend her against an invading army,” says John Kennedy, president of the local Sons of Confederate Veterans chapter, whose ancestors fought in Albemarle County units during the Civil War.

“I understand the controversy surrounding them,” he says. “Perhaps they will spark an interest in people of all ages who see them, to want to learn more about this most critical time in our nation’s history.”

That’s a notion that historians can get behind, and the more information provided, they say, the better.

Ayers, president of the University of Richmond—and former UVA dean of the College and Graduate School of Arts and Sciences—is among many who see “balancing” the statues as an option. Adding contextual signage explaining “where the statues came from, who paid for them and why and when can help us understand our historical landscape more fully and accurately,” he says.

That’s what was done in 2009 with the Meriwether Lewis and William Clark sculpture at the intersection of West Main Street. Following controversy and protests over the statue’s depiction of Sacajawea crouching behind the men, a plaque was added commemorating her contributions.

UVA historian Ervin L. Jordan, Jr. would like to see similar efforts at other Confederate monuments not only in Charlottesville but across the South. An associate professor and research archivist at Special Collections, Jordan is an African-American author of Confederate history whose books include 19th Virginia Infantry (1987) and Black Confederates and Afro-Yankees in Civil War Virginia (published by UVA Press in 1995). He’s been fascinated with Confederate history since the war’s centennial in the 1960s and believes the monuments should stay. 

“We shouldn’t start taking them down,” Jordan says. “That’s a bad precedent to set. What about Confederate statues in cemeteries? Are we going to desecrate those gravesites by pulling those down?”

In fact, Jordan would like to see more than just new signage providing context at existing sites. He suggests erecting new statues to commemorate African-Americans in history.

“This is a big country,” he explains, “there’s plenty of room for more statuary.”

Local historian Rick Britton’s most recent book is Virginia Vignettes (Vol. I): Famous Characters & Events in Central Virginia History.

