Garden Design Magazine USA January_February 2012 HQ(BBS)

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Building the Perfect Greenhouse page 26



< ~WorldMaii~

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Departments

6View Turning overthe globe for novel

garden inspiration.By Norman Vanamee

8Fresh An aerial takeon plant display;options for shapelyseats; recycled out-door fabrics; vases asart pieces; a Turkishcase for green space; a

garden- rich getawaysprouts in the Neth-erlands; a living artinstallation finds rootsin New York City.

2 2GrowThe wide,multifarious

world ofbromeliads.By Susan Heeger

26ElementInnovative

greenhouses from Paristo Pittsburgh.By Rachel Swaby

3 0Style Globalflair meets

Nordic comfort in aDanish backyard.By Katie Mendelson

70Notebook

Anew sourceof garden inspiration;handcrafted clay potsworth bringing home;rocks reimagined.

80Muse Awinteryperspective on

the Brooklyn BotanicGarden. Photograph by

Jan Baracz

Cover: The Croatian home of

Lucien Rees Rober ts and

Steven Harris. Photography

by Scott Frances.

Features

3 2Sea and Stone

Between sea viewsand stone walls, aCroatian garden takesshape. By Lise Funderburg

42AMasterpiecein the Making

Creative forces combineto form a tropical paradise

on the Caribbean island ofNevis.By Paul O'Donnell

5 2Fromthe Roots

ExplormgaMexican botanical gardenofhistoric proportions.By JejJSpurrier

62Northern Star

Beyond the blondwood: A look at Sweden'scolorful, nature-lovingstyle. By Stephen Whitlock

622· January/February Sul S. - GARDENDESIGN.COM



< ~WorldMaii~

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GARDENDESIGN

EDITOR-TN-CHIEF

Norman Vanamee

STYLE DIRECTOR

Lindsey Taylor

ASSISTANT EDITOR

Katie Mendelson

COPY EDITOR

Rachel Swift

RESEARCH

Rebecca Geiger, Katrine Wilmot

EDITOR EMERITUS

Bill Marken

EDITORS-AT-LARGE

Lise Funderburg , David K. Gibson

CREATIVE DIRECTOR

Dave Weaver

ART DIRECTOR

Eric Powell

DIRECTOR OF PHOTOGRAPHY

Larry Nighswander

PHOTOGRAPHY EDITORChelsea Lobser

ASSISTANT PHOTOGRAPHY EDITOR

Mildred Mattos

WEBSITE EDITOR

Claire Lui

CONTRIBUTING EDITORS

Charles Bi rnbaum, Becca Bergman Bul l, DamaColhoun, Davis Dalbok, Tamasin Day- Lewis, J

Dewees, Joanna Fortnam, Flora Grubb, LaurenGrymes, Louisa Jones, Judy Kameon, Tovah M

Debra Prinzing, Margie Ruddick, Dennis Schra

Emily Young

GROUP PRODUCTION DIRECTOR

Jeff Cassell

PRODUCTION MANAGER

Courtney Janka

DESIGN SERVICES DIRECTOR

Suzanne Oberholtzer

GRAPHIC DESIGNERS

Julia Arana , Nick Drumb, Sommer Ha tfield Co

Wil ly Frei, Shannon Mendis

For editorial correspondence:

[email protected]

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< ~WorldMaii~

VIEW

Gardens and TravelS ix d eg re es o f T uile rie s o n a tr ip to P aris

In Paris earlier this year, I

stood in the Jardin des

Tuileries, the park in front of

the Louvre that was built on the

site ofa garden commissioned

byCatherine deMedici in the

1500s.1t was August, and the

longwhite paths were full of

copying specific layouts or features and m

about spurring ideas that will compleme

rather than impose ideas upon, a landsca

With that in mind, we at Garden Design

always searching the globe for places that o

new inspiration. Wefound one for this issu

Mexico at the Jardin Etnobotanico deOax

where founding director Alejandro deAvi

and a team ofartists, gardeners, and traditio

healers created a garden where plants tell

story of the region. We found another in C

atia at the vacation home ofinterior desigLucien Rees Roberts and his partner, archi

Steven Harris, who transformed a compou

of ancient stone buildings into a welcom

retreat by staying true to the rugged Adri

landscape. We found one in the Caribbe

where artists Brice and Helen Marden (she

new to the world of gardening) worked w

landscape architect Raymond Jungles to cr

a beguiling and completely original landsc

at their hotel on Nevis.Andwe found anot

in Sweden, where the natural world and

country's brief but lovely summer influen

all manner of interior and exterior desi

Back in Paris, it occurred to me where

seen a design like Tuileries' before: pre

much everywhere. Tuileries, and the gard

itwas based on, have been used for inspirat

byarchitects and gardeners the world over

ted and reinterpreted in a thousand differ

wayswith amillion different plants, transla

into dozens of languages,

- Norman Vanamee, Editor-in-C

tourists and locals admiring ornate statues,

intricate plantings, graceful fountains, and,

of course, each other. I hadn't spent much

time there, but as I walked around, I had the

strangest feeling that I'd seen it all before: the

grounds ofsome national monument, perhaps,

or some grand hotel? AMerchant Ivory film?

Practically the moment the first settlers

arrived inAmerica they began planning trips

back to Europe, often with the express pur-

pose of collecting ideas for transforming the

wilderness into stately homes and landscapes.

Thomas Jefferson famously found inspira-

tion for Monticello during his years in France;

a century later, Edith Wharton reported backto a new generation ofAmericans about Italian

villasand their gardens. These voyages ofredis-

coveryinfluenced everything from the design of

public spaces tohow people planted their front

yards. They alsohelped establish an identity for

the young country and left an indelible mark

on the collective vocabulary ofexterior design.

In contrast to other creative endeavors -

poetry, say,or software programming - there

hasn't been much anxiety of influence in the

practice ofoutdoor design. Landscape archi-

tects have been referencing each other's work

since longbefore aterm for the profession wascoined. Generally, this give and take has been

a good thing - on a practical level, it's use-

ful to see how other people tackle universal

challenges, such aswhere to put the comfort-

able seats and how to hide the drainage pipes.

And on a cultural level, it's illuminating to

observe what builders choose to emphasize.

Traveling for inspiration is still a big part Claude Monet's Viewof the Tuileries Garde

f garden design, but today it's less about Paris, 1876.

6·January/February Strlz » GARDENDESIGN.COM



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8· January/February Strlz » GARDENDESIGN.COM



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\ ? ; WorldMagsFresh

Shapely SeatsWith backyards in mind, furniture designers throw us some curves

Beloua Constructed

from ash, a wood

known for being

both strong and

lightweight, this half-

upright seat from thenewly founded French

company Concept

Suspendu combines

hammock and chair

in a creation that

can't help but inspire

whimsy and leisure.

It's the perfect womb

for an afternoon nap.

conceptsuspendu.fr

SALT Bench Part of a

new linefrom Georgia-

based importer

Upcountry Gardens,this retro beauty is

namedfor its ability

to withstand seaside

weather conditions.

The seat , made ofresin

webbing woven on

an aluminum frame,

recalls rattan designs

from the 1950s.

upcountryhome.com

W_Ol Marco Sousa

Santos of Branca

Lisboa designed this

curvaceous plywood

seat, its ergonomic

structure at once

reminiscent of a

nautilus, a cocoon,and a set of ribs.

branca-lisboa.com

10·January/February zolt:- GARDENDESIGN.COM

FabFabricSunbrella fabric, i

duced in 1961as a

awning alternative

cotton canvas, is p

cated on sustainab

= lasting decades

sunny porches rat

than rotting, pre-maturely faded an

tattered, in landfil

But recognizing th

durability can be q

the opposite ofcom

postability, Sunbre

manufacturer Gle

Raven recently ga

fabric an even ligh

footprint. The Sun

Renaissance Herit

line is an upholster

fabric made from

cent recycled scra

fibers gleaned from

company's factorie

cutting tables. Ver

tile enough for ind

or outdoor use, its

colors have a textu

homespun look an

comparable in pri

other similar prod

in the Sunbrella c

GinaWicker, the d

and creative direc

ofGlen Raven, say

Heritage line is un

in outdoor fabrics

represents the cul

nation ofyears of

for the company. "

was a big step for u

says, "and it's one

are very proud totaken." If the look

the ethos appeal b

already own plenty

Sunbrella, there's

friendly way to up

The company runs

recycling service,

ing old fabric into

insulation, and -

times - stylish ne

fabric creations.

