Four Years Later

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Six years ago I submitted landscape plans to a client with an island home.  Five years ago, they brought the property next door, and added on to their existing home. Four years ago, we installed a landscape per a second plan.  This property was 75 minutes away from us.  Despite the difficult logistics, we did install a landscape from start to finish.  In 2010, I attended a summer party given by the client-for all of the contractors that worked on their project, and their families.  That was my last visit-until earlier this week.

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The original plan called for 3 curved steel planter boxes that would fit the curve of a blue stone terrace on the lakeside.  They decided earlier this year to go ahead and have them made.The delivery of the boxes was a chance to see how the landscape was settling in.  What a pleasure it was to see that the plants looked healthy and robust.

the south-side.jpgEvery square foot of the vegetable garden was being used.  The in ground beds had been planted with strawberries, asparagus, and herbs.  The raised beds were planted with all manner of vegetables.  Vegetable gardens are working gardens, the purpose of which is to grow food.  This sounds easy enough, but growing vegetables successfully is hard.  The plants themselves are not always so beautiful.  Roses and tomatoes are grown for the flowers and fruit, not for the beauty of the plant.  It seems like bugs and disease have a special affinity for vegetable plants.  This vegetable garden with raised beds is an orderly space, even if the vegetable plants themselves are not.
the-vegetable-garden.jpg This garden is enclosed, primarily to keep the wildlife at bay.  But the fencing adds much to the look of the garden.  The gate is an exact reproduction from a family vegetable garden in Italy.  The landscape is very much looking like it belongs to them.
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vegetable garden
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gate latch

lawn-plane.jpgWe look after the landscape during the course of installing a big project like this.  But the day comes when the installation is finished, and a client has to take over the care and maintenance.  The areas that require the most care are small-manageable. The landscape was designed for clients that like to use their outdoor spaces for entertaining.

firepit.jpgI vividly remember when this particular spot was a muddy and mucky mess.  Installing the fire pit in late November-challenging.  Today, this space gives no hint of that construction history.

lakeside-landscape.jpgview from the river

waters-edge.jpgThis dockside garden was planted after my work here.  It is simple, and has great texture and mass.

steps.jpgWe did do a lot of work grading here.  My clients did want a lawn area that was easier to navigate.  The long steel step risers are only 4 inches in height. This is a landscape feature that adds interest, and is very little maintenance.
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This shady garden area was a major roadway for construction vehicles of all kinds, for almost 2 years. I was worried we would have a devil of a time getting anything to grow.  When we were finally ready to plant this side, the soil was just about impossible to dig.  We incorporated generous amounts of compost into the top 8 inches of soil-with pickaxes and the forks on our front end loader.  This picture was taken in November of 2009.

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This picture was taken a few days ago.

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It takes time for a landscape to begin to come into its own.  This one is well on its way.

Blanketed

snow-day.jpgI know how deep the snow is the moment the corgi legs disappear-8 inches.  The snow we had last Friday-as you can see, just about 8 inches.  A decent show. Not at all like the overwhelming snow dumped on the northeast.  If you are digging out of 18 inches or more, you have my concern and sympathy.  However, our modest 8 inches transformed the landscape.  All the little bits and pieces close to the ground disappeared from view.  The shapes of the snow were governed by the wind.  All that could be seen-the big picture.

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Much of what a good designer provides resides in their ability to focus on the big picture.  The simple picture- the important and pertinent picture.  This is not an easy or God given ability.  It takes work to develope an eye that sees like this.  I find my experience as a gardener, my long standing interest in design, and my abiding love for the natural world enables me to help clients-some clients better than others.   As for my own landscape-I am floored.  I can barely help myself.  I focus on the details that either don’t matter, or are too early in the process to matter. That said, I understand why people who love the garden enough to want good design call me.  A landscape is a big investment emotionally, and financially.  If you love it, and if you plan to put any amount of money to it, you can’t afford not to hire someone to help frame the big picture.  This recent 8 inch blanket of snow has me thinking about those issues.  The above picture has no scale or reference.  No relationship to anything else.  The twigs might be photographed against the sky.  Or the ground.  Where are we here?  A little visual vertigo is at work here.  landscapes without any point of view give me the same feeling.   The designed landscape is composed.  It has an idea.  It has stars and supporting cast members that interact.  It has a back story.  There is tension, rhythm and release.  There are places to be, places to see, and a mean by which to navigate both physically and visually.

