Educators dressed as nocturnal animals (1988).

Trick-or-Treating Through the Years

By Ezra Tischler, Arts and PR Intern

Halloween hikers gather before heading out on a night walk (1977).

Halloween hikers gather before heading out on a night walk (1977).

The forest can be a scary place at night. Its unfamiliar sounds reach out from the darkness, telling a nocturnal tale we humans seldom hear. However, the nighttime forest is full of much more than fright. By the light of moon, the forest comes alive.  Owls screech and hoot; frogs croak; skunks, raccoons, and opossums forage through the forest floor; bats flap about in search of something to eat. A wondrously active forest is born each night.

At the Schuylkill Center we explore just how amazing, and un-scary, the nighttime forest is with one of our most popular programs ever, Halloween Hikes and Hayrides. Established nearly 30 years ago, Halloween Hikes and Hayrides is now our longest running program ever! Families walk through our candlelit forest in search of educators dressed as nocturnal animals. Each animal—a skunk, raccoon, bat, fox, opossum, frog, and owl—tells their wild night-life story to our guests.

Educators dressed as nocturnal animals (1988).

Educators dressed as nocturnal animals (1988).

I spent some time last week looking through the Schuylkill Center’s extensive photo archive searching for evidence of the first Halloween Hikes and Hayrides. Though it was difficult to pinpoint the very first Halloween Hike, I was able to find some photos and negatives from hikes dating as far back as 1977. Mike, our director, says he doesn’t remember Halloween Hikes and Hayrides under that name from his first stint at the Schuylkill Center, but it’s clear the tradition is a long one.  Halloween Hikes & Hayrides has grown a lot since its inception. One photo shows about a dozen-or-so hikers gathering before heading to the forest. Last year we took to the forest with around 300 hikers in attendance!

Carving pumpkins (1977).

Carving pumpkins (1977).

Another photo from 1977 shows children enjoying a pumpkin carving session; we won’t have pumpkin carving at this year’s event, but there will be pumpkins for painting–a favorite in recent years. One of the earliest photos of anyone in costume shows our educators dressed as friendly nocturnal animals, it’s dated 1988. I was only a newborn in 1988, but I’m excited to join this year’s Halloween Hike as a costumed educator. More than anything, I can’t wait to see our forest trails dappled in candle light. I hear that alone is worth the price of admission.

Join us on October 24th and 25th for the Halloween Hikes and Hayrides, from 6:00—10:00 pm. Aside from the magical walk through our woods, enjoy a hayride along a woodland road, a campfire and s’mores, and pumpkin painting too. For more information click here.

Ezra joins the Schuylkill Center as an intern in the Environmental Art and Public Relations Department. He is pursuing a Master of Environmental Studies degree at the University of Pennsylvania.  Ezra enjoys riding his bike along the Schuylkill River Trail, exploring his South Philly neighborhood, and playing with his Beagle, Homer.

Find Nature – Philadelphia: Guest Post from Lauren Ferri

By Lauren Ferri, posted from Finding Nature Philadelphia

Finding Nature Phildelphia

Growing up in the suburbs of New York, I had a huge yard with plenty of space to roam and explore. I remember playing outdoors for hours as a child, unearthing rocks and breaking them open hoping to find gems. I would dig through the dirt, pretending to be an archaeologist looking for lost cities and treasures. We had a garden where I would help my mother harvest lettuce, cucumbers, eggplants and tomatoes. Fortunately I didn’t have to leave my property to experience the beauty and wonder of nature. These experiences left a lasting impression, and began my love and fascination with the natural world.

As an adult, I moved from New York to Florida, met my husband and had a child. Early on I could tell my son also had a love of the outdoors. When he was a baby I would bring him out to the grass behind our home with blocks, bubbles and books. I would read, sing and play with him. There was something about being outside in the sunshine that made us both relaxed and happy. He loved to crawl through the grass and would always smile when a breeze picked up and touched his face. I would carry him around and point out all the different trees, bushes and flowers. We would listen to the birds and walk in the grass. We would sit for hours, and just take it all in. I truly believe these experiences were helping my son become aware of the natural world around us. This was confirmed while playing indoors: he heard a bird-call from outside and suddenly stopped playing and began pointing to the ceiling. He was excited and wanted to investigate. I took him out on the patio to find the sound, and he happily sat watching the bird singing in the palm tree. Although he was unable to talk, I could see the curiosity that nature was inspiring in his life, and his desire to learn more. Continue reading

Land Lab Program

Stacy Levy, Kept Out, 2009

We are very excited to announce our new residency program, The LandLab Program.

