Search Results for: Latest updated CDCP Test Topics Pdf Spend Your Little Time and Energy to Clear CDCP exam 🌗 Open 【 www.pdfvce.com 】 enter ➤ CDCP ⮘ and obtain a free download 🔊Test CDCP Assessment

A Good Grass Day

 

Not every day do I need to look at a drift of hellebores blooming, or a yellow magnolia in  its glory. I don’t always require a succession of perennials, blooming.  Some days are just much simpler than that.  My grass gets cut on Fridays.  Some Fridays I barely notice. Some weeks the weather has been wet, and the cut is ragged and too long.  Some weeks there is no rain, and the grass looks flat out parched rather than mowed.

I do not entertain that much.  In early summer, almost never; I am too tired after working all day.  July of this year was so brutally hot, I was only outside long enough to soak my pots.  Our very hot weather has moved on to some other part of the world; we have had regular rain.  We have begun having friends to dinner in the garden again. 

On those nights, I am glad for the delphiniums, the roses and asparagus representing, the lush stands of ferns, the fountain jets making their music, the boxwood trimmed just so, the balmy temperatures- This is any gardener’s idea of  first class entertainment.  I like my garden to entertain my company; that they have a good time gives me pleasure.  All of the visual punch I can muster makes a garden a visual getaway for dinner guests. 

But there are those nights when I come home with a less vigorous agenda in mind, and perhaps more in need of nothing more demanding than that closely and simply cropped plane of green grass.  Not every day calls for a party with some plant or another popping or holding forth.

My grass is one of my favorite perennials.  By no means do I have acres of it-a few small green grass sheets is more like it.  It endures the corgis, the drought, the heat and the cold with aplomb.  As for care, I water when it needs it; it gets cut once a week.  You can tell from this picture that we have had rain.  There is no substitute for water from the sky.     

As for my experience of the garden, a lush lawn still perfumy from the mowing is a  pleasure of a quiet sort.  When the grass is green good, and neatly cut, everything else in the garden looks better.  The grass is the lowest, and quietest place in my garden.   It is a shock and sound absorber. Properly watered grass gives underfoot. 

Lowering the lawn plane 8 inches, and retaining the soil with steel edging was my way of making that grass plane an important visual element of the landscape.  This grass is not what was left over after the landscape beds were made-it is a feature.  Any plant or element in a garden gets visual importance from how it is handled.  Long ago when I had acres, I featured the grass plane by how and where I mowed.   

My grass is not what I would call lawn.  It has weeds, bald spots, piddle burn, corgi claw marks-all the usual scars.  This does not bother me in the least.  Neatly cut and green is all I need. 

The corgis have an especially good view of the grass; their legs are barely 8 inches long.  My lower level garden permits a corgi-eye view of the lawn plane of the upper level.  This is just one of the reasons how a change of level in a garden can delight the eye.     

 Some days the simple garden pleasures are enough.

Fencing For Privacy

I would say relatively few of my clients fence for privacy.  Most gardeners would choose plant material to screen untoward views. if they had the chance.  But very small urban properties-mine included-do not have the luxury of space.  This client designed and had built a fence which would afford him some privacy from neighbors very close by.  Painted that shade of disappearing green, it would screen the garden at the ground level from a neighboring house.  The lindens would provide screening in the airspace, an important consideration in neighborhoods with two story homes in close proximity.


Though the landscape has the appearance of a sunken garden, the lindens were actually planted in raised beds.  This did a great job of making the ground plane of the yard even more private. The trees create the illusion of a much bigger space than what actually exists.  Only the trunks occupy any space in the yard.  The tree tops are shared with the neighbors, creating more privacy for all.  A wood pergola with a gridded roof and gravel floor would provide space for seating and dining.   

10 years later, the lindens had grown considerably, and grown unchecked.  I will specify lindens for screening in a small yard, as they respond really well to pruning.  Left unpruned, they grow to enormous size.  The privacy fence appeared black in the increasing shade.  The hydrangeas were getting that leggy light starved look. A wisteria vine planted on the pergola had run rampant, and had almost completely covered the roof. 

