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Open and Closed

the view out (2)A few weeks ago I had an email from a gardener in Connecticut. She was interested in a Hudson fountain cistern from Branch for her garden, and wondered if I could consult with her about the proposed landscape, and size of the fountain.  I am reluctant to take on a design project from far away. I hate to commit to any recommendation for a landscape I cannot see in person. Designing from pictures is next to impossible. On the spot, the eye can take in all kinds of things.  The lay of the land.  The neighboring property, the driveway, the light, the grade, the existing trees, the soil conditions-there are so many factors that influence design that cannot be adequately conveyed in a photograph. I told her I could not help her. She was not discouraged.  She asked for an appointment-she would come from Connecticut to meet with me.  How could I say no? Her first picture, accompanied by a schematic landscape plan, told a story.  The new landscape and fountain would be constructed at the base of this beautiful stone wall.  Never did she broach the topic of the proposed landscape and garden view from an upper level terrace with a pergola overhead. I am sure she uses this terrace off the house regularly. All I could see from this picture was a view out that had been closed off by an old boxwood hedge. Were I to stand in this lower level, I doubt she would be able to see me from up above.   These boxwoods were in fact blockswoods.

the view out (1) The fieldstone wall is 42 inches high.  The boxwood is 34 inches high.  This means that her view out from her upper level terrace is missing the bottom 7 feet of her lower level garden.  Sitting down, she had no view of anything except the boxwood. A view from a high vantage point, should you be lucky enough to have a view from above, asks for a long and thrilling view out. This boxwood hedge is a screen where no screen is needed. I understand how this happened.  What was once a low border framing a view had outgrown its original intent.  A fountain and the surrounding landscape on the lower level would never be viewed from this terrace. Is this bad?  Of course. A great landscape functions on and from a multiplicity of views. A landscape in which to be is only enhanced by a view of that landscape from afar, or from up above. Good landscapes read at many different levels. This upper level is a place she visits frequently.  Why not enjoy what is going on below?  When I saw this picture, I so wanted to see through that boxwood to the sunny spot hinted at a distance.

the view out (3)Though I had insisted that I could not draw a plan for her, I did draw a plan for her.  I suggested that she move the boxwood hedge, and install a series of steps from the upper terrace, to the lower level garden. I was concerned that her view from above the garden be as good as her experience immersed in that lower garden. Any landscape that involves a change of grade needs careful engineering.  I am not an engineer, but I can imagine what is up and down.  And what needs to be open, and what views should be closed. This drawing for my Connecticut landscape is a schematic plan.  This means that the marks on this page are suggestions with questions attached.  My design for the lower level fountain garden is a schematic plan.  Once a schematic plan looks good, then the details can be worked out. Her landscape contractor had suggested a wall to the west to match the existing wall. I do not see that she needs another wall.  I like the idea of closing the view from the driveway with layers of plant material.

the view out (4)The driveway swoops east, and comes very close to this lower level landscape. Four layers of plant material will make this garden completely private from the driveway. A gate will make a subtle suggestion of what is within. Layers of landscape can provide visual interest from both sides. What is the need? A gently closed view from the driveway.

sculpture in the landscape

This terrace  has a sculpture positioned in the middle of the opening to the pool garden. An opening with a suggestion of closure interrupts the speed at which a guest moves from one area to the other. One must walk around one side of the sculpture, or the other. The time it takes to make that decision slows down the pace. A slow pace means one has time to appreciate and experience one’s surroundings. The transition from a rear terrace to the pool is a long transition.  I favor this.  There is time to absorb the foreground space, and anticipate the next space. The figure in the sculpture faces a rear porch. The arbor frames the sculpture, and invites a walk through to the other side.  There is no need or want of closure here. The hallway from this terrace to the pool garden is interesting.

Coburn (7)This small driveway terrace functions as a drop off. The enclosure supplied by the hydrangeas provides some intimacy, in anticipation of a walk to the front door. The opening in the hydrangea hedge, marked by an arbor planted with sweet autumn clematis, gives a glimpse of the landscape beyond. This landscape celebrates arrival.

conceptual landscape plan 004This landscape which I designed some years back features a long view, that opens up over a considerable distance. I always encourage a client who has long spaces to feature and describe that space. The closure comes behind the sculpture or large pot at the end of that long view.  The screening trees eliminate the view of some large electrical transformers. What needs to be open and what needs to be closed is an important part of a good landscape design.

