Talking to Myself

I have in some way and in fits and starts kept a journal for years. There have been times when just the act of chronicling what ever was happening in my life has helped me sort it out. As a teenager they consisted of pages and pages of laments, descriptions of parental and personal drama, social slights and ad hoc adventures.

After graduating from art school I starting making illustrated journals in black bound sketchbooks and for years I kept them safely in a box to be looked at now and then. Ten years ago, all but one of these sketchbook journals were destroyed in a basement flood.

Studies for a series of landscape inspired brooches circa 1977

What wasn't destroyed were the two new types of journals I had been keeping. In dated composition books I kept a series of garden journals. My garden composition books were often carried with me to the nursery, library or bookstore. My first designed garden is in one. Although I have an extensive design education and years of experience, I am a self taught gardener. My garden journals contained sketches, ideas, bloom times, receipts, plant labels all types of information that I wanted to remember.

A page of one of my garden composition notebooks

In small sketchbooks I kept travel journals. Since I have always had to travel on the cheap, these journals became souvenirs of my adventures. I recorded descriptions of places and made collages of tickets, postcards and sketches. Ephemera was collected and the notebooks were created on the go. They were a record of where I had been in the world larger than my own backyard.

From a trip to London in 2001

In both of these new journals there were also tidbits of the old journals--personal notes and the occasional lament.

When I first started writing Miss R, I didn't realize that it would evolve into a new type of journal. The first year was stop and go, and I didn’t really pay much attention to the content or frequency. Now I realize that the content is really an extension of my years of writing about my life. No, I don't often write about personal drama, but I do definitely write about the way I feel about what I do. I also write about places I've been and plants I've seen and post drawings, designs and other tidbits of my creative life.

A recent page from my current notebook

I still carry a notebook with me to jot down ideas, plant names, or make a quick sketch of something--although digital pictures have replaced some of my sketches. I realize that recording my ideas and experiences has been part of my life long creative process.

Dreaming of Other Places

I have itchy, gypsy feet. When the weather gets nice my longing to pick up and go gets worse.


I want to go some place exotic--full of color, odd sounds and history.

Bali

I want to go some place I've never been that will inspire me.

Angkor Wat, Cambodia

I need to get outside of my comfort zone.

India

Maybe it's just the May-hem of being a landscape designer at this time of year causing me to want to escape.

Yellowstone National Park

Don't get me wrong--I love what I do, but I need to recharge and my creative batteries sometimes need a jump start.

Nikko Temple, Japan

Travel does that for me--it jolts me into a new direction every time.

Buenos Aires, Argentina

I've always had wanderlust and have luckily been able to indulge it on mostly a whim. When I was younger with less responsibility, I'd just pack a bag and go.

Fez, Morocco

Now it's not so easy. I dream of the places I want to see and save and save until I can afford to go. One of the above will be next.

My Studio

This photo was taken last fall. My converted sunporch studio is unheated but full of light and looks out to the neighborhood. At one end my drafting table spans its width, at the other books, catalogs, plans and client files. In the winter or when it's cold--like today--I work on a large round oak table in the dining room that was my mother's--but this is where I work during late spring, summer and most of fall.

My drafting table is at the other end of the narrow sun porch that serves as a three season studio

Above the desk, along with a black clay cherub collected in Mexico, hang two quotes. One from Raymond Jungles, 'let what it wants to be, become what it is' and the other from Marcel Proust...'Let us be grateful to the people who make us happy, they are the charming gardeners who make our souls blossom...'

Why Fit In?

I have never fit in. There have been times, like when I was in high school, where fitting in seemed important, so I tried. I still didn't really fit in--there was always the nagging sensation that I wasn't really being authentic.

As I grew and evolved as a designer, I learned to get used to blunt critique and/or praise of my work and view it with my own value meter. Reject what I didn't believe, embrace what I did. This process also made me more secure in who I was as a person. The nagging sensation of not being authentic mostly disappeared. What didn't disappear, however, is the fact that I still don't really fit neatly into any ready categories that people seem to need to organize their thoughts, lives and ideas.

Miss R doesn't really fit in either. It's not a garden blog--although I sometimes write about gardens and post garden pictures. It's not a design blog, although I certainly explore that also. It's not a blog of personal revelation, but that is definitely a component. It's not a blog about process either. It doesn't fit in.