The city's first Confederate statue was unveiled in 1893, in the midst of the Soldiers' Cemetery at the intersection of Alderman and McCormick roads. An 8' bronze image of an infantryman, it's the work of Bohemian-born Casper Buberl (1834-1899), an accomplished sculptor who immigrated to the U.S. in 1854. Cast by the Henry-Bonnard Bronze Company of New York, it stands atop a 12' stone pedestal. Bronze plaques bear the names of the 1,097 Confederate soldiers who lay in the surrounding glen. They died while being treated at Charlottesville General Hospital, a massive Confederate hospital complex that occupied every available building in the city and the university. The statue's inscription reads: "Fate denied them Victory, but clothed them in glorious Immortality."
The city’s first Confederate statue was unveiled in 1893, in the midst of the Soldiers’ Cemetery at the intersection of Alderman and McCormick roads. An 8′ bronze image of an infantryman, it’s the work of Bohemian-born Casper Buberl (1834-1899), an accomplished sculptor who immigrated to the U.S. in 1854. Cast by the Henry-Bonnard Bronze Company of New York, it stands atop a 12′ stone pedestal. Bronze plaques bear the names of the 1,097 Confederate soldiers who lay in the surrounding glen. They died while being treated at Charlottesville General Hospital, a massive Confederate hospital complex that occupied every available building in the city and the university. The statue’s inscription reads: “Fate denied them Victory, but clothed them in glorious Immortality.” Photo: Rammelkamp Foto
In front of the Albemarle County courthouse's white-columned portico stands a Confederate statue erected in 1909 titled "At the Ready," a generic bronze typical of those mass-produced and posted, like sentinels, on court squares all across the South. The sculptor is unknown. Grouped together with two smoothbore 12-pounder Napoleons--perhaps the war's most well-regarded defensive cannon--it's known as the Confederate Soldier Memorial. During the Civil War, Charlottesville and Albemarle County, out of a population of 25,000, supplied almost 3,000 men and boys for the Confederate war effort. It's a high figure when one considers that slightly over half of the 25,000 were enslaved African-Americans. While this Confederate statue appears defiant standing between two artillery pieces, it's interesting to note that this older rebel soldier is missing an important component of his military gear: his cartridge box containing his ammunition. And it doesn't appear he's stashed his valuable cartridges in his trouser pockets. So, while his rifle musket might indeed be loaded, once he gets off that one shot he's basically holding what amounts to a club. Photo: Rammelkamp Foto
In front of the Albemarle County courthouse’s white-columned portico stands a Confederate statue erected in 1909 titled “At the Ready,” a generic bronze typical of those mass-produced and posted, like sentinels, on court squares all across the South. The sculptor is unknown. Grouped together with two smoothbore 12-pounder Napoleons–perhaps the war’s most well-regarded defensive cannon–it’s known as the Confederate Soldier Memorial. During the Civil War, Charlottesville and Albemarle County, out of a population of 25,000, supplied almost 3,000 men and boys for the Confederate war effort. It’s a high figure when one considers that slightly over half of the 25,000 were enslaved African-Americans. While this Confederate statue appears defiant standing between two artillery pieces, it’s interesting to note that this older rebel soldier is missing an important component of his military gear: his cartridge box containing his ammunition. And it doesn’t appear he’s stashed his valuable cartridges in his trouser pockets. So, while his rifle musket might indeed be loaded, once he gets off that one shot he’s basically holding what amounts to a club. Photo: Rammelkamp Foto
In the middle of Jackson Park, adjacent to the courthouse, the Thomas Jonathan Jackson sculpture portrays "Stonewall" riding Little Sorrel. It was dedicated in October 1922. The work of New York City-born artist Charles Keck (1875-1951)--who studied at the National Academy of Design and was an assistant to the famed Augustus Saint-Gaudens--the piece is often called one of the world's finest equestrian statues. Backing up this claim are two very difficult statuary features Keck nailed: The correct proportion between rider and mount, and the illusion of movement. Little Sorrel appears ready to trot right off the pedestal. Photo: Rammelkamp Foto
In the middle of Jackson Park, adjacent to the courthouse, the Thomas Jonathan Jackson sculpture portrays “Stonewall” riding Little Sorrel. It was dedicated in October 1922. The work of New York City-born artist Charles Keck (1875-1951)–who studied at the National Academy of Design and was an assistant to the famed Augustus Saint-Gaudens–the piece is often called one of the world’s finest equestrian statues. Backing up this claim are two very difficult statuary features Keck nailed: The correct proportion between rider and mount, and the illusion of movement. Little Sorrel appears ready to trot right off the pedestal. Photo: Rammelkamp Foto
The two statues that grace West Main Street are of westward-looking explorers, men of the frontier. The Meriwether Lewis and William Clark sculpture at the Ridge-McIntire intersection features Albemarle-native Lewis, Clark and Sacajawea, the Shoshone woman who served as guide during the 1803-1806 expedition up the Missouri River to the Pacific. Another piece from the hands of Charles Keck, it was dedicated in 1921 and has been the source of controversy due to its depiction of Sacajawea crouching behind the men. A plaque commemorating her contributions was added to the monument in 2009. Photo: Rammelkamp Foto