- Becca Bergman



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Towering AchievementG RAN DOL D B U IL DIN G S - particularly sturdy brick ones that out- - past beds ofgorgeous flowering perennials, fan-trained fruit tre

lived the industries that built them - are repurposed with some and orderly rows ofvegetables - to reach the restaurant. In the

regularity. Butfind alate-19th-centurywater tower sitting onnearly mer pump building, guests sit on aterrace overlooking some of

four acres of open land and you have the ingredients for something evening's ingredients. Though the plot doesn't produce enough

truly exceptional. In Dordrecht, 15miles southwest ofRotterdam feed every mouth in the restaurant, it serves asan inspiration to

in the Netherlands, that is just what Daan van der Have and his cooks and keeps them in touch with the seasons.

partners, Dorine deVos and Hans Loos, created. Villa Augustus,

their six-story folly ofa tower, opened in 2007 as a funky 37-roomhotel. The space formerly occupied byfour massive filtration basins

became a formally laid-out organic garden that mixes color and

form, flora, and fodder with stylish abandon.

"Wethought how nice it would be to be sleeping and eating in a

In contrast to the main garden, the north side of the tower

coolly formal Italianate box parterre, which leads to a dock onDordrecht waterways; a shrubbery and orchard join the two m

gardens. "We like the combination ofchaos and order; it puts yo

very different worlds but still they connect to eachother," saysvan

Have. "It should bebeautiful to lookat, should smell nice, and sho

garden," saysvan der Have. Indeed, the

garden is very much at the heart of the

hotel, both spiritually and physically.

Several ofthe rooms open directly on

to it, and guests walk along gravel paths

THE ORGANIC GARDEN isvery much at the HEART OF THEHOTEL, both SPIRITUALLYand PHYSICALLY.

also be surprising." From the mom

guests enter the grounds through a d

in a salvaged brick-and-stone gard

wall, VillaAugustus offersonewonde

surprise after another. - Caroline Don

12· January/February StrlS » GARDENDESIGN.COM





WINTER'STALEIN WINTER, my garden glo

Myhusband, Ron, and I liveo

33-acre ranch calledCircleOaeast Petaluma, California. Iro

cally, it was upon retireme

- when I had far more time

garden - that I became im

tient with the amount ofw

involved in maintaining

mostly perennial garde

disliked the lack ofstruct

that perennials engender

and hated that the garden vi

allyshut down inwinter. I deci

to select at least half ofmypla

for fallandwinter appeal. I ha

previously delved into woo

plants and conifers, having b

distracted forso longbythe pr

faces of the flowering perenni

Now, I felt, I am ready for m

mature relationships.

Thesedays,the garden isa

lectionofrare andunusual pla

showcased against some wo

horses such as Arctostaphyl

'Emerald Carpet' and Rhamn

californica 'Mound San Bru

Some ofthe plants that lookb

in winter's light include Cup

sus macro carpa 'Citriodora'

Thuja plicata 'Sunshine.' Lu

apiculata and Rhamnus 'F

Line' produce gorgeous w

ter fruit. There are even pla

whose most dramatic sta

ments are made bytheir brilli

red trunks and stems, like A

palmatum 'Sango Kaku' andD

mys lanceolata. To me, win

interest is about structure, f

age, bracts, stems, and flow

not just a selection ofevergreplants. My longtime friend

professional photographer

LeCocq and I are in the proc

of starting a blog called Fo

and Foliage (formandfoliag

.net). There is a sorry dearth

attention paid to gardens inw

ter, and we aim to change th

- Sara Malone as told to B.B



C rea te the U ltim ate Outdoor Spacein D ays Vs. W eeks ...

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Spiritual VesselsIN THE (SLED) DOG DAYS ofwin-

ter , when snow blankets the earth

and there's not a bit of bloom to befound in the out-of-doors, we bring

growing life inside in the form of

fresh flowers, giving a jolt of color

and vitality to our lives. Most of the

time, however, the vessels that hold

those blooms are static and lifeless

- and, let's face it, boring - sub-

tracting from the cheer the blossoms

provide. But recently, a new crop of

vases that celebrate the life they

contain emerged, all designed

by well-known artists or archi-

tects. For Helen Vaughan, a SouthAfrican ceramicist and textile artist,

the natural world has long served as

the muse for her curvaceous pieces.

"Nature isan endless source ofinspi-

ration, to be revisited time and time

again," she says. "Treasures of the

windswept coast and offerings of our fertile soil are celebrated and reincarnated into desi

for clay, cloth, paper, and metal." Her latest collection, a series of black-and-white ho

glass-shape vessels, was influenced "bythe sensuality of fruits, pods, and eggs, as symbol

fertile earth," she says. Similarly, starkly beautiful sculptural vases bybold-faced names

Carlo Scarpa, Stephan .Iaklitsch, and Thaddeus Wolfe complement brightly colored flora

recall natural forms. Varied in shape (and price point), these black-and-white pieces, thou

modern, embrace the natural as a reminder of the life that lies ahead. - Katie Mendels

More VasesWeLove

Terrain Vase Architect

Stephan Jaklitsch's

first foray intoproduct

design is this interlock-

ing vessel. Craftedfrom

biodegradable plastic

and inspired bypuzzles

and organic landscapes,

it's a vase byway of

a Rubik's cube. ($48;

mornastore.org)

Black Assemblage Part

ofa series that utilizes

special glass-mold-

blowing techniques

developed by artist

Thaddeus Wolfe,

this modern vase is

one-of-a-kind. ($1,200;

matterrnatters.corn)

Venini Punti This

studded vintage piece

was designed by well-

known architect Carlo

Scarpa andfashioned

using the traditional

Murrine method of

refining glass. ($3,120;

mossonline.com) J

16·January/February StrlS » GARDENDESIGN.COM



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\?;WorldMags e ACADEMY ofART UNIVERSI

A NOT-SO-STILLLIFE EXHIBITARTIST AND GARDEN DESIGNER Paula Hayes'

most recent exhibit, "Land Mind," doesn't

exist in the sterile white space of a typical gal-

lery. Instead, the lobby of New York's Lever

House is carpeted with lush palms, ginger,

and ferns. An enormous, biomorphic aquar-

ium hums and gurgles (like "your mother's

womb," says Hayes), and bright saltwater fish

glide through coral reefs. The only gallery-

typical white wall is softened by a massive

mounted cocoon, which provides a home for

succulents. More than simply connecting peo-

ple with nature, Hayes conveys the attention

and care that goes into the maintenance of

the exhibit's flora and fauna - the machin-

ery maintaining the aquarium's ecosystem

lies in public view, and regular

plant watering and fish feeding

ensures the survival of the liv-

ing art. The caretaking required

stresses Hayes' belief in the

need for a more interrelated

relationship between peopleand the environment. Unlike

other forms of art, Hayes says:

"It cannot be totally possessed,

but it can be cared, loved, and

learned from. As a species,

we need to learn how to give

back and cooperate." - K.M.

Inset: Slug contains more

than 15feet ofsucculents.

Left: Paula Hayes, who

designs gardens in addition

toexquisite, intricate ter-

rariums and living air plant

necklaces, has long been

fascinated by the intersec-

tion between the man-made

and natural worlds. Rizzoli

will publish a monograph

of her work inApril 2012.