May 10 016This gravel terrace is one step above the lawn plane. I retained that 7 inch drop with a wide piece of custom edger strip.  The low stucco walls at seat height provide some enclosure without screening the rear yard from view. I felt this terrace needed some enclosure.  In any landscape, there are views that need to be open.  Views that need to be partially open.  Or scarcely open. Those views that need screening-assess the extent of what needs to be blocked.  Blocked in summer, not in winter?  Blocked always?  Is there one place the landscape can be open?  If so, seize that opportunity. An opening in the landscape feels great. Those places where people congregate, make them feel intimate.   I am so hoping my client in Connecticut will open her pergola terrace to the landscape below.

Sunday Opinion: $400.00

In 2007, John Maloof, a young Chicago street photographer/ real estate agent in the process of writing a book about Chicago, went to an auction of objects repossessed from a storage locker whose rental had gone long unpaid.  Among the items, a large plastic bin filled with black and white negatives.  A cursory inspection revealed some images he thought were from Chicago; he thought perhaps some of the images might be useful for his book.  A bin full of celluloid objet trouve-he paid 400.00. Since that day, he has learned the images were taken by a Chicago photographer who made her living as a nanny between 1950, and the 1990’s.  He has since collected other bins, suitcases with clothes, and cameras.  Vivian Maier was a street photographer whose prodigious body of work might have passed into oblivion, but for Mr. Maloof.  Though only a small portion of her work has been scanned and viewed by Mr. Maloof, and the noted art photography historians he has consulted, there is talk in the air that Vivian Maier may be one of the mid twentieth century’s most brilliant street photographers.  The entire story?  Go to www.wimp.com.  Watch the video: January 7: Vivian Maier, Street Photographer and Nanny.

I like everything about this story.  Vivian Maier, a nanny for familes on the north shore of Chicago, was a very private woman, off duty.  On her days off, she would leave, dressed for the weather, camera in tow.  Her destination, her thoughts, her work-entirely unknown.  Mr. Maloof was so taken with the images he saw, he bought more plastic bins, suitcases-whatever he could find relating to her.  Her hats.  Her cameras.  It took lots of time for him to to even discover her name.  One employer was forthcoming about her tenure with their family-as much as they knew. There is no doubt he has become obsessed with his objet trouve.  But his treasure has become his responsibility.  There are 100,000 negatives.  He worries about how long it will take to scan them all.  He has made a considerable effort to recreate a life, and a body of work, from so many strips of film.  A 400.00 plastic bin full of negatives has shaken him up but good.

Mr. Maloof (I am spelling his name only having watched the video) might stand to profit handsomely, should the work of Vivian Maier stand and deliver, as well he should.  But for him, her work might have been put out like so much garbage.  I am not much interested in this part.  I am really interested in what I saw on his face.  What he saw in her photographs moved him.  Beyond this, I believe his passion and committment for what he never saw coming is extraordinary.  Face to face with an objet trouve of this caliber, I would only hope I would have the courage, committment and foresight to respond fiercely and seriously-as he has done.

An objet trouve does not come with directions. The video clearly expresses his worry, and angst in this regard. The chance relationship between a maker and a finder can create some high voltage.  That moment when I consider a serviceable wood box that might move on and become a container, that incredible bracket fungus that organizes a sculpture, that tree whose trunk inspires a design for a garden, the raindrops that make me hang glass drops from a tree-powerful stuff.

The work I have seen of of Vivian Maier-astonishing, and compelling.  Many of the images I have seen are portraits.  People on the street.  People in cars.  People in transit.  People in motion. People in flux.  People whose eyes meet mine. People of all ages. I plan to go to Chicago this winter to see that exhibition of her work. 

Her work is making me think so much about portraits.  The work she left behind is creating a portrait of Mr. Maloof; he seems forever changed by them. My garden has no doubt changed me, as much as I have changed it.  It is a portrait, of a sort.  Gardens have much to say about the gardener- their interests, hopes, and dreams.  What few photographs of Vivian Maier I have seen-so beautiful.