The two statues that grace West Main Street are of westward-looking explorers, men of the frontier. The Meriwether Lewis and William Clark sculpture at the Ridge-McIntire intersection features Albemarle-native Lewis, Clark and Sacajawea, the Shoshone woman who served as guide during the 1803-1806 expedition up the Missouri River to the Pacific. Another piece from the hands of Charles Keck, it was dedicated in 1921 and has been the source of controversy due to its depiction of Sacajawea crouching behind the men. A plaque commemorating her contributions was added to the monument in 2009. Photo: Rammelkamp Foto
On the UVA Lawn stands a scaled-down bronze version of the George Washington statue for which Jefferson, in 1785, had commissioned the world's greatest living portrait sculptor, Jean-Antoine Houdon (1741-1828). The Frenchman worked three years chipping the life-sized statue from a solid block of Italian marble. The original draws tourists to the rotunda room of the Virginia Capitol in Richmond. Photo: Rammelkamp Foto
On the UVA Lawn stands a scaled-down bronze version of the George Washington statue for which Jefferson, in 1785, had commissioned the world’s greatest living portrait sculptor, Jean-Antoine Houdon (1741-1828). The Frenchman worked three years chipping the life-sized statue from a solid block of Italian marble. The original draws tourists to the rotunda room of the Virginia Capitol in Richmond. Photo: Rammelkamp Foto
Also on university property, in an often overlooked park, is the George Rogers Clark sculpture, unveiled in 1921. The work of California artist Robert Aitken (1878-1949), it focuses on the mounted Clark—born just north of Charlottesville, William Clark’s older brother—conferring with a Native American chief. While its inscription, “Conqueror of the Northwest,” refers to Clark’s liberation of that region from the British and their Indian allies, it’s also been criticized as racist because several Native Americans are shown kneeling (and thus appear subservient). Photo: Rammelkamp Foto
Also on university property, in an often overlooked park, is the George Rogers Clark sculpture, unveiled in 1921. The work of California artist Robert Aitken (1878-1949), it focuses on the mounted Clark—born just north of Charlottesville, William Clark’s older brother—conferring with a Native American chief. While its inscription, “Conqueror of the Northwest,” refers to Clark’s liberation of that region from the British and their Indian allies, it’s also been criticized as racist because several Native Americans are shown kneeling (and thus appear subservient). Photo: Rammelkamp Foto
The Aviator—a depiction of Icarus by Gutzon Borglum (1867-1941), best known for the colossal Mount Rushmore—was dedicated in 1918 to former UVA student James Rogers McConnell. Born in 1887 to a well-to-do Chicago family, Jimmy “Mac” McConnell in 1908 entered the university, where he became known for hijinks (see Jefferson Monument, p. 18). When World War I broke out in mid-1914, McConnell first joined the French ambulance service—which motivated him to write of the horrors of war for American magazines—then became one of the first seven pilots of the famed “Lafayette Escadrille.” McConnell was shot down and killed in 1917. Photo: Rammelkamp Foto
The Aviator—a depiction of Icarus by Gutzon Borglum (1867-1941), best known for the colossal Mount Rushmore—was dedicated in 1918 to former UVA student James Rogers McConnell. Born in 1887 to a well-to-do Chicago family, Jimmy “Mac” McConnell in 1908 entered the university, where he became known for hijinks (see Jefferson Monument, p. 18). When World War I broke out in mid-1914, McConnell first joined the French ambulance service—which motivated him to write of the horrors of war for American magazines—then became one of the first seven pilots of the famed “Lafayette Escadrille.” McConnell was shot down and killed in 1917. Photo: Rammelkamp Foto
Two of the university’s first statues were sculpted by Richmond native Moses Ezekiel (1844-1917). His Blind Homer and Young Guide was unveiled on the south Lawn in 1907. Often climbed upon by students, the bronze features fine details—“textures of the sheepskin garment, the [lad’s] tousled hair, and the [poet’s] scraggly beard,” as noted by Joseph Gutmann, who edited Ezekiel’s memoirs. Born to a middle-class Jewish family, Ezekiel entered the Virginia Military Institute in Lexington in 1862 and two years later fought with the VMI cadets in the Battle of New Market, a Confederate victory that came at a high cost for the VMI unit: 10 dead and 45 wounded. Following graduation in 1866, Ezekiel enrolled in the exclusive Royal Academy of Art in Berlin, and later set up a studio in the Baths of Diocletian in Rome. Photo: Rammelkamp Foto
Two of the university’s first statues were sculpted by Richmond native Moses Ezekiel (1844-1917). His Blind Homer and Young Guide was unveiled on the south Lawn in 1907. Often climbed upon by students, the bronze features fine details—“textures of the sheepskin garment, the [lad’s] tousled hair, and the [poet’s] scraggly beard,” as noted by Joseph Gutmann, who edited Ezekiel’s memoirs. Born to a middle-class Jewish family, Ezekiel entered the Virginia Military Institute in Lexington in 1862 and two years later fought with the VMI cadets in the Battle of New Market, a Confederate victory that came at a high cost for the VMI unit: 10 dead and 45 wounded. Following graduation in 1866, Ezekiel enrolled in the exclusive Royal Academy of Art in Berlin, and later set up a studio in the Baths of Diocletian in Rome. Photo: Rammelkamp Foto
