Sea Island Life – Spring/Summer 2026

198 LET THE LIGHT IN THE COLOR OF WATER Peek through the grandeur of greenhouses. Dive into a kaleidoscope of coastal waters. America’s Dessert Enjoy a nostalgic taste of the nation’s favorite sweet treat.

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11 A NOTE FROM SEA ISLAND Spring and summer at Sea Island have always meant something special to me. When my children were young, this time of year was filled with days at the Beach Club, long afternoons on the water and simply enjoying this place the way so many of our members and guests do. They’re grown now, but every spring that feeling returns—and this year, in particular, there is a great deal to be excited about. We began by celebrating 25 years of welcoming you to The Lodge at Sea Island. Since first opening its doors in 2001, The Lodge has consecutively earned a Forbes Five-Star designation—one of just 10 properties worldwide to reach that milestone. We’re proud of that distinction, not simply because of the recognition itself, but because of what it represents: consistency, high standards and a commitment to doing things the right way year after year. Golf has always been central to that experience. Our three championship courses continue to evolve, and in October, we’ll unveil a multimillion-dollar restoration of the Seaside Course. It is an investment in the future of the game at Sea Island and in the players who will enjoy it for decades to come. Of course, milestones don’t happen on their own. Sea Island is the proud home to more than 130 individuals in our Quarter Century Club, team members who have dedicated 25 years or more to serving our members and guests. In this issue, you’ll meet a few of them. They are at the heart of why people from all over the globe continue to call Sea Island “home.” As our country marks its 250th anniversary this year, we are also looking forward to celebrating the Fourth of July with all of you. It has always been one of our favorite traditions here—patriotic, family-centered and nostalgic in the best way. This year, we’ll mark the milestone with a few added moments to make it even more memorable. I’ll likely be back in the annual belly flop contest at the Beach Club. It’s a tradition at this point and continues to keep me humble. All these years later, this season still gives me so much joy. I hope it does the same for you and your family when you’re here, and I look forward to seeing you soon. Sincerely, Scott Steilen President and CEO, Sea Island

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21 PEGGYEVERETT.COM Peggy Everett is a contemporary painter known for her ability to capture the unique qualities of nature’s beauty, Peggy’s work has been featured in art galleries nationwide and has garnered attention from art collectors and enthusiasts around the globe. A proud member of Artists for Conservation, Peggy has spent much of her life painting Georgia’s coastline. Her landscape and wildlife paintings have raised over $1,000,000 for various non-profit organizations in Georgia and Colorado. She also teaches studio and Plein Air workshops at Sea Island and a variety of other locations as requested. Contact her today to inquire about commissions and available workshops. [email protected]

22 TAKING FLIGHT The evolution of aviation, from early airfields to modern private travel. BY TONY L. STARKS 80 LET THE LIGHT IN 56 THE COLOR OF WATER How what lies beneath the water’s surface shapes its shifting hues. BY KATIE RILEY 70 Consider the glassbound grandeur of greenhouses past and present. BY AMBER LANIER NAGLE IF WALLS COULD TALK 40 How material, motif and imagination transform the walls around us. BY KENSLEY GODBEE F E A T

23 AMERICA'S FAVORITE DESSERT Ushering in a golden age of ice cream while honoring the original. BY BRIENNE WALSH 110 ON THE BAG 91 IT'S ABOUT TIME Clocks as a testament to mankind’s fascination with measuring time. BY DEBRA BOKUR 98 Caddies as stewards of strategy, mentorship, and the game itself. BY JAKE POINIER FINISHING TOUCH Garnishes elevating flavor, fragrance and the impression of the first sip. BY MICHELLE FRANZEN MARTIN 120 SEA ISLAND LIFE | VOLUME 27 U R E S

24 160 Field Notes

25 DEPARTMENTS COURTSIDE CONDITIONING | Wellness | Tennis transforming wellness travel, combining movement and strategy. BY DREW MAILLOUX 144 A GROWING PURPOSE | Culinary | Connecting people through edible gardens taking root at Broadfield. BY KATIE RILEY 148 TEEING OFF TOGETHER | Golf | How women are turning an individual sport into a shared experience. BY DREW MAILLOUX 152 Encouraging a return to adventure and the joy of trying something new. BY DREW MAILLOUX 156 SEA ISLAND LIFE | VOLUME 27 MORE THAN A POUR | Libations | Vineyards across the world explored with Sea Island sommeliers. BY CLAIRE RUHLIN 140 IN GOOD COMPANY | Affiliates News | See what events and activities are scheduled for the forthcoming season from our Sea Island affiliates. 174 THINKING OUTSIDE THE BOX | History | The enduring phone booth, a symbol of ideas that adapt and persist. BY AMBER LANIER NAGLE 168 MEET THE MEMBERS | Member | Four generations of Knoxes connected through golf, family and Sea Island. BY JAKE POINIER 172 THE FIRST STOP | Retail | Settling in, made simple with fresh, prepared provisions from The Market. BY DREW MAILLOUX 166 WELCOME BACK, CAMPERS | Retail | 152Teeing Off Together FIELD NOTES | Outdoors | A pocket-sized companion leading to discovery in the great outdoors. BY BRIENNE WALSH 160

