Shear Bliss

trimmed1The ability to prune with true precision  is as much about a gift, as it is about the science.   The big science concept has to do with being able to establish a line level with the horizon, or perfectly horizontal-and its complementary-those lines exactly perpendicular to the horizon-or vertical. Mindy’s crew sets lots of vertical markers-the stakes in this pictures.  They use a level to set those stakes exactly vertical.

trimmed2The horizontal plane is determined with a set of lines, or strings.  There will be strings everywhere, side to side.  But there is plenty of gift involved here too.  I perfectly understand the math, but I cannot do this how they do it.   Every cut is made with giant, long handled shears-by hand.  The clip clip takes 7 people, an entire day; its a slow but sure process that I enjoy watching. Even the sound of the clip clip takes my blood pressure down at least 10 points.

trimmed3Shape, mass, and volume are very important design elements in landscape. This landscape is entirely geared to the shape, and level of the lawn plane.  Every other element has been established, based on that plane. The importance of the lawn plane is accentuated by the wide, overscaled  steel edger strip. Where beds and lawn are on the same plane, the edger is invisible; its function is to keep grass out of the planting beds.  In this case, the edging is a design element, clearly indicating a change of level. This very geometric change of level provides lots of interest in a very small space.  The boxwood pruned into long precise rectangles is a great foil to the sprawling shapes of the roses and perennials.

trimmed4Pruning level with the horizon requires attention to a form that may not exist in the space.  The land into which this landscape is planted falls from north to south, and it falls from east to west. To give you an idea of how much drop there is from the south to the north, I measured the height of my Hicks yews.  On the southern most end, they are four feet tall, give or take.  At the east end of the north side, they are nine feet tall; this is a lot of drop.  It was many years, growing those north end yews tall enough to prune. This boxwood is pruned level with the horizon. Pruning with the lay of the land produces an entirely different effect.  Level with the horizon gives a landscape a formal and serene aura.  As in, on even keel, or level-headed.  As my work life is as I have described a big fluid situation, I like the even keel feeling when I am in my garden.  This is a choice any gardener makes when designing.  What do you want from your space?

trimmed5This is my idea of a good place to be.

The Niwashi

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This time of year I multitask- meaning cocktail hour is also a planting hour.  It takes a long time for me to plant one hour at a time-but I like this arrangement.  I like taking the time to reflect on what I am doing-this is a luxury.  Buck sometimes comes to keep me company, or help out a little .(how amusing to me that he does not like dirt on his hands or raindrops on his glasses; he’d rather walk on top of the low limestone walls than on the grass.)   My architect is urban through and through-but he will help out if I ask;  ask I did yesterday.  One small bed I plant is always rife with wiry maple tree roots; its a headache digging those roots out before I plant.  I managed to talk him into this job, as I had a new tool, a gift from a good friend and client.  Buck cannot resist a new tool, still in its box, that he’s never tried before, so I knew  he’d fall for it.
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The Niwashi is an amazing tool.  My friend bought one while on a trip to New Zealand-she says its the only tool she uses in her garden.  She ordered one for me. It has turned out to be such a  fabulous present.  When I saw what fast work Buck was making of a tiresome chore, I had to try it myself.  Obviously I have never gardened with a really sharp tool.  Light, razor sharp, angled perfectly to cut weeds on top or roots underneath the soil surface-where has this tool been all my gardening life? �
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I was ready to plant in no time; the Niwashi made it possible for me to plant with my hands.  I vastly prefer this method to using a trowel. So properly prepped soil is a must.  This 4.5 inch tricolor geranium is rooted top to bottom, but not rootbound-perfect to plant. It will transplant easily, and readily take hold.  Though my scheme this year is orange and red violet , I like a little leavening.  This geranium has a gorgeous cream based leaf with hints of my colors. Some variegated foliage is difficult to pair with green leaved plants; not this one.  The orange flower is a modest bonus-but its the leaves I love.  I have seen it called “Skies of Italy”-there’s some romance.�
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The driveway bottom bed is planted and watered, as is 1/2 of the top bed, in no time.  Thanks a million, Jane.  For those of you who might want to check out all of their tools, www.niwashi.co.nz.�
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Last year’s scheme was entirely dictated by a pair of baby pink fuchsia standards called “Ballerina”. I liked the whole thing just fine.  But what’s not to love about being able to do things differently?

