2012 Speeches

For readers in the Washington, D.C. metro area, there will be several opportunities to hear me speak about topics related to my blog posts.  Here's how the schedule is lining up:

Why We Plant.

Garden design magazines and blogs dedicate a lot of space to answering the questions "how" and "what" to plant.  But in the last few weeks, I've become rather fascinated with the question: why do we design with plants?  In many ways, planting design is one of the most frivolous, silly activities I can think of. That’s not to say it doesn’t matter. But it is certainly not necessary, like paychecks or vaccines or heart surgery. It is a pure extravagance, something we do for our own pleasure.

We can survive without gardens, yes, but the question is, can we live without them? What I love about plants, in particular, is their ability to reveal the invisible world. The way a grass moves in the wind, or the way a seedhead glows when backlit by the setting sun. The goal of great planting design is not simply to arrange pretty plants in pretty patterns. When garden design becomes another form of interior decorating, it loses its soul. No, what interests me is creating landscapes that are more alive than we are, but in a completely different way. When we enter into a landscape brimming with life and let that life enter into us, let it move through us, then we get a glimpse of the horizon we were created for.

How do we create these landscapes? First, we stop obsessing about prettiness. Prettiness is two-dimensional; it is a flat image, a thin and insubstantial veneer. Beauty is four-dimensional. “There is no beauty without ugliness,” wrote landscape architect Fletcher Steel, “and it should not be otherwise. Both are capable of stinging us to live. The chief vice of gardens is to be merely pretty.”

Designers don’t create beauty. To believe otherwise makes us guilty of forgery and blasphemy. But what we can do is create the conditions where people can have an experience of beauty. We arrange plants in ways that makes people see the landscape. One of the problems of modern existence is the fact that we have so few places in which we experience beauty. Our cities, subdivisions, and houses are flat stage sets. And our yards are little cardboard dioramas of nature. In these settings, the only way to make people see nature is to distill, abstract, and amplify its forms. As gardeners and designers, we must become Mannerists, exaggerating the best aspects of nature. That is why we mass plants together. It is why we use palettes of plants that are visually and ecologically related. It makes the forms of those plants more legible in our non-natural environments.

Great planting design is nostalgic. By that, I mean that the goal of planting in gardens is to remind us of a larger moment in nature. When a moment in the garden is reminiscent of some larger landscape, when a group of plants makes you feel like walking through a meadow, or hiking through a dark forest, or entering into a woodland glade, then you have created an emotional experience. And that, to me, is the essential skill of planting design: to know how to arrange plants in ways that evokes our memory of nature.

I believe all of us have embedded in us a longing for nature (to borrow a phrase from Oudolf). Even the poor child who lives in the city and has never even seen a forest, a meadow, or the sea. Think about it: we spent thousands of years outside learning to navigate through fields and forests. We knew instinctively what to be afraid of and what to be attracted to. Not knowing these cues could mean death. It is only in the last 100 years or so of our species that we have become removed from our outdoor environments.

It is not that we have lost the capacity to read and see landscapes, but we are out of practice. And as a result, we are more desperate for it. Have you ever entered a garden or a landscape and felt a profound connection to it? It is almost like a moment of déjà vu. Part of us awakes for the first time—like the feeling of a phantom limb. We tap into a part of our being that remembers the way we are supposed to be in this world. For a brief moment, there is an opening within ourselves and we glimpse the shoreline of the limitless horizon within. The preacher in Ecclesiastes says, “God has set eternity in the hearts of men.” Sometimes we feel this as an epiphany, other times it comes in small waves. A subtle feeling of expansiveness surges through us.

This is why the goal of planting design is to make people see again, to make them remember. We arrange plants in ways that will enable people to have an experience of the ephemeral. It is not the plants themselves as objects that have power. But it is their patterns—particularly archetypal patterns—and that can become animated as light and life pass through it.

We do not create beauty. But we can create thresholds through which people enter and have an experience of beauty.

Perennials to Interplant in Grasses

Of all my plant obsessions, herbaceous plants are among my favorites. Several years back, I remember walking through the woods with a colleague, a tree expert. After several hundred yards, we laughed at each other. He was always looking up at the canopies, and I was always looking down at the ground—scanning the forest floor for herbaceous plants. It is my perpetual posture: head down, scanning right to left.

Amorpha canescens

As a perpetual ground-scanner, I’ve recently had a revelation about the way many perennials and grasses are meant to grow together. This revelation has influenced the way I design.