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38 PUBLISHER Cindy Hyde PRESIDENT & CEO Scott Steilen ART DIRECTOR & GRAPHIC DESIGNER Hudson Leonard CONTRIBUTING WRITERS Amber Lanier Nagle, Brienne Walsh, Claire Ruhlin, Colleen McNally Arnett, Debra Bokur, Drew Mailloux, Jake Poiner, Katie Riley, Kensley Godbee Lauren Finney Harden, Michelle Franzen Martin, Nicole Letts, Terry Ward and Tony Starks. SALES EXECUTIVE Cindy Hyde [email protected] 706.540.3578 EDITORS Eliot VanOtteren and Madi Allison D TO OUR READERS: Sea Island Life invites you to share with us your reactions to our magazine. Send your correspondence to Publisher, Sea Island Life, 1 Huntington Rd., Suite 102, Athens, Georgia 30606 or to [email protected]. The magazine accepts freelance contributions; however, unsolicited materials cannot be returned, and Sea Island Life accepts no responsibility for loss or damage to unsolicited materials. ADVERTISERS: For inquiries, please contact Cindy Hyde at [email protected]; 706.540.3578. ©2026 BY SOUTHERN DISTINCTION LLC. ALL RIGHTS RESERVED. NO PART OF THIS PERIODICAL MAY BE REPRODUCED IN ANY FORM OR BY ANY MEANS WITHOUT PRIOR WRITTEN CONSENT FROM SEA ISLAND LIFE. THE VIEWS EXPRESSED HEREIN ARE THOSE OF THE AUTHORS AND ADVERTISERS AND DO NOT NECESSARILY REFLECT THOSE OF THE OWNERSHIP OR MANAGEMENT OF THE MAGAZINE OR SEA ISLAND. CHIEF MARKETING OFFICER Parra Vaughan SPECIAL THANKS Annaliese Kondo, Leslie Hand, Kelli Boyd, Carrington Ulmer, Kensley Godbee, Lucy Hunter, Leslie Jones, Newport Mansions Preservation Society, Tiiu Kardi, Schumacher, Kravet, Artelier Art Consultancy, Laurine Malengreau, Peter Hayes, Sara Beth Bespoke Designs, Johnson Vann Interiors, Liza Bryan Interiors, Tanglewood Conservatories, Ltd., Conservatories Heritage Society, Nicole Young, Alan Stein, Nancy Virts, Noah Alexander Stein, Longwood Gardens, Benjamin Galland, Bill Miller, Sentient Jet, Mimi Rogers, Augusta Aviation, Evan Scholarship Program, Women's PGA, Rolex, Leopold's Ice Creamand Chashing Fowl Photography. M A G A Z I N E

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40 How material, motif and imagination transform the walls around us. BY KENSLEY GODBEE

42 Walls were once simple dividers, structural necessities that defined where one room ended and another began. Today, they are anything but passive. Wrapped in silk, burnished in leather, sculpted in plaster or layered in handpainted murals, walls have become the emotional architecture of a space. Across the design world, walls are reemerging as immersive canvases rich with texture, heritage and imagination. Wallpaper, stucco, fabric, metal, glass, leather and even recycled materials are being reinterpreted through inventive applications. The result is not ornamentation for its own sake, but expression. “People have been covering their walls with patterns and drawings for millennia. The first notable wall coverings were painted on silk by the Chinese in the 17th century as a decorative way to insulate walls,” says Lucy Hunter, a British artist who hand-paints luxury printed wallpapers and panoramic mural designs inspired by the natural world. While mass-produced, peel-and-stick wallpapers are readily available at most retailers, tailored wall

43 coverings center on highly customizable offerings crafted by hand. Many draw inspiration from the timeless style of America’s Gilded Age roots. LAYERS OF LEGACY Spanning the 1870s to the early 1900s, the Gilded Age marked an entryway into modern society as we know it. Focusing on art as inherently beautiful without necessarily needing a deeper meaning, the aesthetic movement continually proves an integral part of contemporary design. “This historic time period was a culmination of the Industrial Revolution, where everything was becoming more processed through machinery,” says Leslie Jones, Chief Curator and Director of Museum Affairs at the Newport Mansions Preservation Society. Draping luxurious fabrics, particularly Frenchmade silks or Italian linens, became a declaration of pride in a home. The textiles were not only of high value to import, install and maintain, but also provided a sense of warmth in cold climates before the advent of heating. Hand-painted wallpapers by Lucy Hunter.