Arborvitae that had been planted in the raised beds around the pergola; there was insufficient room for any more lindens.  The privacy they afforded from yet another neighboring house had further limited the available light under the pergola.  An update was in order, the first of which involved the fence.The arborvitae were removed altogether, in favor of a new fence.  Though these Belgian woven hazelwood panels provide a lot of privacy, light still comes through.  The wood for these panels is farmed using a method known as coppicing.  The shrubby trees are periodically cut back to the ground.  This hard pruning result in long straight branches, suitable for weaving into the panels  The coppice wood from which the fencing is constructed still has its bark.  This gives the fencing a much longer life.  Importing wood from another country that still has its bark is a laborious and expensive procedure.  Both US customs and the USDA have to be absolutely sure there are no pests hiding under that bark. The peeled cedar fence poles come from the upper peninsula of Michigan; 4 feet is set below ground to insure the fence will stay straight.

Venus dogwoods were planted in lieu of a large growing evergreen; their airy habit of growth will provide privacy without blocking so much light.  The wisteria got a much needed haircut and thinning.  The boxwood will will provide some green during the winter months, and will never grow so large as to obstruct a view of the fence.    

The lindens were given their first haircut.  Pruning trees that have never been pruned involves small steps over a period of time.  In a few years, they will read as a deciduous hedge above ground.  All of the other plant material in the yard will grow better, given the extra light. 

The original back yard fence found a new home in the front yard.  A neighboring white wood fence with a lattice border was not particularly appealing to my client, nor did it do any justice to the trunks of a hedgerow of Ivory Chalice magnolias. Along the driveway in front of the garage is a pass through-not a spot to linger.  The solid wood fence provides complete enclosure close to the ground.  The magnolias do the work up high.  


The dark solid wood fence handsomely compliments those tree trunks.  Most importantly, this fence clearly represents the aesthetic of sense of my client.  It is important to drive up to a landscape that pleases your eye.

Patine Ancienne

Rural France is home to many artists who make garden pots.  Each one has their own style and finishes, most of which are based on designs and shapes dating back to the 18th century.  Detroit Garden Works will have a substantial and wide ranging collection of French terra cotta come spring.  This has everything to do with Rob’s willingness to travel.  It is not possible to shop these pots from a catalogue, a website, or over the phone.  You have to go.  To see them in person.  Anything you see in the shop Rob has seen in person. 

This modest showroom gives an overview of this artist’s point of view.  Much of what Rob bought here has to be custom made.  This style, in this finish, or this color.  That style in this size.  How he shops is much more rigorous than what this picture would suggest.  When a 40 foot container of terra cotta from France arrives, it will be an edited collection, with a point of view.  There will be multiples, with careful consideration to size.  There will be a small representation from certain potteries whose output is limited.   

This particular pottery features very unusual finishes on their terra cotta.  Rob hears that no outsiders are ever permitted in the studio.  This particular poterie is represented by a broker Rob met in Paris a few years ago.  She arranged for a visit and consulted with him on his order.  She will be supervising the manufacture, will inspect all of the pots prior to shipment, and will arrange for pots to be readied shipment.  Multiple orders will need to be consolidated, and packed into a container dropped at the poterie with the most substantial order.  The most important issue-the finishes.  She will look every pot over.   

Many of the poteries have an interpretive finish they call a patine ancienne.  There are many very old French terra cotta pots still in use; the climate is mild, and pots can be left outdoors all winter.  Old glazed French pots are characterized by how much of the glaze has been shed from exposure to weather.  The old pots are priced at a premium.  I have but a few truly antique French terra cotta pots.  Interpretive finishes-some are great, some are overwrought. 

Rob tells me that he has an interest in the patine ancienne.  Patina refers to a surface condition which has acquired a certain look or color or texture from age.  Antique stone urns from England may have large colonies of lichens and mosses that verify their age.  Though he has an interest in aged surfaces, he prefers some contemporary interpretations over others.     

This particular poterie features finishes that he likes.  They have a feeling of age which is subtle.  Not too hard hitting.  When I first saw these pots in his pictures, I was sure I was looking at vintage pots.   

We have bought many containers of pots from the Poterie Madeleine over the years; we have sold all but a very few.  Their high gloss glazes in jaune, (yellow), vert (green), flamme (green and brown flames), and blu lavande (this is a hard color to describe-it is blue and lavender mixed) were beautiful. They were the classic vase Anduze I always associate with French terra cotta. The ownership of the poterie has changed since we first shopped there; the pots are different-the business is different.  Madame Pellier is no longer there.  I have many good memories of dealing with her over an order.  The new pots-they are too hurriedly made, says Rob.  He tells me we need to move on-so be it. The classic vase Anduze pot pictured above-the surface is beautifully different than anything we have ever had before.  