As a collaboration between The Schuylkill Center for Environmental Education (SCEE) and The Center for Emerging Visual Artists (CFEVA), The Landlab program invites professional artists to create projects which operate on the multiple platforms of artistic creation, ecological restoration and education. Specifically, four paid residencies of $3,000 each, taking place from April – October 2014, will grant selected artists resources and space on SCEE’s 340-acre property to engage audiences in the processes of ecological stewardship through scientific investigation and artistic creation. Our residency provides large outdoor spaces and limited indoor workspace, but does not provide living spaces. Artists will be expected to provide their own housing. Having a vehicle is recommended.

LandLab projects will result in innovative, art-based installations that prevent or remediate environmental damage conditions while raising public awareness about our local ecology.

LandLab seeks artists engaged in environmental exploration and discovery, who work well collaboratively across disciplines, have a working understanding and/or awareness of the ecology of Eastern Pennsylvania region, and are committed to deepening public awareness of environmental issues through their artistic practice. LandLab projects will prioritize time spent on site and a process of investigation.

The Schuylkill Center creates connections between people and nature by using our forests and fields as a living laboratory. The Center for Emerging Visual Artists provides career development services for professional visual artists, helps artists reach their audiences, and promotes interest in and understanding of the visual arts among citizens of the Philadelphia region. Together and through this first program of its kind in Philadelphia, we invite all professional visual artists who fit these criteria and are able to work on-site at SCEE for the summer of 2014 to apply before October 15, 2013.

For more information & to apply online, please visit www.CFEVA.slideroom.com

LandLab is supported by The Knight Foundation

 

Post Normal Art

by Frances Whitehead


“All that was ‘normal’ has now evaporated; we have entered postnormal times, the in-between period where old orthodoxies are dying, new ones have not yet emerged, and nothing really makes sense… We will have to imagine ourselves out of postnormal times—with an ethical compass and a broad spectrum of imaginations from the rich diversity of human cultures.”

- Ziauddin Sadar, Welcome to Postnormal Times, 2009

So prevalent are the terms “post” and “post-normal” as signifiers for the shifting ground of contemporary thought, that we must ask: What is post-normal art?”

Thomas Kuhn’s term “paradigm shift” has entered the popular vocabulary, but recently we have seen a resurgence of interest in Kuhn’s thinking, including a reassessment of his ideas about “Normal Science” and the importance of “Post Normal Science”, especially to climate science and policy.   Broadened still further by the economic events of 2008-09, the discourse around the “Post Normal” (or New Normal) is being addressed by thinkers from many sectors. The prefix “post” is frequently used to describe the current state of ecological, economic and social-cultural affairs, and implies that we are indeed living in the future of a past era.  We invoke our past as part of our current paradigm –Post-carbon, Post-industrial and Post-colonial are inherited cultural landscapes. Interviews with a wide variety of such thinkers can be heard online at The Conversation: In Search of the New Normal.

Undoubtedly, Kuhn did not intend the term “Normal Science” to be understood ironically. However, in today’s usage, the idea of the “normal” functions as a trope, an ironic metaphor for the deep fissures and uncertainties in the cultural at large. Given the legacy of the avant garde and artistic experimentation, we sense this irony immediately when we transpose Kuhn’s model to Art practice.   In this context, “normal” is an indictment of sorts, a failure to contend to what is all around us.  We are faced with the curiously problematic proposition of “Normal Art” or the uncertainties and possibilities of “Post Normal Art.”

In the last few years, many artists have opted for the latter, shifting their creative practices away from “The Normal” towards a deeper engagement with systems, complexity, and context, a decidedly “Post-Normal” perspective.  While some work with ecological themes of water, landscape, soil, food systems and remediative strategies, much of this new work connects ideas and sites in ways unimaginable a decade prior, bringing the art historically recognized genres of “earthwork”, “eco-art”, and environmental “activism” into connectivity with socio-cultural, rural and urban, art + design practices, principally through collaboration. Meanwhile, the global discourse in this area has adopted the theoretical framework of “sustainability” (even “Post-Sustainability with its focus on adaptation).  These multifaceted perspectives see “Post” landscapes as actualizations of cultural paradigms and sites of intervention as Post Normal Art, connecting emerging critical, spatial and civic media and practices, further shifting the cultural quo.