44 Billiard room in a Newport Mansion.

45 Walls, then, signaled both status and discernment. Homeowners reimagined earlier methods—think plaster, limewash or classic millwork—as the desire for craftsmanship grew. “Wall surfaces in particular were looked at as a space framed,” Jones continues. “It became its own work of art the way the walls were treated in a home.” As a result, these opulent wall coverings soon conveyed a strong sense of poise, sophistication and artistic intention. Perhaps one of the most unique examples can be found among the Newport Mansions, particularly inside the Marble House. This home was built between 1888 and 1892 and the crystalline marble interior exudes an ethereal elegance. Just as tastemakers of the Gilded Age repelled the generic look from industrial machines, Jones anticipates a resurgence in demand for one-of-a-kind wallcoverings, particularly in the era of artificial intelligence. “We’re seeing a desire in the contemporary market for things to feel more unique and specific to a space, rather than just a part of this larger, easily accessible trend.” DESIGNED FOR DREAMING Fast-forward to the present day, walls have become the beating heart of any room. The world of 21st-century wall coverings is overflowing with options of textures, patterns and symbols. With more and more options available to consumers each day, historic methods lend themselves to inventive techniques as designers seek balance between the old and the new. Velvet walls in Georgian Rooms at Sea Island.

46 “It’s amazing to see how design sensibilities from a hundred years ago still resonate,” says Tiiu Kardi, Associate Director at Schumacher, a 135-year-old American design house specializing in luxury fabrics, wallpapers and furnishings. “We love innovation, but also value handmade and traditional methods, such as surface painting.” Unlike smooth paint, surface painting responds to the environment. Run your hand across a limewashed wall, and it doesn’t feel flat. In the morning light, Venetian plaster appears matte and quiet. By dusk, it deepens. The wall shifts with the day. NATURAL WALLS Walls are, by definition, boundaries. They contain, define and enclose. Yet, in the right hands, they can do the opposite. Printed mural by Kravet.

47 Working hand-in-hand with private collectors, developers and designers, Artelier’s “Artist Walls” collection evokes diverse cultural influences, which is something a simple coat of paint can only hint at. Laurine Malengreau, a Belgian textile artist, combines natural wool and silk fibers to craft wall coverings that capture the soft, ever-changing semi-translucent interplay of natural light. Sculptor, Peter Hayes, expands sustainably made traditional Japanese raku ceramics into powerful walls, connecting the indoors to the natural world with the organic use of earth clay, fire and water. Mark Evans introduces intricately hand-etched leather panels, creating remarkably photorealistic images. Meanwhile, Jennifer Newman layers crushed minerals and natural pigments in her sweeping murals to enhance geological landscapes with depth and texture. These large-scale designs and scenic wall coverings rooted in nature fundamentally shift spatial perception within a room. Design experts note that panoramic wall treatments have the ability to make a room feel larger and more cohesive by visually extending its boundaries beyond the physical wall itself and into the surrounding environment. Rather than acting as a hard stop, the surface becomes a subtle invitation for the eye to travel further. Landscape murals in particular can create the illusion of depth, adding a layer of dimensionality that evokes a sense of connection and culture. In smaller interiors, this technique is often used deliberately to make a space feel visually expanded rather than confined. There is also a psychological layer at play. Designers who focus on nature-inspired interiors have long observed that visually connecting indoor spaces to outdoor elements enhances ambience and comfort. Wool and silk covering by Laurine Malengreau. Image courtesy of Artelier Art Consultancy

48 When a wall mirrors the landscape beyond it, whether through botanical imagery, horizon lines or tonal palettes drawn from sky and water, the room feels less enclosed and more open to its surroundings. At Sea Island, this interplay between art and architecture is not accidental. A mural of hand-painted palms welcomes guests into Southern Tide, scaled in a way that mirrors the height and movement of the palms just beyond the oceanfront windows. The vertical lines lift the focus upward, subtly extending the room. In Georgian Rooms, a delicate painting of flora and fauna is tucked into a recessed alcove, adding depth to the wall itself. What might otherwise read as a flat surface becomes layered and dimensional, making the private dining space feel more expansive. The most striking example can be found at The Lodge. Inside the Oak Room veranda, a 360-degree pastoral mural surrounds guests in a landscape before giving way to the real horizon visible through the windows. The range of natural fibers readily available continues to expand. Sisal and seagrass introduce coarse, woven patterns, where bamboo panels often provide a structured interest while maintaining an organic appeal. Unique coverings such as foraged feathers, natureinspired motifs and wood relief sculptures have all proved themselves prominent voices of this movement. Wallpaper in Colt & Alison at Sea Island.