Ezekiel’s Jefferson Monument—erected facing University Avenue—depicts a life-sized “sage of Monticello” standing atop the Liberty Bell, from which spring four representational figures: Liberty, Equality, Brotherhood and Justice. Not the original piece, it’s actually the recasting of a 1901 statue he’d executed for the city of Louisville. At the June 1910 unveiling ceremony—with future president Woodrow Wilson in attendance—the cloth covering was removed to reveal a chamber pot enveloping Jefferson’s head. In a twist, one of the students suspended for the prank, James Rogers McConnell, became the subject of a later dedication (see The Aviator, above). Photo: Rammelkamp Foto
Ezekiel’s Jefferson Monument—erected facing University Avenue—depicts a life-sized “sage of Monticello” standing atop the Liberty Bell, from which spring four representational figures: Liberty, Equality, Brotherhood and Justice. Not the original piece, it’s actually the recasting of a 1901 statue he’d executed for the city of Louisville. At the June 1910 unveiling ceremony—with future president Woodrow Wilson in attendance—the cloth covering was removed to reveal a chamber pot enveloping Jefferson’s head. In a twist, one of the students suspended for the prank, James Rogers McConnell, became the subject of a later dedication (see The Aviator, above). Photo: Rammelkamp Foto
Dedicated in 1978, the university’s most recent statue stands between the School of Law and the Darden School of Business. Created in 1976 by Bostonian Lloyd Lillie—professor emeritus of art at Boston University, where he began teaching in 1961—the life-sized work depicts a relaxed, standing Jefferson. Photo: Rammelkamp Foto
Dedicated in 1978, the university’s most recent statue stands between the School of Law and the Darden School of Business. Created in 1976 by Bostonian Lloyd Lillie—professor emeritus of art at Boston University, where he began teaching in 1961—the life-sized work depicts a relaxed, standing Jefferson. Photo: Rammelkamp Foto
Two of UVA’s statues reside on the Lawn in boxwood-enclosed niches. Dedicated on Founder’s Day, April 13, 1915, the seated Thomas Jefferson was the creation of Austrian sculptor Karl Bitter (1867-1915) who’d studied at the Vienna Academy of Fine Arts. In the U.S., he designed decorative architectural sculptures and later produced statuary for banks, churches and museums, as well as for a variety of public buildings. The 48-year-old died one week prior to his prestigious UVA unveiling when he was struck by a car that jumped the curb as he was exiting New York’s Metropolitan Opera. He was able to push his wife to safety before he was hit. Photo: Rammelkamp Foto
Two of UVA’s statues reside on the Lawn in boxwood-enclosed niches. Dedicated on Founder’s Day, April 13, 1915, the seated Thomas Jefferson was the creation of Austrian sculptor Karl Bitter (1867-1915) who’d studied at the Vienna Academy of Fine Arts. In the U.S., he designed decorative architectural sculptures and later produced statuary for banks, churches and museums, as well as for a variety of public buildings. The 48-year-old died one week prior to his prestigious UVA unveiling when he was struck by a car that jumped the curb as he was exiting New York’s Metropolitan Opera. He was able to push his wife to safety before he was hit. Photo: Rammelkamp Foto
The university’s first statue—and perhaps still its most famous—was carved from white marble by Norfolk, Virginia, native Alexander Galt (1827-1863), who studied sculpting in Florence. In 1854, the Virginia General Assembly awarded him a $10,000 contract to produce a likeness of Thomas Jefferson for UVA. For research, Galt borrowed pieces of Jefferson’s clothing from descendants. The life-sized piece was unveiled in 1868 in the Rotunda’s Dome Room, the school’s library, but unfortunately, Galt had already died from smallpox during the Civil War while working as a draftsman for Virginia governor John Letcher. On Sunday, October 27, 1895, Galt’s beautiful statue was famously rescued from the blazing inferno that engulfed the Rotunda that day, threatening as well the adjacent structures on the Lawn. While books were tossed from Dome Room windows, a gang of fire-singed students tipped the 1,000-pound likeness onto mattresses, and dragged it down a flight of stairs, feet first, Jefferson’s mighty head breaking every riser as he descended to safety. Thanks to those students, Galt’s Thomas Jefferson—with only minor damage—stands proudly at Special Collections (while the Rotunda is undergoing renovation). The secretive Seven Society can be contacted by posting a letter between the statue’s booted feet. Photo: Rammelkamp Foto
The university’s first statue—and perhaps still its most famous—was carved from white marble by Norfolk, Virginia, native Alexander Galt (1827-1863), who studied sculpting in Florence. In 1854, the Virginia General Assembly awarded him a $10,000 contract to produce a likeness of Thomas Jefferson for UVA. For research, Galt borrowed pieces of Jefferson’s clothing from descendants. The life-sized piece was unveiled in 1868 in the Rotunda’s Dome Room, the school’s library, but unfortunately, Galt had already died from smallpox during the Civil War while working as a draftsman for Virginia governor John Letcher. On Sunday, October 27, 1895, Galt’s beautiful statue was famously rescued from the blazing inferno that engulfed the Rotunda that day, threatening as well the adjacent structures on the Lawn. While books were tossed from Dome Room windows, a gang of fire-singed students tipped the 1,000-pound likeness onto mattresses, and dragged it down a flight of stairs, feet first, Jefferson’s mighty head breaking every riser as he descended to safety. Thanks to those students, Galt’s Thomas Jefferson—with only minor damage—stands proudly at Special Collections (while the Rotunda is undergoing renovation). The secretive Seven Society can be contacted by posting a letter between the statue’s booted feet. Photo: Rammelkamp Foto
Categories
News

