Utah City development to celebrate Arbor Day by planting 1,000 trees to emphasize sustainability
The tree planting is a 'major milestone' in the first phase of the 700-acre mixed-use development off the eastern shore of Utah Lake, a statement from Utah City said. The development aims to be a walkable, transit-oriented 'urban core' of Utah County.
The tree-planting ceremony is part of the 'Greening of Utah City' initiative to make the development sustainable. It will start at 4 p.m. Friday at a Utah City development site just west of where Vineyard Connector crosses Main Street.
Vineyard officials, Utah City leadership, an arborist and a Utah Valley University professor will be speaking at the event about the role landscaping plays in a community and the local ecosystem.
'Planting trees is just one example of the long-term, enduring approach we're taking to building Utah City,' said Nate Hutchinson, co-managing partner for Flagship Homes, one of Utah City's developers.
Utah City partnered with a UVU conservation biology class to select native plant palettes for the development's green spaces. The plant choices emulate native plant diversity of different ecosystems, from alpine and foothills plant communities to riparian lake habitat.
'As plans for the Utah City green spaces evolve, we are excited to see what native plants will grace these spaces,' said UVU biology professor Ashley Egan. 'To have contributed to this effort through community-engaged learning and partnerships has been very exciting for me and my students and we look forward to seeing it all come to life.'
The landscaping will provide shade, promote biodiversity and create a 'strong visual identity' for the area, while rebuilding natural habitats to increase climate resilience and long-term environmental health, Utah City said.
Landscaping will include a mix of drought-tolerant and pollinator- friendly species, such as ruby sunset maples, emerald sunshine, elms, prairie gold, quaking aspens and Norwegian sunset maples to line the streets.
'By integrating trees and thoughtful landscaping from the very beginning, we're setting the tone for a city that grows in balance with nature and creates a beautiful place for those who visit and call Utah City home. It's very beautiful,' Hutchinson said.
The Greenline Promenade, a central linear park, is being built as part of phase one. The park will have an all-abilities play area, lawn space for events year-round and additional native plant landscaping. The park is expected to open this summer.
'We believe in creating places that last,' said Jeff Woodbury of Woodbury Corporation, one of Utah City's developers. 'Planting thousands of mature trees in the Utah City development reflects our values and the responsibility we have to be good stewards of the land we're building on.'
The first 100 people to attend will receive a tree sapling to take home, 'offering a way for residents to grow alongside Utah City,' the statement said. Updates on the grocery store Bella's Market will also be given at the event.
'Our growing city is already a designated USA Tree City, reflecting our commitment to high-quality, thoughtful development,' said Vineyard Mayor Julie Fullmer.
It's encouraging the Utah City developers are investing in urban forestry, she said.
'The trees planted here will enhance economic opportunity, add natural beauty, improve livability, and contribute to the long-term health of our city for generations to come,' Fullmer said.
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Over the course of the novel, she struggles to recount the Parisian photo shoot and her affair with K. The history is 'made up mostly of forgetting, just as the body is composed mostly of water,' she explains. The story, separated into three sections—Blue, Red, and White—travels a spiraled, associative, and fragmented path, making persistent returns to the events connected to the photograph. Most notably, it frequently revisits the protagonist's past and present relationship with her often-distracted mother. Indeed, the narrator's desire for proximity to her mother forms the connective tissue stitching together the chronology of her childhood. 'I've never been much good at distinguishing between what happened and what may have happened,' she reflects. 'The contours are blurred, and Mamma's face is a big white cloud over it all.' Perhaps recollection always requires a degree of fiction-making, not simply because people are inherently forgetful but because memories are shaped as much by impression and sensibility—a mother's face, the hazy sketch of a dark Parisian street—as they are by actual events. And yet, as Ullmann makes clear, remembering and forgetting are not so much actions as forces that everyone must negotiate. One might try to foster conditions for remembrance—take photographs, keep a journal, stash relics—but forgetfulness sets its own obscure terms. This need not be distressing. In fact, there is something pleasurable in setting down the burdens of the past. 'I don't want to lose the ability to lose things,' the narrator protests, in response to a promotional email for an app that makes it easier to retrieve misplaced items. Too much past accumulates; it gnaws like a parasite, thriving on the vitality of one's most punishing memories. What a relief, to let some things fade away.