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Falling snow and wind creates shapes and spaces.  Plateaus.  Mountains-and voids.  Heavy snow creates a momentary landscape.  An utterly simple landscape.  The landscapes created by nature have plenty to say to those of us who design landscapes.  Great landscape design addresses shapes, mass, line, volume, texture, color-and use. Though natural shapes made by the snow are driven by climate, weather, ecology and topography, the design elements are the same.

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The back edge of my boxwood hedge had just a few sprigs showing after the storm.  It is easy to see the shape, even though most of the detail is buried in snow.  This photograph is graphic.  Black and white.  There is no visual description of the space.  No variation in color.  No shadows.  No point of reference.

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The snow that covered the base of this topiary form was just enough to describe what lies beneath it. The shadows and volumes describe a shape-and a space. There is visual interest.  How might this translate to the landscape?  A slightly sunken circle of groundcover will have much more visual impact than a circle of groundcover set at grade.  If you mean to install a circular shape, do it accurately.  Lopsided execution is irritating.  A circle of groundcover on a slope-be sure you intend to feature an ellipse.   A shape such as the snow describes here would have to be planted with a very finely textured and low growing plant, for the shape to read.

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The thoughtful use of mass and texture in the landscape can create and sustain great visual excitement.  The smooth texture of the horizontal layer of snow in contrast to the interplay of snow describing the shapes of the leaves in the vertical-beautiful.  The upper mass of snow is connected to the ground level mass of snow by a vertical and highly textured shape.  This snow composition features volume.

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The repetition of shapes, or the discussion of a single shape, makes a stronger and clear statement.  This urn has several layers of circles.  One layer is defined by repeating spherical shapes.  The base is round.  The snow clings to the circular rim of the urn.  Your eye understands that the urn has a rim, and an interior well.  The snow in the center sank under its own weight.  The sunken shape-a half sphere.  The wind whipped the ground snow in a wider that perfect circle around the base.  There’s a visual discussion of circles and spheres going on here that is striking.

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The relationships between shapes, masses, lines, textures and space is made so clear by the snow.  I know what walls, fences and tables are.  I know what objects these words describe.  But the snow makes me see them as shapes.  I know that the partial table is near to me, and the wall is further away.  And that the electric pole is very far away.  God landscape compositions make a visual description of the space being viewed.  Though it is very hard to describe in words how a composition can be spacially rich, a snow storm can help me see it.

 

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Color is a very important element of the landscape.  How light affects color is an equally important element.  The blue sky behind the copper willow makes that willow glow.  The blue sky relates to the blue shadows on the snow.  The out of focus blue gray fence in the center left of this picture helps the composition to work spacially, edge to edge.  Edge to edge?  This picture has 4 sides that frame the view.  There are many ways of framing a landscape view.  Trees.  A pergola.  A pair of pots.  A fence with its gate open.  Framing the view is an invitation to enter, and interact.  Where would you frame the view?  Up close?  Far away?  These are decisions that need to be made deliberately.

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So many elements in the landscape have interesting surfaces.  In this case, snow reflecting the sun.  Stone, leaves, sky, flowers-every element in the landscape has a particular surface.  The relationship of one surface to another tells a story.  All the same surface-as in what was created by the snow we had-enchanting for the first three days, and thereafter monotonous and stifling.

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Checking out the compositions created by our snow-engaging.