Working through my collaborative studio identity ARTetal, my Post Normal practice has been focused primarily in urban sites.  Emerging from the question, What do Artists Know?”  ARTetal has developed entrepreneurial strategies for artists to work at the urban scale and partner with equally adventurous civic partners.

SLOW Cleanup moves Post-Carbon environmental remediation into the territory of Post Normal Science as it engages the Chicago community and leverages underutilized capitals (assets) of space, time, and human capacity.

Environmental Sentinel is a three mile climate monitoring work planned for Chicago’s Bloomingdale Trail, a Post-Industrial adaptation project.  Embedded within the landscape design, atop a repurposed railroad embankment, this phenologic planting will reveal the temperature moderating effect of Lake Michigan with a flowering spectacle, and signal micro-climate changes over the next century. The science will be conducted by citizen scientists and citizen artists, Post Normal “Art + Science”.

ARTetal Studio + The Bloomimgdale © 2012

Understanding that communities of artists and designers are themselves under-utilized resources barely tapped, a Post Normal creative opportunity brings SAIC faculty and students to the service of the City of Lima, Peru with new urban agriculture programs.  An open source response to Lima’s colonial legacy –a redistribution of capacity– this Post Colonial intervention is also Post Normal Cultural Heritage, as the site for the work is the Cercado, or historic district.

Spatially efficient hex-shaped growing modules for social housing rooftop garden, Lima Peru © The Lima Project 2012

 

Frances Whitehead © 2012

 

Introduced to the City of Lima through potato research at the Centro Internacional de la Papa, the global diaspora of the potato and its relationship to colonialism, tacit and explicit, connects these civically driven, urban interventions to the rural countryside of west Ireland and the Post Agricultural work of artist Deirdre O’Mahony.

Like many post industrial “shrinking” cities, the west of Ireland has steadily lost population from economic policy and emigration, leaving an abandoned landscape and shifting paradigms.

 

Deirdre O’Mahony Abandoned Clare The Shed School. Roxton County Clare, Ireland, © 2009.

O’Mahony frames her work in this way:

“The landscape of the west of Ireland has immense cultural importance, serving a double function as a representation of the post-colonial nation state and as a signifier of alterity in Ireland.  My focus as an artist has been on reframing landscape as an active mode of cultural reflection, rather than a nostalgic reminder of a purer past“

Current (Post) rural development policies now promote the farmer as what O’Mahony refers to as “custodian of the landscape”, a paradigm shift from the rural as a site of food production to an arena of (Post Normal) cultural production.  Here O’Mahony initiated and collaboratively runs the public art project X-PO; a “Post” post office.

O’Mahony describes the project:

 “Re-imagined as “X-PO” the site is a functioning model of a reflexive space where the social, economic and environmental choices and problems of rural communities are visible and open for discussion. It is a space where different forms of knowledge: social, historical, agricultural and cultural, can make unexpected and transcendent connections and conjunctions. It also enables participants in a fragmented, dispersed social landscape to meet.”

Peter Rees X-PO Spring 2008, © Peter Rees 2008.

Much like policies in the US, European Agricultural subsidies have supported economically unsustainable small farms in the west of Ireland, paradoxically preserving much of the tacit, place-based, local knowledge around land cultivation. This knowledge is becoming increasingly redundant, forgotten, or outmoded in a “post- productivist” landscape.

Deirdre O’Mahony: SPUD © 2011

In this context O’Mahony has begun project SPUD, a pamphlet guide to making traditional Irish ‘lazy-beds’, a simple and effective way of cultivating potatoes that is also suitable for small urban gardens.

This inversion (or equation) of culture and agriculture, of post rural and post urban, of artist and agri+culturist, connects O’Mahony to urban sites through culturally driven knowledge transfer and the urban forager artist, Nancy Klehm.  Both Deirdre O’Mahony and Nancy Klehm work with literal and metaphoric Shifting Ground by action research, a principal methodology of “Post Normal Art”.

Nancy Klehm ventures into the remote areas of cities such as Chicago, Detroit, and Los Angles, leading groups on foraging tours to discover and collect the comestibles of the post urban wilderness, replete with resilient species, native and non-native alike.