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\ ? ; WorldMags

THROUGH A TUNNEL of bowed mimo-

sas, Turkish garden historian and designer

Gursan Ergilpoints to atiny smudge intheSeaof

Marmara. "That's where Ottoman ministers

were hanged after the 1961 coup," he says.

Ergil is leading me around Buyukada, one of

the Princes' Islands off the coast ofIstanbul,

and he's not afraid ofsprinkling in the (occa-

sionally gruesome) anecdote.

Itwas here on this stuck-in -time Shangri -La

- where horse-drawn carriages and bikes

are the only modes of transport - his love of

gardens was born. "In my grandmother's gar-

den, we had big lunches under the shade of a

monumental fig, and my cousin and I would

sneak out to spend whole nights under it," he

recalls. Last summer, Ergil initiated tours ofthe islands' historic villas and their secreted

gardens; he iswriting a "half-touristic, half-

academic" book about them - a couplet of

unprecedented, awareness- raising endeavors.

With the serenity of a metronome and an

artist's penchant for abstraction, Ergil is an

unlikely activist. But after six years studying

at Harvard's Arnold Arboretum, he returned

to Istanbul alarmed at a construction boom

that left each citizen an average ofone square

yard of greenery. That grim statistic inspired

him to present "mobile gardens" - portable

green spaces carried like abackpack or pulled

by a flatbed - at last year's Istanbul Design

Week. Though seemingly tongue-in-cheek,

GiirsanErgil'sfurniture designs use reclaimed

materials, in a benchfrom old vats (top) and a

birdhousefrom ammunition boxes (center left).

Sculpture, like this 16th-century tomb post

(center right) orfrom modern Turkish sculptor

Mehmet Aksoy (bottom), plays a role inErgil's

landscape design.

Fresh



these "extreme solutions" not

only shed light on a current urban

dilemma but echo a 16th-century

Ottoman footnote: During spe-

cial celebrations (say, a prince's

circumcision) gardeners would

parade flowery plots on wheeled

carts before the young royal. "I

am trying to develop a contempo-

rary, sustainable Turkish garden

style inspired by traditional gar-

den culture," says Ergil. While he

calls himself a "pioneer" in this

respect, he admits he has "a long

way to go to achieve this goal."

Meanwhile, at his design

studio, Ergil isbusy crafting hand-some furniture from reclaimed

wood ("Turkish gardens are

meant to be lived in, not looked at," he states,

repeatedly) and planning sustainable gar-

dens for clients that include posh residences

along the Bosphorus and the skyscrapers forg-

ing the city's new modern silhouette. "Garden

design here is waking up from 50 years of

sleep," he says. "It is a baby in the crawling

stage. But people are starting to think about

reintroducing nature in their lives, and I am

doing my best to help." - Victoria de Silverio

As artist, architect,

and advocate,

garden designer

Ergil encourages

Turks to revisit their

nature-centered his-

tory, even asgreen

spacesfallprey to

modernization.

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22· January/February zutz » GARDENDESIGN.COM



Grow

David Shiigi, owner of Bro-

meliads Hawaii in Hilo, Hawaii,

says the key to bromeliads' happi-

ness is "less care but better care."

In other words: Don't fuss, just

know your plant.

Well-regarded around the

world for his hybrids, Shiigi first

became familiar with bromeliads

in 1975when he was studying art

at the University of Hawaii. One

day, on a visit to a nursery on

the BigIsland, he spied an unfa-

miliar plant. "It had beautiful

symmetry with amazing col-

ors and patterns," he says. That

night, Shiigi looked up the plant

and discovered its relation to the

pineapple. "At the time, because

ofpineapples, Hawaii was one big

bromeliad nursery," says Shiigi.

Although much of the grow-

ing has since shifted to regions

with lower labor costs, such as

Thailand and Brazil, the pine-

apple business was so crucial to

Hawaii's economy then that bro-

meliad imports were restricted

for fear of introducing pests.

Limited access, of course, made

Shiigi want them even more.

He ordered seeds from Brazil

and sought out Hawaiian brome-liad growers for seedling starts.

A year later, he began hybridiz-

ing his own, focusing on vriesea

and neoregelia with dramatically

patterned leaves and eventu-

ally moving on to guzmania and

dyckia too. He has developed

some 500 striking crosses since,

and more than 100 are now in

the nursery trade. When he's not

home tending to his plants, Shi-

igi travels to places like Australia

and Japan talking them up tofel-

low obsessives. When he's home,

he walks through his greenhouse

at the end of each day and often

serenades his many bromeliads

with a Hawaiian slack-key guitar.

SUSAN HEEGER'S most recent

story for Garden Design was ' : A _

WorldApart," April 2011.

Firstpage: Vriesea

'Princess Annique,'

named for David

Shiigi's granddaugh-

ter, is a violet-pink,

striped hybrid that

grows up to 24inches

tall. Vriesea like dif-fuse light, circulatingair, and frequent mist-

ings with purifiedwater. (1) Neoregelia

'Painted Delight ' is

one of the easier foli-

age brorneliads and

gets about a foot wide

andjust astal l. Give

it bright light, water

only when it's dry, andifit 's potted, rotate

it regularly to main-

tain the splashy colors.

(2) Vriesea 'Snows ofMauna Kea' is unusu-

ally white with green

undertones. A collec-tor's plant that has

yet to go commercial,it's also impressively

large, reaching 22 to

26 inches across and

28 inches high. Keep it ,

and allvriesea, out of

ful l sun, and never let

them sit in water.(3) Neoregelia

'Donna' adapts well

to lower light indoors,unlike some neorege-

lia, and even to air

conditioning. Outside,

give it bright, filtered

light. (4) Vriesea

'Hawaiian Rainbow'grows up to 3 feettal l. I t's a new Shi-

igi hybrid that maybe ordered from his

nursery. [See Source-

book, page 72.] Shiigi

labored for years to

develop the distinc-

tive coloring and shiny,

almost glowing foliage.(5) Vriesea 'Hawai-

ian Punch,' like all

vriesea and neorege-

lia, can be attached

with plastic-coated

wire to trees or other

supports and grown as

air plants. (6) Dyckia

'Bri ttle Star' does well

in ful l sun and, when

potted, l ikes water at

least twice a week if

outside in summerheat (once aweek if in

the ground) and once

a week inside. Itneeds

less care ifplanted in

garden beds in areas

with mild winters.



BromeStart wit

potting s

add perli

drainage.

growing

ads outsi

possible

only in f

climates)

in free-d

sandy so

soil ame

2 inches

compost.

when the

light orw

soil feels

down. M

with pur

every oth

so, espec

dry envir

and top u

of tank t

quentIywGiveind

bright, f

and circu

(from op

or a fan).

doors, sh

from ful

can mov

meliads

the summ

mating t

several w

shade be

ing them

light. Go

food, par

with hot

neoregelmight fa

much nit

dose ofb

purpose

a 20-20-2

diluted t

strength

watered

on leave

annually

Avoid co

insecticid

containin

metals)

petroleum

oils. Toc

like mos

which cabromelia

choose a

alternativ

pyrethrum

ads are m

so you ca

offsets g

the base,

for a few

repot to

crowd.



< ~WorldMaii~

ELEMENT

Best inGlassBY RACHEL SWABY

The g re en ho use m ak es a c omeb ac k in som e s urp risin g p la ce s

IF THERE IS AN archetype ofagreenhouse,

it is surely Joseph Paxton's masterwork.

Built to house the 1851Great Exhibitionin London, the famous Crystal Palace cov-

ered 19acres ofthe city,making it the largest

greenhouse ever built. Though the building

was primarily an exhibit space, Paxton was

a gardener before he was an architect and

developed his technologies to keep exotic

plants alive through British winters. His

innovation of prefabricated wrought iron

hung with plate glass (the Crystal Palace

used 293,655 panes - one-third ofthe glass

produced in England that year) dominated

greenhouse design for a century.