It is a blog about the thoughts, ideas, images, work, people and places that fill my creative life. I'm standing in the middle of my life as individual as ever, as unable to fit neatly into anyone's categories as I ever was. The difference is that I now know that's because I don't need to. I am authentically me.

Showhouse Season V, Issue 10, Mud & Mayhem

Here's some photos from today. Furniture and pots arrived. Irrigation and lighting was installed. Today was complicated by too many people in too small a space and downpours.

The plywood & tarps are protecting one of our walks
It's the only access the adjacent garden has. Tomorrow we cut them off

The first container planted--there are 8 in total

Sod, the bird sculpture and a bazillion annuals will arrive tomorrow. After I left at lunchtime I went shopping for something to go on the table. More about that later.

Newbies: Student Projects, Part 2

Below are first landscape designs from the three remaining students in my Principles of Landcape Design class at Bergen Community College in New Jersey.

Principles is their first real design class. One student believes he can't draw--not true, another was so 'tight' that he struggled to get beyond a beautifully drafted base map to create a loose and lovely concept plan. The third student has a great taste level and brings in books and magazines setting up her table like a mini design studio each week.

Decide for yourself who is who, I hope you enjoy their drawings as much as I have enjoyed teaching them. I am thrilled that they have been able to achieve so much in such a short time.

Won Ja Choi--Concept Plan with brick patio & pergola

Conceptual Plan w/formal and secret gardens by Luke Eisenstein

Jason Cina's diagonal plan w/checkerboard patio

Newbies: Student Projects, Part 1

I've always worked at giving back to whatever design discipline I've worked in by teaching. My philosophy is that I've received so much from others that I need to also pay it forward. I was a resident artist with interns as a jewelry designer, a design school instructor and academic officer (not a good fit btw), and now I teach a small (6 students) landscape design class at a community college near here. I believe in sharing knowledge.

Below are three of my student's first projects. I'll publish the other three next week. None of them had designed a garden or a landscape before this class. Only one has had a graphics class. As first attempts by students, I think their projects are pretty great.

Backyard concept plan by Daniel Siniscalchi

Partial Layout Plan by Alex Kozar with pergola and fountain

Concept Plan by Gleb Denisov

It's right there in Black & White...

I have the opportunity to design a small black and white pocket garden. Tucked into a corner with between a screen porch and the house, the area is also home to multi-utility boxes including a low voltage transformer smack dab in the middle of one wall that has no wriggle room.

My client's request other than a fountain which is a blue glazed olive jar, is that I put Colicassia esculenta 'Black Magic' somewhere in the garden.

A quick color study for the garden

I still render presentation drawings for clients by hand but I use a color add on for my CAD program because it's fast for down and dirty color studies. At the point I'm using it I don't pay much (read some) attention to texture because the choices the program offers are limited--hence the Heuchera x 'Obsidian' in the drawing really looks more like stone than a plant! These quick visual thoughts are working drawings and I know what the plants look like, so the color studies are more for the ratio of one color/texture to the adjacent ones and the rhythmic flow of the planting design. I change my mind often when designing planting plans--it's not always intuitive for me. Spatial relationships and human interation with and through space are much easier.

The very simple plant list includes:

Buxus sempervirens 'Elegantisima' Colocasia esculenta 'Black Magic' Chamaecyparis obtusa 'Nana Gracillis' Hydrangea arborecens 'Annabelle' Heuchera x 'Obsidian' Iberis sempervirens Lamium maculatum 'White Nancy' Odhiopogon planiscapus 'Ebony Knight'

Why I Write This.

Yesterday I recorded a podcast about blogging with landscape designers and bloggers Chris Heiler and Rochelle Greayer who writes the wonderful landscape design blog StudioG.

Image via stock.xchng

That discussion made me think again about why I write this blog. I don't follow the rules that most bloggers tell you to follow--I don't write for an audience. Yes, Miss R does fit into a larger grand plan, but it's not a commercial one. I write for me--Miss R is a way for me to quietly explore thoughts and ideas via the written word. I don't interact with others as I do on Twitter or Facebook or even via email--I just write about whatever I'm thinking about--or that interests me at the moment--but always as it relates to my life and work as a designer.