It’s actually quite simple: many perennials from meadow/prairie ecosystems have evolved to grow within a matrix of grasses. While that is not a particularly ground-breaking concept, it does challenge the way many perennial gardeners arrange their plants. Most perennial gardens focus heavily on forbs (blooming perennials) that are scattered one by one in planting beds. Grasses, if used at all, tend to be added as specimens or accents. But if you consider the way most meadow perennials grow, this ratio should be reversed. The grasses are meant to be the dominant plants with forbs emerging through this matrix.

Consider the morphology of an Echinacea (Cone Flower). Echinaceas typically have low basal foliage and tall spindly stems which support the flowers. This very structure is designed to help the plant grow out of a lot of grasses. The low foliage first emerges in late spring before the warm season grasses emerge, grabbing sunlight to ready the plant for its flowering. Once the grasses put on their height, the Cone Flower sends up its flowers on delicate stalks. The grasses support the flower (like a stake). If you’ve ever had perennials flop over, it may be because it is missing its support system.

As a gardener or designer, this does not mean that your perennial gardens need to be mostly grasses. It does, however, provide a real opportunity for people interested in designing with ornamental grasses. I love the look of large masses of ornamental grasses in a landscape. They are easy, low maintenance, have a long season of interest (particularly in winter), and add a wonderful looseness and spontaneity to a landscape.

Dalea purpurea growing in grasses

Garden Design Trends 2012

Cleve West's winning design for Chelsea Flower Show

Each New Year, the internet is abuzz with it the inevitable horde of prophets and trend-watchers, confidently predicting the themes of the year. Of course, there is absolutely no accountability for these supposed experts because once the buzz of the New Year fades, the predictions are forgotten. I may be one of the few people on the planet who actually loves New Year prognostications. Finding meta-themes from the sea of quotidian activities appeals to my philosophic bent; for me, it is a puzzle game: I love the thrill of finding a pattern among scattered pieces.

So it is with great delight that I present to you my attempt at New Year trend-spotting. This year, my trends focus on trends in garden design (it’s best to stick to what I know, right?). For the last few weeks, I have spent time contemplating great gardens designed in the last year. What was it about these spaces that captured the zeitgeist? What about them moved me? What aspects of them will likely be replicated?

1. The New Romanticism: Garden design in 2012 will mark a return to romanticism. For the last decade, the focus on sustainable gardens has brought a decidedly rationalistic overlay to garden design. After all, the focus on sustainable techniques such as stormwater, native species, and xeriscaping has emphasized scientific and ecological processes. In addition, modernism has been a big theme in garden design over the last decade, bringing with it a focus on functionalistic design. While I expect sustainable and modernistic designs to continue, new gardens will be less cerebral and more emotional and spiritual bent. Expect to see a revival of all sorts of old, classical garden styles such as cottage gardening, French and Italian formal gardens, and even medieval gardens updated with a modern twist. Romanticism is all about nostalgia, escape, and the rich world of the imagination, ideas that are powerfully effective during times of transition. Expect to see gardens that explore fantasy, whimsy, and spontaneity within a framework of familiar garden forms.

Cleve West’s winning design for The Daily Telegraph Garden at last year’s Chelsea Flower Show is a perfect example of neo-romanticism. His sunken garden used terra-cotta columns that evoked Roman ruins. His plantings were both modern and old-world as he relied on a palette of self-seeding plants that emphasize change. The rich overlay of classical ruins in this strongly contemporary garden hinted at a world beyond, a lost history that provides a moment of escape and fantasy that make the garden delightful.

Left, design by Wirtz International; Center, Piet Oudolf's wave hedges; Right, Tom Stuart-Smith 

Wolfgang Oehme: 1930-2011

Wolfgang Oehme, one of the most influential and brilliant plantsman of the last century, passed away today. 

Wolfgang, along with his business partner James van Sweden, created the New American Garden, a strikingly original alternative to the traditional suburban yard. 

Wolfgang was a personal mentor to me and many, many others.  What was even more impressive than his brilliant and evocative plantings was his generosity of spirit and joy in the landscape.  I plan to write a fuller remembrance of Wolfgang soon.  If you knew Wolfgang and want to post a message for him, his official website is collecting those messages.

The Cloud Hedge Experiment

Lust.  The first time I saw a picture of Jacques Wirtz's cloud hedges, I wanted them.  Of course, I often look upon glossy magazines of European gardens and covet one thing or another.  But the overgrown boxwoods that the Wirtz's clipped into iconic cloud-like shapes stayed with me. They were both solid and structural, yet light and whimsical.  Artificial yet organic.  