Writing under the moniker of Weedeater, Klehm brings decades of plant knowledge from her extended family of plantsmen and horticulturists to the service of what Klehm calls “homegrown counterculture”.  Motivated by a fierce autonomy and deep respect for complex natural processes, Klehm hybridizes art practice with horticulture, direct experience, and deep community in equal measure.

 

Klehm explaining vermiculture at the Pacific Garden Mission greenhouse, 2008
Photo: F.Whitehead © 2008

Similar strategies are employed by urban arts groups such as Carbon Arts of Melbourne, Australia, and the rural development organization Littoral in the UK.

We can understand these projects as a constellation of diverse urban and rural practices, which utilize top down, bottom up and hybrid collaborative strategies and partnerships.  In this way, Post Normal Art practitioners, including those cited here, work both within and outside of irony, both within and outside of experimental art models, and embrace the “chaos, contradiction, and complexity” that typifies life in Post Normal Times.

© Frances Whitehead 2013

Time Frames

by Sam Bower 2013


Standing in the woods near the pond at the Schuylkill Center, we can look out and see a range of time scales. The brown and golden leaves under our feet from the Fall- the leftovers of a year’s work by the trees above us. Perhaps there’s snow still on the ground from a recent storm, itself the result of the vast cycles of evaporation off the ground and from lakes and oceans into the atmosphere and clouds and back down again. Some of the trees around us are decades, maybe hundreds of years old. Frogs and fish and insects hidden underground or inside vegetation, birds in their nests chirping and flitting about, grasses, flowers each have their lifespans and carefully timed cycles to support, prey on or evade each other – evolved over thousands, even millions of years.


Changing urban land use patterns offer opportunities for shifts in paradigm, innovation and art: (http://www.takebackthetract.com/)

When we think of culture and public art, we have an opportunity to think along similar time scales. Humans also have their cycles of productivity, lifespans and fleeting passions. These interests also evolve over time to reflect our knowledge, context and the resources at hand.

Sometimes an artwork arrives with a bang and loud trumpets and just as quickly fades into the day or week or month only to live on in memory and documentation. Like sighting a rare Blue-winged Warbler in the forest, or waking up to an overnight dusting of snow that makes the line of every tree suddenly visible, or the miracle of a drop of dew on a leaf in the Summer that reflects a world upside down, these brief events delight and remind us of the preciousness of the present moment. Some things are simply best communicated ephemerally. A song. A performance. A rain shadow.

On the medium scale, we have most plants and animals and planted crops and, alas, most human projects. We tend to think in terms of months or years or at best decades. A hundred years without regular maintenance is long for a built structure, long for most outdoor sculptures, too, even those meant to be “permanent”. It’s the lifespan of an exhibition, a person, a raven, a grove of Sassafrass (albidum) and it serves to ground us in the familiar. We can see it and know it because it’s us. Within a century, with the strategic accumulation of such medium scale projects, we can make major improvements or changes to a place and set things in motion that can last a lot longer.

It’s the larger time frame that gets the least attention and is often more difficult to wrap our heads around. The scope of generations. Climate change. Geological time. Too often, these big shifts elude us. We claim not to know. A sudden revolution or a storm or an accident can thwart the best laid plans. Ultimately, we know that a focus on the specific is often too limiting a scale for something long lived and significant.

At the Schuylkill Center, the increasing flow of voracious and unmanaged deer over and across the land, and the invasive Asian earthworms (Amythas hilgendorfi and agrestis) under it, are regional and even continental challenges. To encourage specific changes here, we would need to plan and coordinate with those working within much larger areas to be effective. To set in motion a resilient set of processes that truly begin to nudge us and the natural areas under our trust towards a future that can address a world in flux is an enormous challenge. At a time of massive species extinction and global changes in climate, we need a flexible and directed multi-timescale approach to culture and ecological stewardship.

The environmental art advisory team at the Schuylkill Center in 2012.

This is the challenge ahead for the Schuylkill Center. Most art, even ecological art is a flash in the pan, a tasty snack. They generate attractive catalogs and press releases and perhaps valuable discussion, but will the worms and watersheds really notice? We have large institutions for pickling great paintings and sculptures, but outdoor work designed to heal the earth and support our communities is a different animal. While a project can have representative images and installations at these museums (usually as part of a temporary exhibition), the real work gets done on the ground and in context.