Update:  Many thanks to www.fourdogfigfarm.blogspot.com for letting me know Mr. Maloof has a website devoted to his project: www.vivianmaier.blogspot.com.

Garden Design Magazine

the new Garden Design magazineThe new Garden Design Magazine just came out.  The original magazine, which was greatly appreciated by aficianados of great landscape and garden design, quit publishing a few years ago. The rights to the magazine were eventually purchased by Jim Peterson.  What he has created comes from a vision all his own.  The 132 page publication is more book than magazine.  Everything about it is beautiful, including the paper it is printed on.  If you have a strong interest in landscape and garden design, I would urge you to subscribe.

DSC_0936We have another reason to be thrilled with this premier issue.  A feature article about my work, and the evolution of my group of companies, is a very special moment for me, indeed. Most important to me is being part of a group of great designers from all over the country whose work is detailed here.  Thank you, Jim. If you are local, we do have copies available at Detroit Garden Works.

landscape-design.jpgwww.deborahsilver.com

May 20 2014 (3)Deborah Silver and Co, Inc container design

Detroit-Garden-Works.jpgwww.detroitgardenworks.com

May 13 2014 (22)Detroit Garden Works

May 20 2014 (7)Detroit Garden Works

May 19 BHG (18)planting workshop at DGW

May 13 2014 (9)the shop

May 16 2014 Branch (7)www.thebranchstudio.com

Oct 3 2013 (22)pergola fabricated by Branch Studio

fountain 1the branch fountain

May 20 2014 (9)box and derrick topiary form by Branch Studio

May 20 2014 (8)elliptical fountain by Branch Studio

May 19a 2013 (3)

My deepest thanks go to landscape and garden designer and writer Susan Cohan, whose article is a gift of a most perfect moment to me.

Garden Designers Roundtable: Stone

 

Designing, planting and tending a landscape or garden is an avocation, a profession, a passion -and a nemesis of the most unpredictable and formidable sort.  The pure joy that a great garden has to give back has a substantial responsibility that comes along with it.  The landscape could be described as the responsibility for the health and happiness for a flock of living things. A lot of marbles have to be kept on the table-all at the same time.  Every plant that dies on my watch-I take it very personally.  Plants die routinely, and with astonishing regularity-in spite of knowledge and experience.

 

Some plants die from old age-every living thing has a lifespan.  Some things die from a particularly fierce winter, or relentless rain, or extraordinary heat.  Some things die from lack of water-of these deaths,  I am particularly ashamed.  Some things die from poor siting, or a a site whose ecology changes drastically-as in the loss of an old mature tree.  The living community that describes my garden is ephemeral-fleeting.  No tree, shrub, perennial, or garden experience comes with a lifetime guarantee.  Should you decide to garden, the disappointments are part and parcel of the experience.  Fortunately, a landscape has other elements that live longer.

Some elements in my landscape shrug off the water, the winter, the heat; the stone in my garden is the next best thing to indestructible.  Stone persists in my landscape in spite of my neglect, poor science, or ignorance.  What can I count on to be there every day, as best as I could count on anything?  The stone stairs to my rose garden have been there as long as I have had my garden.  I would guess it will still be there, when I celebrate my 100th birthday.

Stone in the landscape roughly refers to what we call hardscape.  Stone beautifully populates those places to be, that soil to be retained,  those spaces to entertain, and those walks with a natural material that provides an enduring hard surface.   Stone is eminently capable of expressing your need for a change of grade.  Stone provides paths and walks that enables travel from one space to another.  Stone provides a beautiful and durable surface for a terrace.  Compacted decomposed granite- shards 3/8 inch in diameter and smaller- makes level and hard surfaces that survive in driveways and garden paths, year after year. I so like balancing those living, and therefore fragile elements in a landscape with a crispy defined highly textural natural material that endures.