Today, architects, artists, and design

firms have reimagined these indoors-in-the-

outdoors spaces, creating innovative struc-

tures through a smart use ofmaterials and a

creative approach to available space. While

wide-open yards with ample sunlight are

ideal, they're not always part of a garden-

er's reality, so thoughtful engineering has

brought modern structures to rooftops, rock

faces, and urban environments.

Ifyou havejust a fewsun-drenched square

feet - in ayard, on an exterior wall, or on a

roof - you have space for your own botani-

cal paradise. In Japan, ONDesign Partnerscreated a set of small stacked iron-and-glass

cases in 2010 for an urban farm in central

Tokyo'stightly packedRoppongi district. The

food that grows inside makes its way to the

restaurant next door.AndwhenAmaury Gal-

lon of Jardins de Babylone teamed up with

the Flower Council ofHolland, he designed

four pop-up gardens to be sprinkled through-

out Paris. For the three-day installation, he

created a series oftranslucent plastic domes

that were easy to assemble and take down.

The largest of the series was a 430-square-

foot enclosure in the Place Colette filledwith

orchids. He's since gotten requests for tem-

porary bubble gardens in the United States

and London.

The versatility of plastic and its high

strength-to-weight ratio make it a favor-

ite oftoday's designers, and it's typically a

better insulator than glass - even double-

paned, sheet glass has a tiny fraction of the

insulating value of a material like polycar-

bonate. But for durability, longevity, and

In a crowded Japanese

cityscape, glass boxes by

ON Design Partners are

stacked like the urban

towers that surround

them. Inside, discrete

plantings provide a con-

nection tonature and

On the Genoa, Italy

waterfront, archite

Renzo Piano constr

"Bolla" - off icially

Genoa G8 Dome -

sphere that seems

in the harbor. Insid

red ibis graze amon

orchids, tropical gr

ery, andflowing str

fresh veqetablesfor

nearby restaurants.

26· Januory/Februory Strlg » GARDENDESIGN.COM



Greenhouses not only

create growing spaces

for gardens but for gar-

deners, blurring lines

between indoors and out-

doors, as in this whimsical

inversion by Phillippa

Probert at the Royal Hor-

ticultural Society Tatton

Park Flower Show.

GARDENDESIGN.COM • January/February zol z » 27

ClearDirNewmateria

vative design

about anyona room full o

ics at their d

there are ba

for creating

greenhouse.

architect wi

orchids and

be an invalu

ofwisdom. S

Greenhouses

eight hours

day, all year

at least one

points south

west and eas

with some c

neering. Ob

Remember t

and building

horizon cast

shadows in t

when the su

Ventilation:

15to 20 perc

rior surface

be vented. C

bemanual, a

miraculous

sensitive ma

expand in he

panels). Poo

creates a ho

sive and plan

problems, so

expert. Heat

erate to cold

you'll need a

small electri

Materials:

Most plastic

plastic is the

lator, and pl

need the vie

light worksju

them. Seatin

have the roo

a place for y

well as your

Prefabricated

greenhouse

that debuted

Crystal Palac

for stylish de

as this roofto

BC Greenhou

ers, putting

garden in rea

with a source



Getting GreenClearly, a greenhouse

would make your gar-

dening life complete

- at least through the

next frigid winter - but

ifyou'd like to know

exactly what you're get-ting into before you

start pouring concrete,

look to the following

companies. In addition

to custom greenhouses,

U.K.-based manufac-

turer Hartley Botanic

(hartley-botanic.co.uk)

sells a variety of struc-

tures in styles ranging

from grand Victorian

to the compact patio

model, ideal for urban

dwellers with limited

space. Though installa-

tion is an option,

BCGreenhouse

Builders (bcgreenhouses. com) offers

DIY greenhouse kits

available in both

free-standing and

home-attached form.

For those unsure of

their carpentry skills,

the kits arrive with

written instructions

and a how-to DVD.

The finished products

are made to with-

stand 30pounds of

snow per square foot

and 80-mile-per-hour

winds. Tanglewood

Conservatories (tangle

woodconservatories

.com) designs bespoke

greenhouses; it has

crafted old-world con-

servatories made to fit

trees more than 20 feet

tall aswell as modern,

geometric structures

of cedar, glass, and

stone. Private Garden

Greenhouse Systems

(private-garden.corn)

partners with

Alitex, awell-respected

English greenhouse

manufacturer, to bring

the overseas compa-

ny's designs to the

United States, includ-

ing aline endorsed by

the National Trust.

Amdega (amdega

.co.uk) builds green-

houses in the tradition

of the classic orangery

- a glass building where

citrus trees are brought

to overwinter - inboth

iconic Victorian and

contemporary models.

~worldM.gs

28· Januory/Februory Strlg » GARDENDESIGN.COM



~WorldMags

In aweather- and

sunlight-challenged

courtyard in Sweden,

a strikingly modern

greenhouse by Gora

Art &Landscape

offers a tropical oasis.

clarity, tempered glass ishard to beat, and the

technology continues to advance. New low-

emissivity glass,developed in the last decade,

is better at trapping thermal energy while

still allowing enough light for plant growth.

Even standard glass can be strengthened

with coatings and made into a better insula-

tor with layering.

Laminated glass is the star of a green-

house built in awindy and shaded space by

the sea in Malmo, Sweden. Monika Gora of

GoraArt &Landscape created an airy struc-

ture - inspired, she says, by the Crystal

Palace - for residents of a retirement com-

munity. In a narrow and dark courtyard, her

glass-and-steel arch provides enough light

for the palms, magnolias, and lemon trees

inside while also blocking the strong wind

from the courtyard behind it. "They wanted

to make something spectacular because

there are a lot of people passing by," says

Gora. "They wanted to show off a little."

In environments where densely packed

buildings have squeezed out backyards, roofs

have stepped up as a place for plants. When

Pittsburgh's Studio d'ARCarchitects were

asked to replace a dilapidated 1970s green-

house built atop a downtown Victorian, they

created a saw-toothed top to maximize solar

gain. "Thewindows on the side are like little

gills,"says Gerard Damiani, president of the

firm. "Open them on ahot summer dayand airwillrush out." Inorder tokeep the spacewarm

during the cooler months, Studio d'ARCput

glass where it would max-

imize sun and topped the

roomwith super insulated

zinc panels. An energy

recovery ventilator pipes

the sun-warmed air down

to the two apartments

below,pulling fragrant air

"THOUGHTFUL engineering hasbrought modern STRUCTURESTO ROOFTOPS, rock faces,and URBAN ENVIRONMENTS."

from, say,rosemary in the edible garden into

the living spaces. The result is a green and

modern space for both plants and people.

Greenhouses can bemore than ameans to

grow fresh produce, protect sensitive plants,

and get a head start on spring. They also

allow an avid gardener to cultivate a per-

sonal paradise year-round, no matter what

the local hardiness zone.

RACHEL SWABY is ajreelance writer inSan

Francisco. She does not yet own a greenhouse.

rENNETH LYNCH &

CRAFTSMEN OF PINE GA.RDEN OR

FLORENTINEC R AFT S M ~

A KINNltH LVNCH " SONS COM'

Your premier source for orname

and cast stone statuary and foun

products are made in the Unit

to your specifications. Choose

traditional garden elements

your garden design. View our w

an overview of our products or

for our full catalog.

Kenneth Lynch & Son

114 Willenbrock Road, Oxford,

203-264-2831 • Fax: 203-264

Catalog Requests:

[email protected]

www.klynchandsons.c


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http://www.klynchandsons.com/




~WorldM.gs

- STYLE

Seating Plan -, A g lc ib al a es th etic b rin gs a c as ua l e le ga nc e to in do or -o utd oo r liv in gBY KATIE MENDELSON

PENMARK'S LARS WIBERG - owner ofclothing

. boutique Pourquoi in Copenhagen and awholesale

apparel company, The Little Showroom - made

a name for himself in the fashion world with his

glamorous, globally influenced style. A peek into

his home and garden, just outside the city in the

waterside suburb of Hellerup, demonstrates that

his eye for design spills over into his domestic life.