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It does make me really crabby if the mailman walks across the snow in my front yard to get to the mailbox.  I actually asked him to use the sidewalk.  I am sure he thought I was nuts, but I don’t care.  Experiencing that snow exactly as nature engineered it is the best part of the winter season.  I do not disturb any snow unless I have to.  Who knows how many days it will take for the visual lessons to sink in.

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If you are digging out, I am sure you are thinking about the most efficient way to get from one place to another.  Milo is pretty good at designing paths.  His snow paths have to do with how fast and efficiently he can make the left turn coming out of the front door, to a destination down the driveway.  That curve is is particular to him.  In much the same way as a landscape design is particular to a certain gardener.

Monday Opinion: The Editors In Chief

Editing is a very important element of design.  Given a manuscript for a book, an editor may make suggestions about how to distill the message by editing the text.  An idea which takes too many loose and wandering paragraphs to fully explain will only appeal to the most devoted and hard working of audiences. Ideas that are simple and well crafted get attention.    

All of those distracting visual and written elements need to be swept off the page.  Clear, direct, concise, organized and distilled makes for a strong presentation. Distillation makes grappa, moonshine, and port much more potent.  Potent can refer to a taste, a smell, an idea or a vision.  A fully staged production of a ballet, a string quartet,  an opera, or play-visually potent.  One small painting by Lucien Freud could fire up, light up, an entire museum gallery.   

The written word can be especially potent.  A novel that is convincing and believable is a world unto itself, quite unlike any other world.  I am sure those sentences crafted by great writers have undergone numerous revisions.  When I read a novel, I am enchanted by the world that unfolds.  I am not privy to the editing.  While that process is interesting, I like a composition that at least makes reference to a finish. The visual word can be just as compelling.  A landscape that seems scattered and tentative might benefit from editing.  Getting rid of this, or grouping these with those, can help make a clearer and stronger statement.  Of course I have a point of view here.  I am drawn to landscapes that are simple, yet manage to aspire to the mysterious, the romantic, or the austere.  A critical eye put to every aspect of a plan from the grading to the plants to the planting gets rid of every element that is not essential to the design narrative. 

Who edits for me?  Clients, of course.  Clients have busy lives, and very real concerns.  They are the most important part of the design process.  Friends and children have an uncanny ability to spot a weak moment.Colleagues on whom I depend can spot trouble.  Close to nothing gets by my landscape superintendent.   They encourage me to edit my plan, for the sake of a clear and clean installation.  I can depend upon them to edit.  And then there is the editing from nature.  That is the toughest exam any design will ever face.

The Schematic Plan

What I call a schematic plan is another way of saying master plan.  A guide for the development of a landscape.  Clients who have an interest in a plan that they can work towards and implement over time always interest me.  A landscape of note implies a long term committment-gardeners willing to go that route will not only enjoy the process, but will find so much satisfaction in watching something grow.  It takes lots of time to regrade a property, reimagine the space, plant, and arrange for care.  This timeline does not even include the plants that die, and the changes that result from experience, or a change in taste.  Anyone who buys a ticket for the long term process that a really good landscape requires I admire.    

 A master plan is a schematic drawing noted for its broad strokes-not its details.  The vegetable garden will be there.  Friends will park here.  Parties could be staged in this garden.  Great views of the landscape from inside could be described by this, or that.  The rear yard will feature a particular shape-the particular plants are to be determined.  How does the landscape address movement?  The driveway needs to be this width, and accomodate this turning radius,  and needs to gracefully address vehicular traffic.   A big scheme is just that-a big fluid wish list with an attempt made to broadly define use and beauty.  There will be places to sit, garden spaces-spaces to view from afar. This master plan features a wide swath of decomposed granite all around a 19th century stone farmhouse.  There are plans for a conservatory style kitchen across the back of the house.  My clients are indicating they want to move ahead with the landscape.  This masterplan gives wide berth to additions that are planned for the house.  The additions will take vastly less time than the landscape.  I advised them that given the length of time it will take to create a landscape, the best time for them to begin construction is right now.         