There is a long and varied tradition of artists and designers who write. I've always read artist's words in letters, journals, on canvases in or in books. I look at Miss R as a companion piece to the rest of my life as a designer--another form of expression. I'm honored that anyone wants to read what I write and that these words have value to others--but I'm not trying to create value or give advice. So, I'll continue to selfishly explore my own thoughts here, but I also want thank you for reading and secretly hope that you'll continue to do so.

Showhouse Season V, Issue 5--For the Birds

Many of the architectural details at the Sheep's Run showhouse depict birds, so of course I have to honor that. The birds on the grill work shown below are typical of these formal early twentieth century details. They have been restored for the showhouse--some are black wrought iron and some have been re-gilded.

Turkey Detail on balcony

Peacock Window Grill prior to restoration

As the design for the garden has been revised and has continued to evolve, I've become increasingly interested in juxtaposing rustic elements typical of a farm setting within the confines of a formal garden. Originally I wanted a small fountain as the secondary axial focal point, but since that was nixed, I had to explore other ideas. A bird bath--too small, a sun dial--too mundane, an armilary--not appropriate for the rustic quality I wanted for the details of the space.

I wanted a bird. So I turned to Steven Snyder, a stone sculptor from Bucks County whose work I have used and recommended to clients before. Steven very graciously offered to lend one of his sculptures. Although he creates many other things, I love Steven's birds. Shown below, the middle bird still in the studio, worked in terms of height and color, so it will be the new focal point.

Birds in Steven Snyder's studio

Showhouse Season V, Issue 4.1, The State of Things (con't)

Every designer showhouse I've been involved with suffers from the same malady--too little interdisciplinary/committee/designer cross communication. Yesterday, my entire day was dedicated to solving issues with my garden space that could have been a non-issue had all parties worked with each other from the onset. Let me explain...

As you can see from the site map in Issue 2 of this series, my garden space is tucked away between two adjacent exterior spaces and two corners of the building. I used the consulting landscape architect's site plan to create my original concept. I also checked the boundaries of the garden with his office as well as the appropriate committee members. No one told me that the boundaries of the large garden to the south and the large terrace to the east had changed from what was on the site plan.

Confused? So was I. Those perimeter boundaries were modified on two sides without my knowledge and last week when I videotaped the space it became apparent that what I had designed would not be able to be shoehorned into what was actually the space. ARGHH.

I try to be a team player when it comes to these things...but I am the only one being asked to completely revise my plan. It was obvious to me that the original design would have to be modified to work with the space's new proportions. I didn't radically alter the concept, but everything had to be on a different scale and slightly modified. The double axis would now dead end into the south garden's hedge so that definitely had to go. Paths had to be made narrower, garden areas smaller. I was able to make all but one of the spatial transitions work and I can't really spend any more time on the revision (read: I have paying work to do) so it will have to be resolved on site.

So here's the revised design (click on it to enlarge). It doesn't appear to be changed that much but everything is scaled differently. The good news is I'm going to use a fabulous Steven Snyder bird sculpture as a focal point. More on that next time...

The Power of 1

Three Dog Night was wrong, 1 is not a lonely number. From my perspective, the power of 1 is a place of professional and personal strength. For me it is impossible to separate life and work, they are so deeply interwoven into a seamless whole.

Often, artists and designers are accused of being self centered--we're not, not really. For some, like me, the solitary stance is necessary to be able to hear the ideas that flow through and around me. Professionally, like the sun king, I'm the center of my own creative life's universe. Mark Twain very aptly said, 'Life does not consist mainly, or even largely, of facts and happenings. It consists mainly of the storm of thought that is forever flowing through one's head." I choose to live my life in the middle of that storm and to use it to propel forward motion--for myself.

Sometimes I find myself unable (or unwilling?) to start a new project until it is visualized in my head. These broad ideas are the big picture that I work out in detail later. I never get it right the first time--that's where the designer's skill comes into play. If I don't get it right and I loose the thread of the idea I work on developing it so becomes something more richly detailed sophisticated than the big picture was. Drawing, for me, is like the sirens beckoning sailors to crash on the rocks, I draw to call back and develop ideas more fully than they are in the rocks of my mind's eye.