This poterie has captured his interest.  The colors and finishes defy description.  They are not overwrought.  There is ample evidence of the human hand.  These trays-he laid them on the floor to study them.  The poterie that makes them have studied equally.   

If you are a gardener, you have a relationship with clay pots.  The simplest machine made terra cotta pot is a friendly home to a plant.  That fired earth breathes. It promotes good root growth.  It soaks up water freely; that water can evaporate just as quickly.  This tray speaks much more eloquently to the clay earth from which it was made than a machine made pot.  The decoration is simple, and strong.  I am sure when the time comes that I can pick up this tray in my hands, it will have weight, and heft which is as much physical as it is visual.  The finish is subtle and moody.  I could live with this. I might not be able to live without it. 

This interpretation of patine anciennne is beautifully rendered.  I am sure the work of it is lengthy.  Rob purchased from the poterie’s available objects.  He placed a very large special order, which we do not expect to be completed until well into November.  Every piece will be well worth the wait.  Great garden pots-Rob has made a life’s work of this.  What he has brought my way-priceless.

Monday Opinion: Courting The Muse

I have a very dear friend whom I have known since my early twenties.  We have shared a very on and an extended off,  and then intensely on again relationship- over a good many years.  She is an artist, and a very fine one at that.  No one would argue that point, but her.  We are arguing that point right now, as she is unsatisfied with her paintings.  I am squarely positioned to be a resonating gong-I reject the entire idea of being a sounding board.  Sounding boards tend to absorb and muffle trouble.  I would want to amplify everything she says to me.  Sometimes it is hard to hear something until it gets really loud.  I hope I reflect her notes loud enough that she relocates her muse.

I understand something about her issue.  I have days I cannot design.  I have projects that I stare at until I am blue in the face, and nothing comes.  I know when I am tired or blocked-I have this instinct to repeat myself. Or the even more dangerous-the instinct to repeat someone else.  I have places in my own garden that embarass me-that makes me angry.  There are those times when frustration and pressure threatens to dictate a result I will not be able to stand behind with pride. Creativity cannot be summoned.  I find I need to hover over it, and give it space.  Pressure from within and without nudges my muse.  This is as much as I can tell you about my process.  My friend is much different than I.  Her muse responds to a music she makes. I would not be able to hear it, or see it,  but for her.  I cannot really help her; I can only be her friend. This is a courtship involving two, and 2 alone.      

What makes my friend such a fine artist is how she views her work dispassionately, critically.  Her critical, emotionally charged eye is too much better than 20-20.  I am very sure she will be able to figure out how to reconfigure that critical eye of hers into a brush loaded with paint poised over a piece of paper.  Any emotionally charged thought transformed into a physical expression-that’s what I would call creativity.  These things get expressed straight from the heart. 

How does any of the aforementioned relate to a gardener, and their garden?  Every gardener has their own special set of circumstances.  Their own particular likes and dislikes.  Their own particular point of view.  Their own particular muse.  No gardener has any need to do over what someone else has already done.  No gardener needs to repeat what they have seen, read, or visited.  Modern communications makes it possible to see thousands of images of other people’s gardens.  Other people’s work.  Other people’s ideas.  One of the most satisfying parts of owning a garden is the secure knowledge that it belongs to you.  This has to do with an authenticity, an integrity of place.  One of the toughest part of designing for others is to take the time to know enough about the client that their point of view comes first.  The toughest part of designing for yourself is understanding that the voices of others represent those others-not you.  Turn on your own channel, and see what’s playing.  Everyone has days when all that appears on the screen is static, but sooner or later something is bound to click.  I have had friends tell me that the experience of walking a labyrinth is the equivalent of turning on one’s own channel.  When I am unsure about what move to make, I walk the garden over and over again, until everything extraneous drops away, and I can hear or see what I need to do, or what direction I need to go.  Of course one’s taste changes, and gardens revolve around that change.  Are you laboring under the misconception that you lack taste, or creativity?  It comes standard issue, unless you bury it somewhere, or turn the volume off.    

As for my friend, I do not worry.  She feels a need for change, but has no idea what form that change will take.  She is not satisfied with what she has already done-good for her.  I am happy for her angst. Bravo. She wants her own work, better than she thought she could have it.  This alone puts her ahead of where she is now.