49 The inherent beauty of the natural world will remain, and organic coverings carry a sense of continuity with the outdoors. THE BESPOKE REVIVAL A life story as it’s constantly reflected in the walls around them. Storytelling leads the way in how people decide to decorate their homes, and rooms layered with these unique wall coverings will naturally speak of a curious life well-lived. A thought-out interior offers stability, and emerging application techniques are redefining the possibilities of modern design. Advances in digital printing and luxury woven textiles have dramatically expanded what is possible in the crafting of wall coverings. Historically, patterned wallpapers required labor-intensive block or screen printing, which limited both customization and scale. Today, digital rendering and custom printing allow designers to create highly personalized wall coverings sized precisely to a home’s dimensions. People crave spaces enveloped with wall coverings that offer beauty as well as resonance. Homeowners are increasingly expressing this desire through custom artwork, integrated directly into their home with artistry-backed stucco finishes. These walls become tactile canvases, revealing a unique visual narrative. Raku ceramic coverings by Peter Hayes. Etched leather coverings by Mark Evans. Images courtesy of Artelier Art Consultancy (middle & right)

51 “I believe the craft will move even further toward material integrity and bespoke collaboration. Surfaces that are not simply applied, but thoughtfully created for the individual and the architecture they inhabit.” SARA ZIGMAN, Owner of Sarabeth Bespoke

52 Landscape Through a Local's Lens Many of the hand-painted murals found across Sea Island share a common thread: the work of local designers and artists who understand the landscape as well as the architecture. Among them are Adrian Cate and Bethany Vann of Johnson Vann Interiors, a St. Simons Island–based design firm known for its work throughout the Golden Isles. The firm has contributed to several projects across Sea Island, including spaces within The Cloister, Beach Club, The Lodge, Ocean Forest Golf Club and The Cloister Solarium, where decorative murals and painted finishes help bring the surrounding environment indoors. Their approach often begins with observation. Palms, marsh grasses and coastal skies become visual references that quietly inform the rooms they design. Rather than overwhelming a space, the murals are meant to complement architecture and views, echoing the natural rhythms of the island. “Murals work best when they feel as though they’ve always belonged to the room,” Vann noted in discussing the firm’s work. That philosophy has guided their projects not only at Sea Island but also in private homes throughout St. Simons Island and the broader coastal region.

53 As Sara Zigman, Owner of Sarabeth Bespoke, observes, “We spend so much of our lives in our homes. Having a space that accurately represents who you are is paramount. The more a space makes us feel like ourselves, the happier we are.” Designs that once required extensive hand-sketching and guesswork can now be visualized digitally with remarkable detail before a single brushstroke or roll of wallpaper is applied. Patterns can be scaled to match ceiling height, palettes adjusted to respond to natural light throughout the day and across seasons and imagery refined to reference the architecture or landscape surrounding a home with greater intentionality. Local interior designer Liza Bryan has worked on multiple properties across Sea Island. Looking ahead, she anticipates an exciting return to warmth and authenticity after years of sleek minimalism. “Technology, craftsmanship and global access mean designers now have so many things available at their fingertips,” Bryan says. “Each project can be tailored to individual lifestyles and tastes. No longer does one size fit all.” With this growing consumer accessibility, a heightened desire for distinction is born. Permanence has become the highest achievement in an age of constant digital influence, where inspirational images circulate endlessly across social feeds, and trends seem to rise and fall overnight. When walls Interior designed by Liza Bryan.

54 Dining room designed by Sara Beth Bespoke (top); Raku ceramics by Peter Hayes (bottom left), Dining room designed by Johnson Vann (bottom right).

55 become pieces of art, they stand the test of time. Designers strive to work directly beside their clients, ensuring their voice is heard and uplifted during every stage of the creation process. “First, we must have a conversation about the project,” Bryan explains. “This is often when the house ‘speaks’ to me. We establish hopes and desires, and it becomes my job to thoughtfully interpret those into something tangible and lasting.” Increasingly, those conversations lead to wallpaper designs rooted in personal meaning. “While aesthetics always move in cycles, I believe the shift toward handcrafted interiors is rooted in a deeper, more collective desire,” explains Zigman. “People are craving authenticity in their spaces, and that feels like a lasting change.” Glass walls have become a popular trend to reflect this personalized touch as they can be etched, frosted or tinted to encourage harmony and individuality. “Beyond technology and technique, the most successful wall coverings,” Zigman says, “are the ones that feel inevitable—as if they could only exist in that specific home.”

