Preserve

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

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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.

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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

SautĂŠ the Gnocchi in a Teflon sautĂŠ 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.

PRESERVE 48

“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.

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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