Wiberg specifically dedicated an area ofhis garden

to the pleasure oflounging, and the space - awell-edit,d yet casual seating and dining area - isno less

stylish than any of his sartorial endeavors. He cre-

ated a deep, made-for-stretching-out daybed from

brick and plaster and covered it with layers of nat-

ural linens and pillows from the home line of the

Danish company Day Birger et Mikkelsen. Wiberg

was heavily influenced by his love of travel and

describes the style of his alfresco entertainin

area as "Nordic with a twist of Morocco, Ind

and Bali" - an aesthetic clearly evinced in

choice of intricate pillows and textiles that

a splash of color and texture to the daybed.

plants gracing the surface of his dining table g

a nod to his effortless intermingling of indoor

outdoor style. Yet, in spite of the carefully cu

vated, garden-chic vignette he created, ther

nothing overly calculated or buttoned-up abthe place where Wiberg and his family relax

soak up the summer light. The ease and lig

ness with which Wiberg approaches outdo

decor is embodied in his habit of repainting

brick wall a different color every two years. No

ing's static or permanent, this space seems

suggest, and it's best not to take it too serious



1 2

5 6

7 8

Get This Look

Lars Wiberg created a chic and cozy vigne

ing accessories and touches that suit hisaesthetic. 1. Savannah Side Chair: Ba

weatherproof high-back chairs are sty

to grace any indoor dining table. ($549

2. Sunbrel laFloor Cushion: Lounging in t

comfortable when done on a pile of cushy

r e s to ra ti on ha rdware. c om) 3. Chiapas Pillo

of color with pillows made by women incommunities ofChiapas, Mexico. ($185; lav4. Copper Tray: Crafted by copper mastersUzbekistan, this tray can be used as a cente

table or for apicnic on the couch. ($435; lav5. Cloud Nine Paint: A soft white hue wgray creates a neutral backdrop. ( be n jam in6. Hammam Towel: Traditional Turkishpes temals , double as sturdy and elegant t

slipcovers. ($65; lavivahome .comi 7.Linen

nights spent outside call for a soft linen

Area. ($210; arealinenshop.comi 8. MadisTie together the garden and living space

in a frostproof container. (From $42; pot t



Sea andSTONE

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ~ ..............•.•.... _ - _ .•......_ - ..

A C r oa tia n is la nd g ard en

u n ite s a c en tu rie s-o ld summ er home with

t im ele ss M ed ite rra nea n v iew sBYLISE FUNDERBURG

PHOTOGRAPHY BY SCOTT FRANCES



F YOU HAVE THE GOOD

fortune to stumble

upon an ancient island

paradise - albeit awildly overgrown, clumsily

renovated, and functionally outdated paradise

- often the challenge ishow to address the prop-

erty's shortfalls without obliterating its charms.

Suchwas the case in 2004 when painter and

interior designer Lucien Rees Roberts and his

partner, architect Steven Harris, bought this

compound located on a small Croatian island

about an hour's ferry ride from the port city

ofDubrovnik. The property's four buildings

clustered together at the top ofa small hill and

dated back to the 15th century, originally serv-

ing as a merchant's home, nunnery, barn, and

chapel. Byday, the spot offers sweeping views

of the Adriatic Sea and mountainous coast-

line; bynight, a swath ofsparkling lights from

nearby islands and ships pierce the black sky.

Architecturally, the buildings were simple

but solid. They had walls almost 2 feet thick,

crafted from adense local limestone, but in the

main house there was only one door and one

window on the ground floor,giving it a cavelike

feel and obscuring the brilliant Mediterranean

light. Changes made by the previous owner

included wood paneling and concrete interior

stairs. Oh, and the plumbing had been rippedout. "It needed work,"Rees Roberts says.

The couple gutted the interior, leaving only

beams and joists. They connected the outdoor

kitchen to the rest of the house and installed

several windows on the first floor.

"Whenever we created a new opening, we

had lintels made to match the old," Rees Rob-

erts explains. "I copied the design from other

buildings on the island that were close to the

same period." Where possible, he left interior

limestone surfaces exposed, and for the roof,

he chose Tuscan terra cotta tiles that had been

sandblasted, giving them the patina of age.

In deference to the original materials (and in

Modernfurniture inneutral colors, like the Jorge

Zalszupin chairs at right, serves to accentuate

the house's ocean views and original limestone

walls. Previous page: The outdoor dining area,

where the couple spends much oftheir time, issur-

rounded bya similarly subduedpalette made upof

rosemary, lavender, and santolina.



Growing Conditions

THE PLANTS: Drought and wind tolerance were

guiding characterist ics for selecting a plant pale

inthe Croatian garden of Steven Harris and Luc

Bees Roberts . Clockwise from top left: Various

cies oflemon,lime, and orange trees grow in the m

protected areas of the property; the tough evergre

shrub, Cistue xpurpureus (orchidrockrose) can h

dle sandy and rockysoils, strong wind, and salt sprosemary fills the air with a rich herbal fragran

Ceanothus arboreus (feltleaf ceanothus or tree li

is a shrub with wonderful blue blooms and d

green leaves. The garden is a l so filled with aroma

mounds of Santolina chamaecyparissus, with

silvery-gray foliage and yellow button flowers. M

varieties of lavender add to the fragrance and

growing mounded appeal of the garden.

THE CLIMATE: Proving you can' t keep agood

mate down, barely a decade after the war ended

Croatia ( in 1995), the New York Times dubbed

coastline-rich country the "New Riviera." With

glistening sunshine, mild temperatures, and

matic backdrops of intensely blue seas and st

mountains, travel-wise publications suchasNatioGeographic hailed it as the place to visit. But if

choose to put down roots , l iteral ly, as Bees Robe

and Harris have, you'll need to plan around the

heat of coastal Croatia's hardiness zone 9 summe

This means being water-wise with plant select io

and employing patience: Gardens are typically s

to establish in Mediterranean climates.



service to the new owners' desire for a retreat

from their busy Manhattan-based lives), Rees

Roberts kept the furnishings understated, from

the Dorothy Thorpe 1970s-era Lucite candle-

holders to the elegant midcentury armchairs

designed by Jorge Zalszupin (one ofthe found-

ers of the L'Atelier design collective).

"The idea was to minimize the modern

elements," Rees Roberts says, "so that even

when you look at the fireplace, what you read

is the wall."

The chapel remains a chapel, but the nun-

nery was converted into a guesthouse and the

barn into Rees Roberts' painting studio, both

refinished with the unobtrusive approach

employed in the main house. He replaced the

barn's wooden doors with sliding glass pan-

els,which heleaves openmost ofthe time sohe

can gazeacross stepped terraces out to the sea.

That connection from inside to out marks one

of the property's greatest assets, as it has not

only views that link its inhabitants to the out-

sideworld but also aplentiful series ofterraces,

courtyards, and gardens that allow for social-

izing, quiet reading, and outdoor dining. "In

summer," he says, "the outside is really where

one wants to spend time."

First, though, Rees Roberts had to make

sense of the slightly feral grounds that wove

in and around the buildings, and for that, he

enlisted the help of his business partner, land-

scape architect David Kelly.