57 Consider the glassbound grandeur of greenhouses past and present. BY AMBER LANIER NAGLE

58 Handpicking Olives The Orangery at Castle Ashby in England.

59 Just inside the greenhouse at Hills and Dales Estate in LaGrange, Georgia, the air carries the earthy fragrance of life taking root. Light filters through a slatted ceiling, dappling the space in a soft, forest-floor glow. Here, in this glass sanctuary, spring is eternal, and winter is but a rumor. “Alice Callaway was a collector of plants,” says Carleton B. Wood, Executive Director of the estate. “She worked here, propagated her plants and grew flowers she could cut and use in arrangements. In one greenhouse, she cultivated succulents, begonias, ivy and orchids, including vanilla orchids. Another greenhouse has been used to continuously cultivate calla lilies for nearly 100 years. The central greenhouse is where she grew her collection of ferns, including her lovely maidenhair ferns.” As with other greenhouses, Alice Hand Callaway’s enclosures were designed primarily for the work of growing and tending to plants, though the space also showcased the finest of her collection. Indeed, glass structures have always occupied the space between dream and dirt, poetry and purpose. From Victorian England’s soaring crystal conservatories—elegant glass rooms attached to manor homes—to the refined glass rooms being crafted today by firms such as Tanglewood Conservatories, these light-filled structures continue to balance horticultural function with architectural beauty. BOTANICAL BEGINNINGS Long before modern climate control, ancient innovators began bending nature to their will. Around 30 AD, after a physician advised Roman Emperor Tiberius to consume the fruit of a melon or cucumber plant daily for better health, gardeners developed the specularium. These simple wheeled structures, covered with oiled cloth or translucent stones, were rolled into the sunlight during the day and then back inside on cool nights, representing what many believe to be humanity’s first attempt to defy the seasons. During the Renaissance, as European explorers returned from distant lands bearing exotic plants that required some level of pampering in colder climates, grand orangeries sprang up across estates. Modern conservatories and greenhouses still draw heavily from those early European orangeries. According to Nicole Young, Associate, Global Sales and Marketing for Tanglewood Conservatories, a Maryland-based architecture-build firm specializing in the design and construction of ultraluxury conservatories, greenhouses and specialty glass roofs, “Orangeries were used for overwintering citrus trees that couldn’t survive cold winters. They were likely the precursors to modern conservatories.” One such modern interpretation stands at Sea Island. The Georgian Rooms Orangery is a robust structure with a glass roof, perfect for framing drifting clouds by day and twinkling constellations by night. White walls amplify the natural light that streams through large arched windows and French doors, and tall parlor palms rise toward the glass overhead—a nod to the citrus-filled orangeries of centuries past. This sanctuary of sunshine is a room in which light itself is the primary architectural element. [ Continued on page 62 ] Images courtesy of Tanglewood Conservatories, Ltd., © Alan Stein, Founder (featured above & left)

60 The Cloister Solarium at Sea Island.

62 THE GOLDEN AGE OF GLASS The 17th century saw advances in glass manufacturing. The new technology made it possible to build larger, transparent-walled, clear-roofed structures, ultimately ushering in an era of indoor gardening. By 1737, prosperous Boston merchant Andrew Faneuil had erected America’s first greenhouse—a glass palace where exotic pineapples and oranges grew and flourished. George Washington took notice and commissioned his own version of horticultural extravagance at Mount Vernon, equipped with a stove and flues for heat. It was completed in 1787. By the Victorian era, conservatories—derived from the Italian word conservatorio, meaning “a place for preserving”—had emerged as architectural status symbols. According to designers at Tanglewood Conservatories, the historic role of these structures still influence how they are used today. “Conservatories stand alone as jewels,” Young says. “They are extended living spaces, not only architecturally appealing, but also complementary to the house while creating beautiful connections to nature and family. Unlike greenhouses, they are more often used to host gatherings, showcase art, display orchid collections and even hold intimate piano concerts.” Greenhouses, too, were typically owned by wealthier Americans until the postwar boom. The introduction of aluminum framing in the late 1940s again revolutionized greenhouse construction, replacing heavy wooden frames with lightweight, rust-resistant structures that were cheaper to manufacture and easier to assemble. Another turning point came when plastic sheeting became readily available to builders, making greenhouses accessible to amateur gardeners throughout the 1960s and beyond. At Sea Island, the greenhouse plays a key role in sustaining the resort’s vibrant landscaping. Cathy Wiggins, Horticultural Project Manager, explains, “Greenhouses can be a great benefit, as growing is year-round, no matter the season. With the controlled environment of a greenhouse, plants grow faster and are much healthier.” The landscaping team primarily cultivates the annuals and perennials used in the hanging baskets that line the lamp posts. “Our goal is to grow the most eye-catching, hardiest plants we can,” says Wiggins. “It’s rewarding to see the finished product displayed through the landscape, something members and guests enjoy when driving, walking or riding a bike down the sidewalks.” The Horniman Museum in London. Interior of the Castle Ashby.

63 The Greenhouse at Sea Island One of only 20 greenhouses built in this design, the newest addition to Sea Island arrives from Rouen, France, where it was located for the past 25 years. Located on the North Patio, its architecture is inspired by a Belgian-style Orangerie, a refined European greenhouse tradition originally designed to shelter citrus trees and delicate plantings on grand estates. True to that heritage, the structure emphasizes symmetry, clean classical lines, expansive glass walls and an abundance of natural light. Balancing beauty with purposeful design, the greenhouse is crafted from galvanized, grade-steel framing and enclosed with laminated glass, allowing maximum light while withstanding coastal conditions. Inside, the greenhouse feels warm, layered and inviting. Hanging plants cascade from above, adding softness and color against the steel and glass, while a thoughtful mix of chandeliers and accent lights creates a glow that shifts beautifully from morning light to candlelit evenings. Underfoot, Ming Green and Tibetan White marble tile anchors the space—a subtle nod to classic European conservatories. Bistro tables and chairs encourage guests to settle in and enjoy their morning slowly. The greenhouse is an intimate setting for private culinary and beverage events, offering a distinctive backdrop for small-scale gatherings that feel personal and transportive. “We wanted it to feel collected, not constructed,” says Caroline Grogan, Associate Director of Event Design at Sea Island. “It’s romantic without being fussy, a space that invites you to slow down, share a meal and experience something beautifully unexpected.” Images courtesy of Tanglewood Conservatories, Ltd., © Noah Alexander Stein (top); © Alan Stein (bottom)