Double crossed: Businesses bemoan Second Street closure

For lovers of independent movies and vino, the construction of the Violet Crown Cinema and wine bar in the former Regal theater space on the Downtown Mall is a sign of good things to come, but for nearby small businesses along the mall and the Second Street crossing, the ongoing street closure and noise brought about by the project are taking a toll.

“Starting in January, the number of guests that have come to Fellini’s has diminished,” said Fellini’s owner Jacie Dunkle, who first voiced her displeasure with the Violet Crown project in February after the general contractor, Martin Horn, didn’t notify nearby businesses of the road closure—a requirement of the permit. Since then, Dunkle and other area business owners complain that the city has not posted signage explaining the change in traffic pattern that makes the one block of Second Street north of the mall two-way on certain days and that the closure of the block south of Second Street has continued far longer than expected.

“I have people that drive around and drive around and then go to another vape shop,” said Tracy Riffel, co-owner of Smoke Brake Vapes, which opened on Second Street across from the Elk’s Lodge last August. In her first six months in business, Riffel said, her monthly sales tripled, but business has dipped precipitously in the past several months and she blames the construction.

“For a business in the baby stages, this is killing me,” Riffel told city representatives who met with her in her store on Monday, June 1.

Currently, the street is closed to traffic Monday through 5pm Thursday, when it reopens through Sunday, a schedule that is currently set by an extension to the permit through June 30. While Dunkle and Riffel had hoped the street would be entirely reopened months ago, according to a city representative, that was never the plan.

“The project is scheduled to be complete before the film festival in November,” wrote neighborhood planner Missy Creasy in an e-mail. “The applicant applied for shorter terms multiple times to give the city time to revisit and revise anything as needed.”

Martin Horn’s superintendent on the project, Michael Castorani, did not return a call for comment.

Creasy explained the lack of signs regarding the two-waying of the street on the days that the block south of the mall is closed.

“We did not want to encourage vehicles to turn [onto Second Street] from Market but we did not want to prohibit it,” she said, noting that the two-waying was necessary to allow drivers to access the private parking lot behind Fellini’s. She also said the businesses affected by the street closure may be eligible for city-funded marketing assistance that has been offered to businesses affected by large-scale capital improvement projects.

Noting she had trouble meeting her payroll this month, Riffel said she wishes there had been more communication not only from the city but from the owners of Violet Crown. “I’m happy the space is filled but at what cost?” she said. “This chain has deep pockets and is already bullying the not-so-deep pockets of the surrounding businesses. I will be hesitant to visit,” she said.

With other massive construction projects looming around downtown including the Market Street Plaza on Water Street, Dunkle said she is particularly concerned that the city communicate more closely with area businesses likely to be affected before work is ever approved.

“That needs to happen on the front end,” said Dunkle.