"We began with spaces that already existed,"Kellyexplains, "and those were the bones ofthe

garden. But itwas overgrown, and wehad to do

a lot of editing. We also wanted to defer to the

view rather than compete with it." They chose

a plant palette ofsilvers and pale greens to bal-

ance the crisp and crystalline reflections off

the limestone and the water. When the plants

move in the gentle breeze and the sunshine,

Kelly says, the undulating sweeps oflavender,

rosemary, and santolina are hazy and dream-

like.Asmall, more formally laid out courtyard

of eight orange trees with a reflecting pool at

its center is the most self-referential outdoor

space, the perfect spot for contemplation and

Clockwise from top left: The stone kitchen counter

had to becarriedfrom theferry by hand; one of'sev-

eral terraces located throughout the garden; in the

restored barn-cum-studio, wide doorsjirst meant

to accommodate animals now provide an expansive

view; Dorothy Thorpe Lucite candleholdersfrom the

1970s adorn the dining room table.



also, given its central location, f

meet up before heading down to

swim. Kellyinstalled outdoor livin

areas on top ofa large cement terra

itwith crushed local limestone. To

relationship with the property's su

he brought a half-dozen pencil-thin

into the landscape, a nod to the

ing groves of such trees farther do

While Kellyand ReesRoberts ofte

clients outside ofthe United States

that working in such a remote, unsp

had its share ofunexpected obstacle

no cars on the island that is home

people at the peak ofthe summer s

ofthe materials came bythe thrice

from Dubrovnik, and they were u

the dock and then hand-carried 1

to the house. At one point, a donk

mandeered to do some of the he

but after hauling up one bag of ce

off and repurposed itself as the isl

The day the plants arrived turne

during Ramadan. All the workers

counted onwere gone for the holid

and Rees Roberts scrambled to fin

ers from the local village and ende

lot of the schlepping themselves.

"We also planted it ourselves,"

"which Idon't typically do, and were

about the conditions." The biggest"It's really rocky," he says.

The planting took place in Octob

Rees Roberts, Kelly,and Harris cam

the next spring, they were surpris

of red, perfectly dispersed throu

grounds. It seems the previous o

fondness for amaryllis.

"Ithought this was supposed to b

den," Harris said.Kellywas undaun

"We cut them all and had the mo

flower arrangements," he says. "A

the bulbs were removed. But itwas

them because it confirmed our in

strong colors would only compet

views from the house." (1)

The house has nofront door, so one

through the outdoor living spaces,

immediate sense of relaxation and

The topography drops off quickly

around the house, which David Kell

afeeling offloating over the water.



< ~WorldMaii~



~worldMaiis

ELENMARDENFELLTWICEFORGOLDENROCKIN

THE FIRST TIME CAME IN THE MID-2000s WHEN MARDEN,

ANARTIST, AND HER HUSBAND, MINIMALIST PAINTER BruCE MARD

were looking for a new spot in the sun. St. Barts, the couple's long-

time haunt, had become "too crowded, too much art world," recalls

Marden, whose own style embodies the bohemian-chic aura that

attracted those crowds in the first place. Friends suggested the rel-

atively quiet Caribbean island ofNevis, a rough circle ofbeach and

green forest that's only seven miles wide. Its better-known sister

island, St. Kitts, lies two miles away.At Nevis' center, a dormant3,200-foot-high volcano juts dramatically into the air. The Mardens

capped their first visit with a drink on the terrace of Golden Rock

Inn, a 200-year-old former sugar plantation halfway up the south-

eastern slope ofMount Nevis.

The small hotel consisted ofa set ofgray stone cottages stepping

downhill from the old refinery tower and amain building housing

a restaurant. The interest of the owners, relatives ofthe partners

who opened the place in the early '70s, was clearly winding down;

Marden remembers the place as "ramshackle, romantic."

Before Marden knew what she was really getting into, she and

Brice had bought the inn. "It was nothing rational or thought out,"

Marden says. "My concern was to save the place from developers."

The bold move was "typical Helen" says her friend interior decora-

tor Suzanne Shaker. Sowas Marden's abilityto see the possibilities

Opposite page, clockwisefrom top left: A long-established

Epipremnum aureum covers a remnant staircase; the dramatic

buttressofa kapok tree (Ceiba pentandra); instead of typical

Caribbean pastels, Helen Marden uses redfor architectural accents

andfurniture; the contrast of burgundy Aechmea 'Marcelino'

and Kalanchoe gastonis-bonnieri (donkey ears) is a classic

example ofRaymond Jungles' landscape style.

ofthe place. "Helen has away ofreally looking at somet

absorbing it," says Shaker. "Her vision takes over."

The idea that she would be running an establish

welcomed the public didn't occur to Marden until she

made the leap. "We're not really social people," she sa

little like falling in lovewith the wrong person."

The second fall was quite literal. Gawking at a filmseing near her Manhattan home, Marden stumbled int

and broke her foot. Confined to her apartment, she ho

gardening magazines and landscape design books, ho

some ideas for the grounds in Nevis. She had already

tect Edward Tuttle to expand the hotel's terrace and cre

surrounded by rough -walled pools. What had been an

patch ofgreenery leading from the parking area to the

tended by foraging goats, was now an excavated constr

awaiting transformation.

Marden had never thought about how to plan a garden

ple's house in Greece, she lets the abundant rosemary a

have its way;her husband isthe chief gardener at their

Hudson Valley. "I didn't know anything," she says. In

she struck upon the Ward garden, a subtropical fanta

Gables, Florida, that is the work oflandscape architec

Jungles. Sheand apoet friend composed an e-mail to J

called back within half an hour.

The client and designer were not an obvious match

known for planting specifically species native to th

cal world; Marden makes such no distinctions. At thi

says "everything is everywhere." And when it comes t

"Helen likes the wild look," says Jungles. "Shedescribes

GARDENDESIGN.COM • Januory/February Strl S .» 45



~WorldM.gs

A Masterpiece in the Making

"Helen likes things with spikes andunusual-lookinq flowers. Things that are

simplypretty she wouldn'tgofor."



Plant Palette

Clockwise from top left: Alcantarea

bromeliad with spineless dark burgu

shows up often in Jungles' gardens; C

(silk floss tree) belongs to the same

baobab and kapok trees and has a b

trunk studded with thick conical tho

store water during periods ofdrough

caerulea 'Regina' (giant apostle's iris

iris native to Brazil that flowers from

August and gives offa delightfully frui

Roystonea oleracea (Caribbean royal

host to a creeping philodendron.

The garden at Golden Rock Inn

both for its innovative design and div

choice offlora. Phase one of its creat

more than 150 different genera of p

count, there were some 20 species of

ing the rare old man palm (Coccothri

with its hairy, Cousin Itt-like trun

spikes, which is available only at certa

for ahefty price. Another, the talipot p

India, isone ofthe largest in the world

35-plus types of trees include the basilk cotton tree with its deep crimson

powder pufftree, and the aptly named

After purchasing Golden Rock

Mardens commissioned architect Ed

to expand the terrace and create

surrounded by reflecting pools wh

can take in the garden while d



Awindmill built in1815isnow a duplex guest room called the Sug

Mill, with its ownpatio. Opposite, clockwisefrom top left: Looki

toward the reflecting pools backed byMontgomery palms; the gard

design includes winding paths that encourage slow exploration;

Helen Marden, at left, visits with interior decorator Suzanne Sha

Alcantarea odorata and Bougainvillea 'Hawaiian Torch.'

~ Wo,ldl'lags

AMasterpiece in the Making



(~ Wor ldMags

/'

r , .



~WorldMags

AMasterpiece in the Making

almost winning." For example, when Jungles argued for removing

some Norfolk Island pine trees that he says lost their symmetry in

storms, Marden disagreed. "I think you need ajarring note," she

says, "Not everything needs to be symmetrical." Ultimately their

collaboration resulted in a genuine friendship and aunified designthat reflects their disparate approaches: The garden beautifully

paces its changes in color and texture but retains abrave unruliness.

Jungles' first task was to preserve an enormous weeping figthat

guarded the walkway to the hotel. "Wesculpted the tree and created

aview," he says. With this tree as the center point, he planted the

larger material, primarily Copernicia macroglossa (Cuban petticoat

palm) and Aiphanes aculeata (ruffle palm). Hethen filled in the rest

ofthe space with smaller plants Marden picked out on their three

nursery visits toMiami. "Helen likes things with spikes and unusual-

looking flowers," says Jungles. "Things that are simply pretty she

wouldn't gofor." Shewas delighted to discover the almost absurdly

graphic plants called cycads and became an avid collector, even buy-

ing a neighbor's collection oforchids and cycads for the next phase

ofthe garden. That second stage of the project, which is currently

underway, will add another acre ofgarden around the guest cottages.