64 GLASS, GARDENS AND GRANDEUR Around the globe, several greenhouses and conservatories have earned recognition for their architectural appeal, historical significance and glassy grandeur. At Longwood Gardens in Pennsylvania’s Brandywine Valley, the Conservatory District features a series of breathtaking rooms that blend the beauty of 19th-century classical architecture with horticultural displays—a testament to Gilded Age finery. “Pierre du Pont envisioned grand indoor gardens here,” says Patricia Evans, Associate Vice President of Marketing and Communications at Longwood. “The result was the stunning Conservatory that debuted in 1921. Today, we feature three acres under glass, and with over 4,500 plant species, Longwood is one of the largest indoor garden collections in the world.” Across the Atlantic, Belfast’s Botanic Gardens Palm House is one of the earliest examples of a curvilinear castiron-and-glass conservatory in the world, completed in the 1840s. This pioneering Victorian structure is noteworthy for its innovative design and construction techniques, which influenced the development of glasshouse architecture internationally, including London’s famous Kew Gardens Palm House. The Alice Hand Callaway Visitor Center and Conservatory at the State Botanical Garden of Georgia rises from the Southern landscape like a glowing lantern in the evening. Its commanding, cube glass facade spans multiple stories, framed by a white, structural grid. Built in 1984, this modern greenhouse blends into its surroundings, offering unobstructed views of lush botanical collections both inside and outside its crystalline walls. Traveling to Southeast Asia to Singapore’s futuristic Cloud Forest Dome, this enclosure hosts the world’s tallest indoor waterfall as it plunges 115 feet down an artificial mountain where orchids and ferns cling to manmade walls. In this colossal conservatory, visitors climb skywalks that wind through cool, foggy air, wandering past pitcher plants and ancient cycads—a thrilling collision of engineering and natural splendor.

65 Syon Park Conservatory in London (left); Cloud Forest Dome in Singapore (top); Belfast Conservatory in Ireland (bottom). Images courtesy of Tanglewood Conservatories, Ltd., © Nancy Virts Co-Founder (bottom left); © Alan Stein, Founder (bottom right)

66 FROM ORCHIDS TO ORCHESTRAS Though most of these ornate landmarks stand as botanical attractions, some have traded orchids for oil paintings, ferns for fashion. Madrid’s Palacio de Cristal de Retiro, built in 1887 as an exotic plant pavilion for the Philippines Exhibition, now hosts contemporary art installations beneath its glass ceiling. Designed by Spanish architect Ricardo Velázquez Bosco, this “Crystal Palace” is shaped like a Greek cross and constructed of glass set in an iron framework, all resting atop a brick base. Located between the Champs-Élysées and the Seine River in Paris, the Grand Palais, a magnificent BeauxArts greenhouse on steroids, pivoted from its 1900 debut as an exhibition hall and now hosts everything from art installations to Chanel runway shows to vintage car expos. In Glasgow, the magnificent Kibble Palace anchors the Botanic Gardens as a venue for everything from theatrical performances to music concerts to quiet contemplation among tree ferns older than the building itself. TRANSLUCENT TRANSFORMATIONS Today, greenhouses and their conservatory cousins are experiencing something of a renaissance. Designers at Tanglewood Conservatories note, “Now more than ever, families seek to create spaces that combine historic design with modern performance and an increased connection to the natural world. These rooms resonate not only for their beauty, but for the way they reconnect people to nature, living plants and one another.” Chanel fashion show at the Grand Palais in Paris.