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My clients purchased a very large farm- a property that features 2 barns, 2 outbuildings, and a granary.  A granary?  A beautiful wood structure whose purpose was to store grain is a feature. My plan is to move that granary, currently set above ground on concrete blocks, directly and squarely opposite the rear of  their home.  The broad gesture?  This old stone farmhouse came with the outbuildings that make for a working farm.  Though it is unlikely that they will ever grow grain, and have a need to store it, the granary is a great place to stage a summer dinner party.  The house and the granary will become substantial bookends for a simple fountain garden.   

On either side of that fountain, there is a plan for an allee of columnar hornbeams, underplanted with European ginger and hellebores.  It would be a great spot for snowdrops and white crocus-or white Spanish bluebells.  This list may change, or be added to, or completely rethought- over time. The hornbeams will be planted equidistant from each other in this garden.  Once the allee crosses the gravel drive, the spacing between the trees gets wider, less regular.  Though they will be planted in a much less formal area, they will still maintain the site line established by the formal allee.

My clients have a particular interest in music and theatre.  They like nothing better than a summer concert staged outdoors.  The shape of the gardens adjacent to this round grass space that I call the music room make reference to their neeed for a space for such events.  The grasses are an informal material used in a more formal way.  The heights of the plants specified will provide some enclosure and privacy.  Viewed from the fountain pool, the northern sea oats will provide a contrasting and shimmering backdrop to the more formal and static hornbeam garden.  Viewed from the vegetable garden, it will look like a field of grain.  A reference to the agricultural history of the property will make those beds more visually believable, given that the setting is rural.  But those beds could be a collection of shrubs or small growing evergreens.  They could be a perennial mix that peaks during the summer months. They could be planted with roses.  A scheme needs to come first.  The details can come later.

I have labelled the vegetable garden a potager, as one of my clients is French.  The details of this garden will be provded by him.  I feel certain it will have a distinctly French feeling.  The garden footprint is exactly the size and location of a very old barn original to the farm, which needs to come down.  It is deteriorated such that to restore it would take resources my clients prefer to put elsewhere.  Hopefully someone will be interested in the salvage of all of the old beams and timbers.  The lower portion of the barn walls will be left standing, providing a fence for the garden.  Their property is host to lots of wild beings.  The floor of the barn has always been dirt.  With some work and lots of compost, it will be a great place to grow vegetables.

The other barn is in excellent condition.  It holds tools, and soil.  In the winter, the boxwoods in pots are stored here.  The barn gardens are actually quite beautiful and well developed.  There is no need to replace them.  The major changes will be about the perimeter shapes of those gardens. A hedge of arborvitae on the lot line will screen the house next door from view. A fenced cutting garden on the dog leg part of the property will be framed by a pair of pumpkin growing gardens. Two gardens devboted to growing pumpkins-how I envy them this.

The gravel driveway design is fairly close to what is existing now.  A major change will involve the addition of a drive which goes to the front door. On either side of that drive, a meadow planted with a grove of Venus dogwoods.  This meadow is a grass meadow.  A low growing low maintenance grass seed will be sown, and cut but once a year.  We have had very good luck with this particular seed mix, on unirrigated shady slopes, and in sunnier but relatively infertile ground.  The movement of all of the grasses will be a considerable contrast to the primary formality of the landscape.  

In the front, the distance between the hedge of Moonii yews and the road is 35 feet, but that footage is a steep slope, culminating in a drainage ditch.  The center of this slope will be the same short growing grass as the meadow.  This will permit a long view out, to the state lands across the road, from the front porch.  Shrubs will be planted into the slope where needed-lilacs, old fashioned spirea, viburnum, sumac, beauty bush-whatever seems right for a free for all mix.  Lucky the gardener that has enough land for a free for all. 

Of course the first step is to lay out the schematic plan, and see how it looks on the ground, full sized.  A lot of the preliminary tree work has already been done.  My clients seem to think the schem suits their property, their taste, and the history of the farm.  I am so pleased that this project is underway.