For years now, I've been thinking about using cloud hedges in a design or my own garden, but to be honest, I haven't been confident I can pull it off.  After all, cloud hedges are more about garden craftsmanship than design acumen.  So I was delighted when I saw Jake Hobson's new book, The Art of Creative Pruning.  I hoped I would find a step by step tutorial on how to create this effect.  The book unfortunately is more of an illustrative coffee table book than it is a how-to manual.  The images themselves are instructive, and Mr. Hobson does give some useful advice for creative pruning.  But I found his advice for creating cloud hedges to be a bit too general: " Rough out the basic forms, following the flow of the plants."  So I went outside and looked at an overgrown yew hedge in my front yard.  I wasn't seeing too much "flow" to work with.

Best New Blog: Black Walnut Dispatch

Black Walnut Dispatch, written by Virginia based gardener and garden designer Mary Gray, is one of the best new garden blogs I’ve come across in a long time.  Full of heart and humor, Mary has already started an impressive number of high quality entries, from mocking oversized outdoor kitchens, to a satirical ode to L.L. Bean catalogues, to a moving manifesto about why we garden.  The writing sizzles.  It is like Garden Rant with a wry sense of humor.  I recently subscribed by email so I won't miss a single post.  Be sure to check out Black Walnut Dispatch.   You will not be disappointed.

"Hot or Not" Hits the Road

This Friday December 2, I will be speaking at the fourth annual "Turning a New Leaf Conference" in Lancaster, Pennsylvania.  My talk is entitled "Hot or Not: How Making Sustainable Landscapes Fashionable will Revolutionize the Movement."  The talk was inspired by my original post found here.

Here is the abstract:

The sustainable landscape movement has advanced significantly over the last decade, gaining in acceptance among homeowners and designers. But many remain skeptical of sustainable practices, and there is even evidence of a backlash against using native plants. Has the push to make landscapes more sustainable hit a rut? Is the message being drowned out? How do we reach a broader audience?

The single best way to expand the appeal of sustainable landscapes is to make them fashionable. Until sustainable landscapes are shown to be beautiful, they will never be fully embraced by the American public. This talk will explore how to create a new aesthetic for sustainable landscapes that will make them more desirable. We will examine model projects that are not only ecologically productive, but strikingly original, cutting-edge designs. We will look at how the European garden scene has blended sustainability with an artistic ethos. Most importantly, we will examine strategies that CCLC members can use to create more beautiful, original, and ecologically-rich landscapes.

There's still time to register.  For more on the conference, including other fascinating speakers and discussions, please visit the site's homepage: http://www.chesapeakelandscape.org/2011leaf.htm

Garden Designers Roundtable: Horticultural Idols

Plants are a particular passion of mine, but what fascinates me most is the way we design with plants. I’ve dedicated my professional life to the study of how we arrange and compose living plants. Planting design is not just about the plant as a horticultural or ornamental object; instead, it is a window into our culture, our beliefs about beauty, and perhaps most importantly, our relationship with nature.

For several years now, I’ve wrestled with what it means to develop my own style as a designer. I was fortunate enough to spend the better part of a decade working for Oehme, van Sweden & Associates, apprenticing and learning their iconic New American Garden style. Since leaving the firm in 2009, I’ve wondered how to adapt what I learned there and make my own contribution to the development of a uniquely American garden style, one rooted in the patterns of the American landscape.

It was this quest that led me to a study of the great plantsmen, designers who changed the way we think about plants. I teach a class in planting design for George Washington University, and in preparation for a lecture, I sought to select a list of groundbreaking plantsmen. Of course, one could spend an entire year studying all the great planting designers of history, but I wanted to focus on those who have most influenced the current moment. I wanted to share my personal list of ten great plantsmen, a mix of past and current designers whose designs are, in my opinion, the most relevant for today. This list includes both iconic designers of the past, brilliant contemporary plantsmen, and even emerging talent that has not been fully recognized.

Meaning in Landscape Architecture and Gardening

“Just as there are levels of meaning and discourse in language, ranging from laundry lists to business letters, from narrative fiction to lyric poetry, so too are there levels of meaning in landscape. They range from the mundane to the profound whether they are attractive or disheveled, beautiful or not, small or large…Landscapes are made of many diverse phenomena - visual, aural, tactile, olfactory - that may trigger the recall of things from our own personal environmental history, which in turn combine with a world of information from our education and experience. For this reason there is no question in my mind that the art of landscape design - when it is an art - is possibly the most complex and sophisticated art we possess.” 

Laurie Olin from an essay in Meaning in Landscape Architecture & Gardens