Opposite page: A colorful explosion ofAechmea blanchetiana

'Orange Form' and Philodendron magnifica surround a water

feature, sketched at top ina drawing by Jungles. Thefeature ismade

from a historic wall that once carried water to the original

plantation house's cistern. Now a streampoursfrom a wall-top rill

onto asculpted boulder then cascades into a rocky grotto.

The initial phase, meanwhile, covers two-and-a-half acr

first thing guests see as they approach the inn from the

Marden's eye for the unexpected announces itself in

tion ofthe buildings at Golden Rock as well. From the m

fabrics she uses in the restaurant, "Helen totally chanyou see color and how you use it," says Shaker. "She

understanding oflight." Marden dismisses the notion

Briceused their training as artists when it came to rema

"We've just gotten to an agewhere we knowwhat we lik

Yet the look ofGolden Rock certainly suggests ahighl

eye at work. The red on doors, furniture, and other wo

perhaps Marden's most painterly decision (and her mo

sial: She saysshe has heard grumbling from Northerners

the Caribbean to come only in pastels). "Itried a lot of

says."I had to getthe right weight color with the stone."

Jungles too treated the site like ablank canvas. After a

arrived from Miami, he staked the grounds with paint

flags."Basically drawing, but in three dimensions," he

Brice Marden became most involved when it came t

a number of enormous boulders that had been turned

excavation. With characteristic precision, the artis

plotted and debated the placement ofthe rocks with Jun

team. "I stayed up in the house for that," saysHelen Ma

were enough egosout there." G

PAUL ODONNELL'S most recent story for cs suien D

"The Outside Edge" (July/August 2011).

GARDENDESIGN.COM • January/February 2012· 51



< ~WorldMaii~

A botanical garden in Oaxaca, M

52· Januory/February zoiz » GARDENDESIGN.COM



< ~WorldMaii~

illustrates the relationship between plants and culturBYJEFF SPURRIER • PHOTOGRAPHY BYDANAGALLAGHER



< ~WorldMaii~

Jardin Btnobotanico de Oaxaca's pathways are laid with soil ofa naturally green hue, and turns are

punctuated with sculpture andplants. Facing page: Apool ref lects plantings of beaucarnea and dioon.

Previous pages, from lef t: Francisco Toledo's water sculpture, La Sangre de Mitla, is madefrom slabs of

Montezuma cypress; the zigzag step-fret inspirat ion continues throughout the garden, ecological

requirements ofp lants determined afew monochromatic rock beds, and repetitive plantings of agave are

included toemphasize i ts cultural and biogeographic signif icance; afig, planted byAlejandro de A.vilaB.

near the l ibrary (the particular species was a source ofpaper inpre-Columbian times).

54· January/Februory ZtrlS .» GARDENDESIGN.COM



~worldM.gs



IAM NOT A GARDENER." Francisco Toledo is sitting in

the courtyard of the graphic art institute he founded in

downtown Oaxaca City, Mexico, sipping on a glass of agua

dejamaica. His fingers are paint-smudged, and he moves

stiffly from a sore back. Toledo, 7l, is one of Mexico's best-

known living artists; his paintings, sculptures, and textiles

are in galleries and museums around the world. At home in Mexico,

he is identified with a fierce and outspoken defense ofthe indigenous

arts and culture of the southern state of Oaxaca. He also, as it turns

out, helped to create one of the world's most original public gardens.

"The professionals are the people who live in the country;' he says.

"The campesinos and workers - I don't have the patience."

Nearly 20 years ago, the Mexican military moved out of a 16th-

century Santo Domingo monastery complex it had used as a base for

more than 120 years. Mexico's president gavethe exit order after being

lobbied byToledo and other leading artists and intellectuals belonging

to Pro-Oax, an advocacy group urging the promotion and protection

of art, culture, and the natural environment in Oaxaca. Soon, a great

clamor began: The state government wanted the five-acre parcel in

the heart of downtown Oaxaca City to create a hotel, convention cen-

ter, and parking facility. Arestoration team brought in bythe National

Institute ofAnthropology and History wanted to establish a European

garden in the 17th-century baroque style. Some of Toledo's fellow art-

ists wanted to use the grounds for workshops and exhibition space.

In 1993, when Toledo knew the army would be leaving, he asked

Alejandro de Avila B.,who had family roots in Oaxaca and training in

anthropology, biology, and linguistics, what he and other advocates

would propose. De Avila suggested making the space into a botanic

garden - or, more precisely, an ethnobotanic garden, one that would

"show the interaction of plants and people." De Avila, who was just

about to leave Oaxaca to begin his doctoral studies at University of

California, Berkeley, quickly turned in a concept paper defining the

garden's mission and the various educational functions it could fulfill.

Oaxaca's indigenous peoples are known for their textiles, ceram-ics, cuisine, and complex use ofplants. The earliest evidence ofplant

domestication ofsquash and corn in the Americas was found in Oax-

aca. To this day, wild plants are used throughout the region for food,

crafts, and medicine. Because of the area's unique botanic diversity

and history, Toledo, de Avila, and other Pro-Oax members got the

endorsement of the federal government, and in 1994 the state cre-

ated a trust enabling the Jardin Etnobotanico deOaxaca to be formed.

The plan was to have the garden tell the area's history by arranging

plants by ecological and cultural themes. There would be a section

for domesticated plants, and all the plants (with the exception of few

species) would be wild natives. DeAvila, who became founding direc-

tor, enlisted local gardeners and healers to help maintain and provide

specimens for the garden. The ground was prepared, and then the hard

part began. "We brought in as large plants as we could manage, but

nobody had experience with them," says de Avila. Fertilizing and dis-

ease and pest control were developed through case-by-case protocols.

De Avila was joined bythe artist Luis Zarate, who was instrumen-

tal in design and hardscape touches: iron borders, walkways, bridges,

and handrails. Asnaking pathway of naturally green-hued soil was

~WorldMags

red from ground-up cochineal over slabs of Montezuma cypress,

Sangre de MitZa (the blood ofMitla).

The title refers to the archeological site ofMit la, 25miles from O

aca. It was a religious capital when the Spanish arrived in the 1500s

a rock shelter named Guila Naquitz, archaeologists found 10,000-y

old squash seeds, the first evidence ofgardening in the NewWorld

highlight this history, one ofthe Jardin's raised beds isaligned to p

to Guila Naquitz and planted with squash.

During the excavation and building of the Jardin Etnobotanic

archaeologists uncovered 400-year-old structures, in some ca

dating back to the construction ofSanto Domingo. DeAvila incor

rated these discoveries, selecting plants to echo this (comparative

recent past. Abathing-washing pit once used by Dominican novi

inspired by a pre-Columbian step-fret zigzag design, a motif that

is echoed throughoutthe garden. It surfaces most dramatically in JE FF SPURRIER l ives inLosAngeZes and Mexico. His most recent s

a massive Toledo-designed fountain that seeps water dyed blood- for Garden Design was "Empty Canvas," November/December 201

56· January/February 2012 • GARDENDESIGN.COM



Agave and beaucar-

nea surround the edge

of a bathing pool. Right:

Twinfences of organ

pipe cactusframe

deAvila, thefounding

director ofJardin Etno-

botdnico de Oaxaca.

is now shaded by soapberry, agave, and other plants used to make

soap; near the monastery's library, along the western wall enclos-

ing the garden, de Avila planted a fig t ree - the particular species

was a source for the finest indigenous paper in pre-Columbian times.

Twin rows ofcolumnar organ pipe cactus, the garden's most visually

striking feature, create a tight fence to protect specific opuntia prickly

pear cactus, used in the production of cochineal. This highly prized

maroon dye was exported by the Spanish and used in Chinese silks,

Persian carpets, and paintings byEl Greco, van Gogh, and Rembrandt.