I do collaborate sometimes. I've worked with others who plod and work through ideas--I can do that, but it doesn't result in my best work. In the busy season, when I sometimes have studio assistants, when I'm hanging around the studio making myself busy with other things they think I'm procrastinating, doing nothing, wasting time, pacing aimlessly. They're not quiet enough, they don't understand the process, and they haven't learned to be their own centers yet.

Inspiration and Influence -TV & Technicolor

A few weeks ago in a post titled Inspiration and Experience I wrote about my viewpoint as a designer as a unique culmination of life's experiences. Writing that post has made me--probably temporarily--more acutely aware of what I look for my daily inspirational 'feed'. In other words, I have become more self-aware of what I look at, talk about, read, experience and absorb for future reference. I know this will fade into the background again, but it's winter, I'm inside a lot and have the time to reflect.

I am first and foremost a designer. My current design discipline is landscape design. I have in the past worked in others. I didn't come to landscape design from a desire to create gardens, but from a desire to design three dimensional living spaces that compelled human interaction and enhanced and respected the environment. Sure, I've been a lifelong gardener and find incredible beauty in plants, but that has never been the departure point for my inspiration.

So, what do I look and where do I go to fuel the creative fire? It's a daily feast of input that swings wildly between subjects--some of which I'm going to explore here and in future posts. I try not to question the process too much and always try and stay open and observant. I am a voracious reader and looker. Even a few seconds spent looking is absorbed in some way. Years ago as a fashion jewelry designer, I found visual inspiration while driving to my studio in Brooklyn in a pattern of diagonal wires on a construction site--those patterns became the basis of a series of pieces while the time spent looking at the original wires was as fast as I was driving by them.

Some of the constant influences have been images from television and old movies - black and white and technicolor. Not just those with fabulous fantasy landscape images in them-like the Wizard of Oz, but others that jog my visual sensibility in some way. Just yesterday I watched an old (and awful) Doris Day move - 'Move Over Darling'. In one scene Day was wearing an acid green ensemble and running up the stairs against a grey background. Add that to Michelle Obama's choice of an acid green Isabel Toledo outfit for the inaugural, and the choice of Hakonechloa macra 'Aureola' as the 2009 Perennial Plant of the year and pop goes the inspiration weasel.


Wow! Would I like to use that combo in a garden. In the movies it's retro, in a garden- modern, provocative and fresh.

Footprints

Several years ago on a garden tour, I found myself looking at what was on the ground plane rather than what was in the gardens. I started shooting photos of paths and patterns of what I saw for future reference and inspiration. I didn't always record where I took the photos, so I really can't tell you in some cases where the garden is, or whose garden it is. Below are a few that I do remember and have done my best to credit them appropriately. When I need inspiration, these images are some of what I look at--there's even one of mine in there.

Paving pattern: Chanticleer, PA

Paving pattern: Lotus Land, CA

Paving pattern: Private residence, NJ (my design)

Paving pattern: Greenwood Gardens, NJ

Paving pattern: Private residence, CA (designer: Nancy Goslee Powers)

Paving pattern: Greenwood Gardens, NJ

Paving pattern: Lotus Land, CA

Land Speak

At a client's holiday party at their farm, I met one of their neighbors. She asked me how I knew the host and hostess. When I told her that I was their landscape designer, she complemented me by saying how much she liked what I had done and asked if I would come and look at her place. This type of thing happens at a parties.

In further conversation, the subject came up about where I lived and worked. When I told her, she looked surprised and asked, "That's so suburban, how did you know what to do with this property?" My answer was, "I love the land. I listen to what my clients say, but I also listen to the land, it has stories to tell." She smiled and said, "I do too, I love my land. When I lived in the town next to yours for 20 years or so, I hated it, I couldn't see the sky." We made a date to meet in February.

Here are some photos of the ongoing project from the story above.

Showhouse Season V, Issue 2. The Design Process

All of the landscape design invitees for the 2009 showhouse were provided with a master plan which illustrated the homeowner's and the consulting landscape architect's very formal vision for the property.

There would be an addition to the east side of house to update the antiquated kitchen, create additional living space and add a garage. A new pool and pool house would also be added as well as a sheep barn, greenhouse and an apiary at the southwest corner. We were allowed to re-define the spaces if we chose for future approval. Below is my annotated copy of a later version of part of the master plan.