68 Many homeowners are embracing biophilic design— spaces intentionally shaped by natural light, plants, wood, stone and water—to foster calm, focus and restoration. As homeowners consider adding spaces attached to their homes or freestanding in their backyards to bring them closer to nature, some choose to use reclaimed materials with interesting histories. Weathered wood, salvaged wavyglass windows and antique doors and hardware elevate these structures in unique and unusual ways, bringing character and charm to these construction projects. "The idea for my greenhouse was born when I replaced the original windows in my 1926 cottage and could not bring myself to send them to a landfill,” says Sara McDaniel, a Louisiana-based home renovator, designer and influencer known for her brand Simply Southern Cottage. “Reusing those windows created a greenhouse with instant character and history. It allowed my greenhouse to become a peaceful, light-filled sanctuary that honors the past while creating something beautiful and useful today.” Yet in the realm of glass enclosures, tradition and tech innovation are not mutually exclusive. Smart technology has revolutionized greenhouse management, making these spaces more accessible to gardeners of all skill levels while maximizing growing success—and without the constant monitoring and attention that traditional, off-the-grid greenhouses once required. Automated ventilation systems respond to temperature changes without human intervention. Soil moisture sensors trigger irrigation only when plants are truly thirsty, preventing both drought stress and overwatering. Remote monitoring via a smartphone allows owners to check conditions from anywhere and adjust heat or humidity with a tap of a finger. Today’s high-tech growing systems use sensors, automated controls and wi-fi connectivity to maintain optimal conditions around the clock—and that provides peace of mind for both the casual weekend gardener as well as the serious horticulturalist. From ancient Rome’s wheeled growing carts to Europe’s elaborate glass palaces to today’s smart-technology-equipped backyard sanctuaries, greenhouses have evolved from symbols of wealth and extravagance into accessible spaces where gardeners of all levels can defy the seasons. These light-filled refuges make a statement, honoring horticultural tradition while fostering deeper connections with nature and the world around us. Rosemary Olive Oil Dirty Martini Conservatory concealing an underground pool in Tennessee. Custom Steel Greenhouse Images courtesy of Tanglewood Conservatories, Ltd., © Alan Stein, Founder

69 Enhancing with nature the beauty of your home 3407 FREDERICA RD, ST SIMONS ISLAND, GEORGIA 31522 | 912.222.4040 | THEGROVECOMPANYSSI

71 How what lies beneath the water’s surface shapes its shifting hues. BY KATIE RILEY

72 More than two-thirds of the Earth is made up of water and while its compound makeup is quite simple—two parts hydrogen, one part oxygen— its color varies with the vantage from which it is seen. In order to understand what makes up the color of water around the world, one must examine the way that color is reflected. All colors lie within a spectrum of black and white, and the color that is seen is reflected back by what is not absorbed by the human eye. Water that appears green is due to the fact that every color has been absorbed except that of the chlorophyll-rich phytoplankton that live beneath the surface. A vast stretch of open ocean far from the shore will appear blue because there’s almost nothing that absorbs light in the ocean except the water. THE SCIENCE BEHIND THE SATURATION While one body of water may appear in crystal blue hues, another may appear in rich earth tones. Scientists know that variations in water color around the world are a reflection of what is happening beneath the surface. “There is information in the color of the ocean that allows scientists to estimate what’s growing there,” says Bill Miller, Professor of Marine Science at the University of Georgia. “The color of water is so informative depending on the spectrum you see, that from there you can make a calculated guess of what’s going on in the ecosystem.” Color is such a vital indicator of an ecosystem that the National Oceanic and Atmospheric Administration extensively monitors it through the use of remote satellites. The satellites contain a visible infrared imaging radiometer (VIIRS) that is able to detect spectral changes in the water. A dedicated team—the NOAA/STAR Ocean Color Team—uses this data to assess water quality, climate change and marine ecosystems. On the Georgia coastline, the color of water is most impacted by the convergence of freshwater and saltwater, where river and ocean meet. This confluence begins with the Altamaha River, a major river in Georgia that flows eastward for 137 miles before draining into the Atlantic Ocean, by Sea Island. Black Banks River meets the Atlantic Ocean on Sea Island Beach.

73 The Altamaha River Courtesy of Benjamin Galland Photography

74 Golden Marshes of Sea Island Georgia’s coast is home to 378,000 acres of salt marsh, vast wetlands where fresh and saltwater meet. The region near Sea Island is often referred to as the Golden Isles because of the Spartina marsh grass that grows in the surrounding wetlands, the color of which varies seasonally, turning golden in fall and winter, and green during the spring and summer months. According to Haley Watkins, Lead Naturalist at Sea Island, it is these marshes that make the ecosystem so unique. “The marshes that surround Sea Island serve as a buffer to the

75 island during high tides while also creating habitat for oysters and other filter feeders that improve water quality. This benefits both wildlife and people alike,” Watkins says. The marshes also serve as a critical wildlife habitat. “They act as a huge nursery ground for what’s out in the ocean,” Watkins says. Marine life such as shrimp, fish and sharks come to the marshes to have their young in a protected environment. Watkins, a native of St. Simons Island, also credits the marshland for her appreciation of the outdoors. “When I look at the marshes, I see two things. As a naturalist, I see it as an abundance of wildlife. But as a local, I see it for what made me fall in love with the outdoors.”