Cool and Collected Contemporary

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I have officially been inducted into hell week of 2009; I have multiple crews working out, with plans, drawings and instructions required in advance. I rely so much on my digital pictures from the previous year, my digital images of spaces soon to have landscapes.  But mostly everything falls to me.  My judgment.  In plain speak, frantic.  I have piles of paper with drawings, diagrams, and plant lists. My desk is littered 6 layers deep with what I need to handle today. My inbox gets 60 emails a day.  Buck just asked me-how many more minutes do you need before we can have dinner-35, I tell him. This puts dinner at 8:20-lights out at 10, as I need to be up at 5am. Rigorous, yes. This time of year, I have plant dreams-hilarious.  This is the time during my year I so much appreciate those cooly contemporary landscapes; I have made lots of them.  contemp2

There is no sign of distress here.   OK, plenty of angst, but there is no squirming, or doubt in evidence.  Cool white walls.  Columnar trees that have it all together.  Black/green  and white, and any variation on white  is the scheme.  A scheme with no gray.  These columnar beech, in the ground some 8 years, are so quietly beautiful.  Their age is apparent.   They have had expert and thoughful care.  They lower my heart rate, instantly.  Grass, gravel, beech, stone-add one simple and contemporary pot-this  composition pleases my client.  contemp3
She is a very private person at home-having a very public life.  I understand what she was after from her landscape.  I designed this for her.  I take great pleasure in how this reflects her point of view.  Sometimes I visit this, when I know I need to restore some balance.  The point of this post; all of us exchange stories about who we are.  This exchange creates electricity in a way Thomas Edison never envisioned.
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A Stumpery

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When a client asked me to place a bronze sculpture of a bear sitting on a beaver dam, what came to mind is a stumpery.  I first read about them in “The Gardens At Highgrove”,  Prince Charles book about this garden of his. It isn’t very hard to explain;  large stumps and other dry wood are integrated into a landscape or garden as a sculptural element.  What better home for a bear, than a landscape that suggested a primeval forest.�
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The first order of business was providing water for the bear, and his beaver dam.  As the property had natural fall, it wasn’t hard to visualize a stream bed, falling over a cliff of rock, to a pool below.  This was a construction project of considerable length, involving large machinery and many tons of rocks, plumbing and filtration.  That bear was unperturbed throughout the process.
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The entire landscape was designed around the bear.  Outdoor sculpture of great size asks for a compelling and convincing landscape . Some sculpture is best in a big open area, but representational sculpture comes with a story.  The landscape can represent that story.
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Farmers in the thumb area of Michigan pile up the stumps of their dead trees on the edges of their fields, or on their property lines.  These natural fences are wildly beautiful.  All manner of seeds blow in, and soon the fence is a living thing. I found one such farmer who was willing to part with some of his stumps.�
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We trucked them on a giant flat bed, and placed them on the slope with a skid steer.  That piece of equipment seemed dwarfed by what was chained to the forks.
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If this looks precarious to you-it indeed was.  Once we set a stump down, we dug it into the ground.  As if a storm had upended it. I always try to dig in hard materials, so there’s a physical connection with the ground.
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At this stage, the idea is starting to become clear.  Though the bear is tucked into the slope, the scale of the surrounding landscape seems scaled to his size and presence.�
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The sculpture and materials are very much larger than I. An overscaled landscape can be very dramatic.  Interesting enough, this whole area is almost completely invisible on the house side.  This landscape is a room all its own.�
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The first day the waterfall ran was an anxious moment.  Once it was determined that everything was working properly, we installed the plant material.  Comprised largely of different types of dwarf evergreens, and clematis to soften the stumps, the plant choices are as hunky and massive as the bear.
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The plant material greatly softened the appearance of all the stone, and this garden is aging gracefully.  That bear has a home.