Some of the project constraints other than the two usual suspects--time and money--were and still are: the rampant deer who eat their way through the unfenced property and that some of the original garden features were to remain or be restored. I added to those caveats my own personal desire to source as much as possible from local nurseries and resources and to limit the amount of work that had to be done by machine for both logistical and sustainable reasons. Once those benchmarks were established, I decided to pursue several ideas within final conceptual design that was submitted to and ultimately accepted by the selection committee. Those ideas, as well as the conceptual plan are below.

Design Idea #1--Go with the Flow. I had the advantage of having done a previous project originally as a showhouse garden for the same owner which was kept as permanently. I knew she loved formality and the master plan clearly showed her input. If there were already 2 votes cast in the formal direction--why rock the boat, formal it would be.

Design Idea #2--Define the space the way I wanted it, excluding some of the peripheral areas. This would tighten up my ability to maximize views out of the house and would enable me to use strong axial relationships and bold geometric forms.

Design Idea #3--Design a space that would draw people into it and cause them to linger as well as creating elegant transitions to and from the adjacent spaces. One of my underlying garden philosophies has always been to make outdoor spaces for living as opposed to being just for viewing.

Design Idea #4--Limit the materials and utilize a very narrow deer resistant plant palette to simplify further. With simplicity the overarching traditional formality will look clean and modern rather than traditional and overworked.

Design Idea #5--Think about adding a water feature. People love water, the homeowner loves water, water makes people linger supporting Design Idea #3.

Design Idea #6--Try to use appropriate native plants without being a slave to that concept. Turf would be allowed since it is a large part of the master plan anyway. Offset the use of turf through of locally sourced pea gravel paths equaling (or close) the same square footage. That boat again.

Design Idea #7--Make the plan as easy as possible to implement since the participating contractors would be partially donating their time. April, the installation month, is the 2nd busiest month of the year.

Although it's a bit difficult to see. Here's the conceptual plan. The koi pond that is noted is a element from the master plan that is to be restored and not part of my garden space. Enlarge it to see the notes.

Showhouse Season V

This is the start of my 5th designer showhouse season. I am drawn to the charitable nature of these month long benefits, which often raise several million dollars for their charities. This one, Stately Homes by the Sea, benefits the VNA of Central NJ.

For me, participation has not been an annual occurrence, although I have done a showhouse garden each year for the last three years. I accept all invitations to view the property, but unless there's a space that immediately inspires me in some way, I don't accept. These gardens are an opportunity for me to experiment creatively without the constraints of a typical design brief. They are also an excellent opportunity for me to showcase ideas for potential clients in a realistic setting.

Last summer I was invited to preview the house and property that would be transformed by the following May. Typically these properties are vacant and in need of a face lift. As seen in the video below--one of several posted on YouTube, this particular property, 'Sheep's Run' in Rumson, NJ was in the throws of a complete overhaul.



Each designer was invited to compete for up to two spaces by submitting a a conceptual design and written proposal for each. I only wanted one--it's at the very start of the video with white pick-up truck parked in it. It's adjacent to a sun porch, a library and a very large terrace. It had beautiful views out from the house as well as being a somewhat independent space from the rest of the very formal master plan. I was awarded the space I wanted.

Here's some shots of the space as it was last September as well as a beautiful detail of one of the window grills. Since this will be an ongoing serial--this is also the end of the first installment. How's that for a cliffhanger?

Above: A view through the space to the gutted sun porch

Above: A view through the space from the sun porch showing the library windows

Above: A view through the space showing the oak that's on it's central axis in the distance
Below: One of the many bird themed details found throughout the property both inside & out

Inspiration and Experience

When I first started writing this blog, I was determined for it to be about three things: art, design and living a creative life. It's that last item that ties the first two together and has given me the freedom to explore all sorts of topics.

Often people ask me where I get my ideas from--what inspires my work. I believe that my inspiration comes from the sum of all of my individual experiences filtered through an instant. In other words, I am a funnel. The input area of my life is huge and the output is squeezed through the narrow viewpoint of any given moment. I reference and draw from hundreds of thousands of influences based on what I need to solve a specific design problem.

Because my aesthetic is based on the sum of my individual experiences it is unique to me. My perspective filters those that are shared and makes them exclusive. The solitary colors the mutual.

I hope that make sense. It does to me.