76 Though the confluence of river and ocean water happens on coastlines throughout the world, no two are exactly alike, due to the currents and materials that exist in the environment. On the northernmost East Coast, a rocky coastline affects the color of the water, appearing more brown, while the blue-tinged color of water on the West Coast is affected by the abundance of kelp in the water. Similar to the Georgia coast, the Chesapeake Bay is an estuary where ocean and river water meet. The Chesapeake Bay’s brownish green water is what makes for a biologically abundant environment where crabs, oysters and fish can thrive. On Sea Island, it is precisely this water quality that allows for such a complex ecosystem to prosper. Haley Watkins, Lead Naturalist at Sea Island, remarks,“ The color of the water around Sea Island is reflective of a nutrientdense environment that is the basis for the unique plant and wildlife that thrives in the region. It is the reason we have the variety of wildlife that call Sea Island home.” Professor Miller agrees that without this extraordinary combination, the region wouldn’t be home to such a verdant and diverse ecosystem. “Many people want to see the bottom of the ocean, as you would in the Caribbean. But that turquoise water means it actually has less life and is less productive as it relates to energy. The brackish water means that there’s more energy in the ecosystem and that is what makes the Georgia coast so full of life,” Miller adds. Loggerhead Sea Turtle (left); Great Blue Heron (top); Tarpon (bottom); Mangrove Channel (right).

77 THE COLOR CONNECTION WITH WILDLIFE The color of water also determines what animals may call it home. Sea Island is home to dolphins, loggerhead sea turtles and invertebrates like crabs, oysters and clams. The water’s quality and color have a direct impact on the wildlife that live along Georgia’s coast. For many species, the water around Sea Island provides a nutrient-rich environment where they can safely feed, find shelter and reproduce. The population of loggerhead sea turtles on Sea Island are able to flourish as a direct result of the water’s color. “Every year, thousands of hatchlings emerge along the shoreline and make the perilous journey towards the ocean,” says Watkins. “The color on the scales and flippers of loggerhead sea turtles directly mimics the water they are entering, providing camouflage and protection from predators.” In those first moments of life,

78 blending into the water makes all the difference in their journey to the Sargasso Sea. The evolution between animal and habitat is interconnected, ensuring that wildlife thrives based on the quality and color of the water it inhabits. Over time, this relationship has shaped the variety of species that return to Georgia’s coast year after year. The wildlife surrounding Sea Island is also greatly impacted by the tides. The Georgia Coast has one of the greatest tidal fluctuations on earth, with the tide changing every six hours as the water ebbs and flows through the marsh. These constant tidal shifts move water through an intricate network of creeks and estuaries, delivering nutrients and oxygen to the organisms that call those places home. According to Mike Kennedy, Director of Recreation at Sea Island, these tidal flows contribute to the abundance of shrimp, fiddler crabs and a myriad of other life, providing food for the fish that reside in these waters. “Our inshore fishery is robust, and the variety is amazing,” Kennedy says. “Menhaden is a filter-feeding fish, and our coast must have millions of them, along with speckled trout, redfish and the tarpon migrating in summer.” The varied marine life also provides food for a wide variety of shorebirds who stop at Sea Island to feed and gain weight before migrating as far as South America in the winter. For these migratory birds, the coastline becomes an essential refueling station along a journey that can span continents. The full spectrum of water colors surrounding Sea Island reveals a story that can’t be told anywhere else. From earthy hues to shifting greens and blues, each shade reflects the delicate interplay of marsh, river and ocean that defines the region. “We have one of the most unique ecosystems on earth,” Kennedy says. “Every time I leave the island and come back, I’m amazed at how different Sea Island is. There is simply nothing that compares.” Kayaking by Rainbow Island.

80 The evolution of aviation, from early airfields to modern private travel. BY TONY L. STARKS

82 In June of 1914, a small seaplane lifted off from the waters of Tampa Bay carrying a single passenger who had paid five dollars for the privilege. The aircraft, piloted by aviation pioneer Tony Jannus, completed the 23-minute journey to St. Petersburg, Florida, marking what historians consider the first scheduled commercial airline flight in history. In the early decades of aviation, aircraft ownership belonged almost exclusively to wealthy industrialists and hobbyists. Business leaders like Howard Hughes and Henry Ford were among the first Americans to recognize the strategic advantages of personal aircraft, using them to move quickly between factories, offices and projects across a rapidly expanding nation—but the true catalyst for the aviation we know today arrived after World War II. THE POSTWAR TAKEOFF By 1945, the United States had trained hundreds of thousands of pilots and built over 5,600 airfields across the country. Wartime manufacturing had also dramatically improved aircraft reliability and range. When the war ended, a surplus of planes, trained aviators and newly available airports suddenly made flying accessible to civilians in ways it had never been before. The period gave birth to what became known as "general aviation," a category encompassing privately owned aircraft used for business travel and recreation. American companies quickly recognized that aviation was faster than rail or road, so by the 1960s, corporate aviation departments were appearing in industries ranging from manufacturing to oil and finance. Aircraft manufacturers responded with purpose-built business aircraft. In 1963, Learjet introduced the Learjet 23, the first widely successful business jet. Fast, compact and capable of flying above commercial traffic, the aircraft reshaped expectations around general aviation and helped define the modern business jet market. THE RISE OF PRIVATE AVIATION Through the latter half of the twentieth century, private aviation evolved from a symbol of wealth into a practical tool for mobility. Unlike commercial airlines, which connect travelers primarily through major hub airports, private aircraft can access thousands of smaller regional airports scattered across the United States.

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