Like in an ecosystem, we need the dew drops and temporary projects to delight and attract. We also require specific medium term artful initiatives to control erosion, channel rainwater, educate people longer term and connect current and future generations to the land. It falls to the long term, multi-generational projects, however, to provide a long term vision that considers the implications and resilience needed to cope with, say, a 2-6 degree rise in global temperatures over the next few hundred years. It seems we’d want to look at rising water levels – how would this affect the Schuylkill River? What local conditions will we need to ensure maximum biodiversity and habitat support for migrating species seeking more favorable habitats?

In nature, we can see the extraordinary interplay of finely tuned life cycles working together to support the system as a whole. As these delicately synchronized dances grow increasingly out of synch with pollution, temperature and weather changes, what we know and have studied over the past hundreds of years will require new interpretation. It will become less about restoration of past conditions and more about our capacity to surf these changes. Our notion of what art is will also need to change.

For ecological art to be effective, we will need to think along multiple time scales and beyond the individual artwork, towards a future-oriented cultural system as a whole. How can the brief delightful moments support the larger arc of history? Can we begin to layer and combine artworks to support each other, much like the shift from unicellular to multi-cellular life? I’m looking forward to the role the Schuylkill Center can play in this civilizational shift. It is a precious opportunity to contribute to our times and help develop new cultural patterns for generations to come.

©Sam Bower 2013

 

Art/ist Roles

By Eve Mosher

October 29th, Hurricane Sandy made landfall. The eye of the storm passed over New Jersey but the hurricane winds, and worse, a massive storm surge hit New York City. The storm surge, combined with high tides and sea level rise created a superstorm that sent waters rushing into the coastal areas of New York.

As images of the floods began to circulate, I got a sense of eerie familiarity. The debris line near the 14th street power station (where an explosion knocked out power for lower Manhattan for almost a week), the flooded Battery Tunnel entrance in Manhattan and the water soaked communities of Red Hook and Dumbo.

Debris in front of the ConEd substation at 14th and Ave C.(Dan Lurie / Gothamist)

Debris in front of the ConEd substation at 14th and Ave C.(Dan Lurie / Gothamist)

These images and places were where I had walked, in 2007, slowly drawing a blue chalk line along the ten foot above sea level line.

Eve Mosher’s, HighWaterLine Project on 14th street

I knew the areas well, met community members and witnessed everything along that line. I was creating a visualization based on a report written by climate scientists in 2001, which forecast more frequent severe flooding (from stronger storms) with a worst case scenario of a devastating flood once every four years by 2100.

The intention of the HighWaterLine project was to create a spectacle around which people could gather to engage in a conversation about climate change and their role in changing future scenarios.

The project has now become a rally cry for what we knew then and what the challenges we face now.

 

What is the place and power of art at the intersection of science, the environment and policy? And what power does art have on participating in the ever changing urban landscape?

Public works have the power to disrupt our daily routine and in so doing, leave an indelible impression upon us, scientific study even upholds the notion of the power of the unexpected From this place, art becomes an entry point for a memorable experience that can inform personal and community decisions. Some works create a space for a deeper experience and contemplation – Agnes Denes’ “Field of Wheat,” at once informed and motivated consideration on the culture of development and displacement. The “I Wish this Was…” project by artist Candy Chang sought to spur greater action – creating a space for creative thinking about development by and for a community.

Artists have a distinct ability to approach a problem or visualize an issue in a way that might exist outside the rubric of peer-reviewed reports, bureaucratic infrastructure and other frameworks which seek to create impediments instead of inspiration. Artists use visualization and emotion to convey information that could elsewhere read as dry and uninspired.

What are the various roles inhabited by art or artists that might allow participation in global issues?