I am not a geologist-I am a gardener.  But I can say with great conviction that the stone readily available to me regionally is always my stone of choice.  Regional stone that is native to Michigan will look like it belongs in a Michigan garden.  Stone native to the East coast, or west coast I can appreciate, but a sense of authenticity of place is important in making a landscape visually believable. No doubt an entire library exists which describes the color, texture and use of stone world wide.  But I am primarily interested in stone that naturally occurs in my region of the country. In addition to bluestone and granite,  Indiana limestone, and Valders stone from Wisconsin are favorites. 

The fountain in my back yard is finished in Valders stone. The step down in submerged in water the entire season. This very high density dolomitic limestone is prized for its low water absorption.  This makes it ideal for applications in or around water. Indiana limestone, also known as Bedford limestone, is principally comprised of calcium carbonate.  The decomposition of marine animals at the bottom of the inland sea that covered the Midwest for countless centuries created limestone.  The limestone quarried near Bloomington Indiana is acknowledged to be the highest quality limestone in the United States. It readily absorbs water; the limestone caps on my retaining walls have aged beautifully.

Should you need a hard and enduring surface or wall, natural and native stone will endow your garden with a sense of permanence.  The formation of stone takes generations, and it will take generations to decompose.  Do not be shy about inviting a natural element into your garden with proven longevity.  It provides a quiet and appropriately natural foil for your plants.

 

I was a rock collector, as a kid.   Every type of rock, every shape, every surface-I was enchanted.  Nothing has much changed; I have a big love for all manner of rock.  Stone carpeting the ground, stacked up like a wall, hand carved into a cistern, or half buried in a rock garden-I value it all.   The stone slabs carpeting this conservatory floor-I have never seen anything remotely like it before.  It has an exotic, architectural, and other-worldly look.

Stone cold, set in stone, stone faced, hard as stone -these are all phrases that describe a certain attitude that withstands the elements, the vagaries of nature, and popular sentiment.  Stone comes with an aura of history about it.  The eldest plant in my garden I estimate to be about 80 years old-a trifling age, compared to my stone. Relationships in a composition might be more important than the one, or the other. How an ephemral element interacts with a permanent element-always interesting. That great age one associates with natural stone has much to do with the creation of,  and value,  of stone garden ornament. 

Stone ornament for the garden is a centuries old art and practice.  A material which is virtually impervious and certainly accepting of the weather makes an ideal medium for sculpture, urns, finals, cisterns, plinths, and benches. Many antique pieces provides homes to thriving colonies of moss and lichens. Before Michaelangelo’s David was a sculpture, it was an ancient block of marble from the earth.  Antique containers and urns hand carved from a single piece of stone are rare, and very costly.  Dry cast limestone is a dry mix of cement, sand, mineral pigments and crushed natural stone, which is forced into molds, and vibrated under pressure until it fills the mold evenly.  This method of manufacture makes stone garden ornament more readily available and affordable.

The stone in my garden is beginning to settle in.  Plants have decided to take up residence in its crevices, and on its surface.  I like how this makes me feel. This Belgian bluestone table with antique hand-carved corbel bases would indeed be lovely in a garden. Any gardener who has ever carried rocks around their garden, or had their fingers pinched setting a stepping stone knows that stone does not give.  I like a material in my garden with this attitude.

I wrote this essay in a special capacity.  I was so pleased that The Garden Designers Roundtable invited me to guest post with their group for the month of May.  The Roundtable is a group of garden and landscape designers who write regularly on topics related to landscape design.  This blog is a great read.  www.gdrt.blogspot.com.  Interested in an ongoing discussion of plants, gardens, landscapes and design?    www.facebook.com/GardenDesignersRoundtable.

To read all of the posts on the May discussion of stone in the landscape, click on the links below.  Enjoy!

Sunny Wieler : Stone Art Blog : West Cork, Ireland

Debbie Roberts : A Garden of Possibilities : Stamford, CT

Douglas Owens-Pike : Energyscapes : Minneapolis, MN

Ivette Soler : The Germinatrix : Los Angeles, CA

Jenny Peterson : J Peterson Garden Design : Austin TX

Rochelle Greayer : Studio G : Boston, MA

Scott Hokunson : Blue Heron Landscapes : Granby, CT

Susan Cohan : Miss Rumphius’ Rules : Chatham, NJ

Tara Dillard : Vanishing Threshold : Atlanta, GA