Design with Discipline, Plant with Abandon

I have always had a fondness for the clean lines of formalism. To my eye its geo-organization looks contemporary and fresh. I know there are a many designers who would rather die than design something with a formally organized space--they think it's rigid, unnatural and outdated. Worst of all, they think it's easy--just make a geometric shape, fill it with some flowers, and presto, it's a formal garden. That way of thinking gives these highly considered garden spaces a bad rap.

Clean lines and unexpected formalism out side of the education building
at the New York Botanical Garden

Formal gardens can be current, relevant and engaging. There are two schools of thought on traditional formality. One is an adherence to a classical garden style updated with a scale suitable to today's architecture and lower maitenance requirements and the other juxtaposes the reverse formalism of today's naturalistic planting style with formal structure to create something altogether different. Parterres can be filled with blowzy perennials which soften the hard lines of these gardens.

The second idea will be demonstrated in the design plan to the left. This garden will be installed as part of the VNA showhouse at Sheep's Run in Rumson, NJ in spring 2009, and has been developed as part of a much larger formal estate plan. This small niche garden will be viewed from a screen porch on the short side, a library and an expansive terrace on the long side. The other two sides open to adjacent the landscape. The axial pathways, circular resting places and focal points are extremely formal and geometric. The four enclosed evergreen parterres will be planted with very loosely structured perennials or annuals.

This type of garden doesn't work for every site, nor does it work for every garden owner. Depending on the plants used, formal gardens can be sustainable. For example, I have used low growing native evergreen grasses and other plants with a compact growth habits as a substitute for the ubiquitous clipped hedging plant. With careful planning, the maintenance of the geometric structure becomes less cumbersome, the garden's need for water can be significantly lowered, and native plants can be incorporated.

Following the same design idea, below is a different plan for an entry to a classic residence in Short Hills, NJ. The owner wanted something that would work with the traditional lines of the home yet echo her inclination to blend contemporary ideas within the traditional framework. The garden also had to be appropriate for a very conservative neighborhood.

The resulting garden (sorry no good pix yet) is deceptively simple. Rectilinear boxwood groups are staggered to provide planting pockets for naturalistic perennials. These informal cottage style perennials are planted in complete symmetry on either side of the entrance underscoring the geometry of the design. The Pennstemon digitalis 'Husker Red', Lirope muscari 'Pee dee Ingot', Veronica spicata 'Sunny Border Blue' and Alchemilla mollis are usually associated with more informal gardens and they worked to meld the two styles together.

This isn't to say that a more controlled formal style isn't also clean and modern. The photo to the right shows an extremely classical entry. The architecture and details are remarkably similar to the residence in the project above and both gardens have different takes on formality. The photo was graciously provided by Chris Heiler at Fountainhead Gardens in Michigan.

Kitsch and Pop Culture in the Garden

Manohla Dargis' review of Baz Luhrmann's 'Australia' in the 11/26 issue of The New York Times has got me thinking.

In her discussion of the director's style, she contrasted his work with "art world jesters like Jeff Koons and Takashi Murakami, who have appropriated kitsch as a (more or less) legitimate postmodern strategy."

All of the artists mentioned by Ms. Dargis have achieved mainstream success yet, when the same postmodern aesthetic is applied to residential landscape design it is considered a tacky crime against nature. Here, in the northeast, where I work, much of the collective American garden memory is imbued in our colonial cultural orientation. The most common landscape design references are the European models of the previous centuries. Of course there are exceptions, but they are just that.

The idea of a postmodernism's free association and appropriation of ideas/images/icons doesn’t seem to sit well with when it comes to our own backyards. As landscape designers we appropriate ideas and vignettes and combine them all of the time--we just don’t do it with everyday elements of garden kitsch. Even mainstream advertising has embraced the most enduring of the garden’s pop culture icons. Travelocity has successfully used the garden gnome as an authority on world travel—although that concept was used before them in the film Amélie. That a garden gnome is an authority on the exploring the natural wonders of the world is surely, for us, a landscape design paradox.

Now I’m not proposing that every garden has a wishing well, a donkey planter and gnome, but I find it fascinating that we are willing to accept these images in other forms but not in our own. Is it because we are so very serious? Maybe it’s time to lighten up a bit. Maybe our own backyards should help us smile.