  • Art/ist as commentator. Not merely editorializing on contemporary issues, but translating the facts into a work that creates an emotional experience. A successful project can go beyond the act of re-stating an issue by inciting questions and action.
  • Art/ist as collaborator. Working with science & scientists to create works that make complex knowledge accessible, and can be taken into the wider community. Mary Miss’ City as Living Laboratory/1,000 Stepsproject engages local communities, artists, scientists, planners and other stakeholders come together to design and develop projects to address sustainability along the Broadway corridor in NYC.
  • Art/ist as witness.  Work can create a space for community reaction, or act as a method of observing and documenting those reactions.
  • Art/ist as storyteller. Stories as a tool for communication are jarringly powerful. The personal relationship to issues and information creates an emotional connection. Acting as witness is also a method of collecting and redistributing stories.
  • Art/ist as catalyst. Creating works that spark or inspire change in thought and attitude or act as instigator for discussion play an important role in transfer of knowledge and civic engagement.
  • Art/ist as innovator. Unhindered by existing frameworks, artists can restructure and reinvent  solutions and methods of engagement through artistic acts.
  • Art/ist as community builder. An artist can provide an object or event upon which people can focus, showing their support, enthusiasm or varied passion. Xavier Cortada‘s Reclamation Project, which engages communities in the act of nurturing and planting mangrove trees in Florida is a simple act in which participants gain knowledge and a sense of acting to reverse the devastating impacts of development on their own communities.

After Hurricane Sandy, my work was used by Elizabeth Kolbert, writing in The New Yorker, as setting the stage for comprehension of the great challenges that lay ahead for the city of New York in addressing future floods. It was also used by Bill Weir, on ABC Nightline News to create a local visual tie to global climate change impacts as documented by the Extreme Ice Survey time lapse documentation of glacial retreat.

For me, this is indicative of the great role that art can play of focusing attention and translating complex situations into powerful, visual statements.

©Eve Mosher 2013

Effective Art

By Lillian Ball

There is an innovative category of artist that confirms the many ways art can do more than mirror the state of our culture, or current events. These artists are committed to working in ways that actually change how the world works in addition to the ways we might perceive the world.

The diverse art projects I am fascinated with cover a wide range of disciplines. Social practice or public interaction is often a vital component. These international artists are doing more than merely talking about “relational aesthetics”. Ecological systems are inherently relational with great potential for embedded aesthetics. Financial and economic crises, sustainability and green infrastructure, bioremediation and native habitat restoration: all can be subjects of this reflective approach.

Some projects are activist in form, but others may just be creatively subversive – employing whatever tactics go beyond getting the point across, all the way to actually making a difference. Artistic personalities can be resourceful in unique ways because artists are taught to think outside the box. Adversity trains them to be capable of negotiating transformative paths. This work is not necessarily political, but often involves alternative structures, cross-disciplinary methods, and the applied sciences. Public officials may be supportive, or in opposition, but the work certainly provokes a response.

Several international artists present solutions to environmental and land use challenges in a variety of formats. Project manifestations range from studio art, to performance, to depictions of permanent public installations. The artwork itself is visual, poetic, and ambiguous, not didactic in nature. We can be inspired, and intelligently seduced into action, without being bombarded by post-apocalyptic visions.

Links below are examples of projects that hinge on the artist’s individual commitment to public interaction:

Fernando Garcia Dory organizes Shepherds events that maintain farming culture and prevent development in the mountains of his native Spain.

 

 

Reverend Billy/Church of Stop Shopping deposited “murdered mountain mud” at 20 Chase Manhattan branches informing customers about the bank’s mountaintop removal financing.

 

 

 

Betsy Damon creates interventions with Tibetan communities to save sacred water sources.

Mathias Kessler & scientist Dr. Wendelin Weingartner, use software interfaces to verbally announce plant stress symptoms.

Certainly not “art for art’s sake”, Effective Art derives inspiration from outside the art discourse. This work stretches what art is capable of doing, beyond green-washing contemporary culture or complaints about art’s marginalization. As Gustave Speth, a founder of the Natural Resources Defense Council and former Dean at Yale School of Environmental Studies says “we need all the help we can get”. This work of these artists examines successful tactics that use art as a critical weapon in the fight against environmental destruction.

©Lillian Ball 2013

Hear from Our Team!

By Jenny Laden

Now it’s time to hear from our team !  Here they are, discussing our planning project, the art program’s goals, and what makes The Schuylkill Center unique. Our Advisory team is collectively committed to progressive collaboration in art and science, and after our time together have a sincere fondness for the site and the program.

Moving forward, we will be sharing some thoughts and ideas from the team members themselves in the coming weeks. In the meantime, watch these smart amazing people, and join in our Walk in the Woods.
Special thanks to Mangrove Media for their gorgeous filming.

What Makes the Schuylkill Center Unique

The Goals of this project