Overhead in the northeast section of the garden, devoted to trop-

ical forests of Oaxaca, is a canopy of balsa and ceiba. There are also

gracefulParkinsonia aculeata and huaje, the tree that gives the state

its name. The east half of the garden isfor plants from the wet regions

- cacao, vanilla, achiote - while the west is for the many dry land

varieties - human-size cacti, fat-leafed agaves.

It may sound ordered and academic but a stroll through the garden

isanything but dull. It's a landscape ofunexpected shape

thorny branches, and velvety petals. Bulbous ponytail p

a cycad section where golden football-size cones bulge f

ters of plants. While late spring is the most colorful tim

flowers year-round: the creamy blossoms offlor de may

rubra); tiny vermilion wild hibiscus; native bell-flowered

with palm-size white blossoms tinged with a purple cor

extensive databases are kept on the collection, there is no

ter list of the more than 1,000 varieties. Bio-pirates hav

garden, stealing rare cacti and cutting samples for cell t

gation. Now visitors are only allowed in on guided tours

plants, some started from seed, are kept locked in a gree

DeAvila came to Oaxaca asa child with his father in th

and has strong memories of the monastery. "When Fra

that the soldiers would be leaving, we all saw the great o

he says. "It was the chance for proposing a dream." (!)

GARDENDESIGN.COM • January/February 2012 ·57



< ~WorldMaii~

From left: Mammillaria cac-

tus; the distinctive walkways

parallel a canaljlanked by

Agavemacro acantha on the

left andfouquieria on the

right;fat-Ieafagave, afavor-

ite of Toledo's, grows only on

the ruins ofGuiengola, near

Tehuantepec; trees like these

Parkinsonia aculeata create a

graceful and colorful canopy.

58· January/February 2012 . GARDENDESIGN.COM



< ~WorldMaii~

Traveling toOaxaca

Oaxaca City,Mexico, is a 45-minute plane ride southeast from Mexico City or six hours on a toll road bycar.TOSEE: Jardin Etnobotanic

(jardinoaxaca.org.mx) is open year-round, with two-hour guided tours in English on Tuesdays, Thursdays, and Saturdays and one-

Spanish daily. Also worth a visit: Textile Museum ofOaxaca (museotextildeoaxaca.org.mx), Institute ofGraphic Arts of Oaxaca (inst

grajicasdeoaxaca.blogspot.com), and Oaxaca Museum ofContemporary Art (museomaco.com), a great place to see works by some of O

known artists. TO STAY: It 's easy to find hotels close to the city center of Oaxaca, but ifgardens are high onyour list, Hacienda Los L

$210a night; mexicoboutiquehotels.com/loslaureles) is the place to stay. Aboutique hotel on the grounds ofa 19th-century hacienda, it

plies the kitchen with coffee, loquat, mango, oranges, guava, and pomegranate. It 's located in San Felipe deAgua, which is a 10-mi

from the center ofOaxaca. TO EAT: LosDanzantes (losdanzantes.com) serves boutique mezcals and nouvelle Oaxacan cuisine in a won

imalist courtyard; down the street, La Olla (laolla.com.mx) offers more traditional Oaxacan, continental, and vegetarian fare. Tosamp

and chocolate, visit Chocolate La Soledad (212Mina), near the 20 deNoviembre market, or one ofthe many other cacao purveyors on

The Mercado de Artesanias (crafts market) is a short walk from the Jardin and is a good resource for handmade textiles, clothes,

GARDENDESIGN.COM • January/February zoiz:- 59



< ~WorldMaii~

I', ,

" '" . ,.,' " , ,I, "

60· Januory/February Sol S » GARDENDESIGN.COM



~ WorldMag's



< ~WorldMaii~

IN SWEDEN, A GARDEN-OBSESSED WRITER FINALAND OF NATURAL INSPIRATION

BY STEPHEN WHITLOCK • PHOTOGRAPHY BY PIA ULIN AND GEMMA AND ANDREW INGALLS

GARDENDESIGN.COM • January/February 2012 ·63



~worldMaiis

Northern Star

NE THING I'VE LEARNED after almost a decade in

Sweden is this: Under no circumstances should you move here in

November. I did. I left New York, a city that glitters year-round

and where there's almost always some green in Central Park, and

moved to Stockholm. Lifewent from Technicolor to black and white.

Ifyou've seen Ingmar Bergman's The Seventh Seal, inwhich aman

plays chess with Death, that's how I feel as Iwalk around the house

switching on lights at 3 o'clock on aNovember afternoon.

For someone whose career as awriter and editor involved agreat

deal oftime spent in gardens in England and America, itwasn't just

the darkness that came asashock. Sweden, one ofthe less-populated

countries in Europe, has an abundance of land but what seemed to

me a shortage ofgardens. Was it possible

that the Swedes, unlike the British, sim-

ply preferred their nature untamed?

"Gardening in Sweden is a rather

new field," explains Ulf Nordfjell, one

ofSweden's most prominent landscape

designers and winner ofthe Best in Show

award at the 2009 Chelsea Flower Show.

ofStockholm's hippest plant nursery, Zetas. "Many artists, des

ers, and creators use wood, plants, and water as the basis of th

creations." Youcan see this at Svenskt Tenn, an interior design st

in downtown Stockholm best known for its collection offurnis

ings and fabrics by Josef Frank. Frank, an Austrian designer w

fledto Sweden in 1933as the Nazis rose to power, drew heavily

nature, designing vivid patterns filledwith tulips, lotus flowers,fe

and all sorts ofimaginary varieties. One ofhis most iconic piece

his Flora cabinet that's entirely covered with botanical prints.

influence on Swedish design and architecture is immeasurable,

even at Ikea you'll find all sorts of pieces inspired byFrank's w

Sowhile even one ofthe most famous gardens inthe land - t

of Carl Linnaeus, the pioneer of tax

omy, in the town ofUppsala - is qu

modest when compared to English

Italian specimens, the natural wo

permeates this country's aesthetics

a way that rivals even the most gard

centric societies. This can be seen o

ASwedish Sojourn

To best e1!ioySweden's natural beauty, plan to

visit between May and September (though be

forewarned: Many Swedes take a month-long

vacation in July, leaving the citiesfeeling empty

domestic level- there's never a shorta

ofbeautiful flowers in Swedish hom

no matter the time of year - and o

deeper cultural plain in the etymology

somany Swedish surnames. Hasselb

for instance, means "hazel leaf," and

hero of StiegLarsson's The Girl With

Dragon Tattoo trilogy, Mikael Blomkv

has a last name that roughly translat

as "flower twig."Nowadays, as Skoglund points

the ever-practical Swedes are putti

their gardens to increasing use to gr

unusual foods. "Demand for useful

ries like goji and buckthorn has ne

been greater, and people's interest

growing their own vegetables see

to just get bigger and bigger," she s

"Customers are no longer satisfied w

traditional potatoes; they ask for

French delicacy potatoes. Different ki

ofchilies, tomatoes, and lettuce varieties are on their shopping li

Nordfjell notes that there's also an increased interest in des

among Swedish gardeners, who now experiment with plant varie

shapes, and materials. "Attitudes have been changing over the

20years," he says. "People are using timber, steel, and granite." A

while gardeners here have an eyeonwhat's happening in the res

the world, Swedish landscapes remain unique. "Sixmonths ofsn

saysNordfjell, "influences alot ofwhat you can do inyour garden.

and many of the restaurants shuttered). For

accommodations inStockholm, consider thewell-It was started with a need to produce

vegetables after World War II. Youcan't

compare a Swedish garden with one in

Britain or France or Italy; it's not pos-

sible. We have country gardens where

people spend time during their summer,

but it's a rather unique relationship -

more apiece ofnature, maybe with some

strawberries and roses."Ah,the Swedish summer. Aswith win-

ter, nothing prepares you for it, but this

time the shock isa nice one.Days are long,

nights are warm, and the light has a sil-

ver quality you find nowhere else. After

its longwinter slumber, nature goes into

overdrive, and Swedes want to be in the

thick ofit. Suddenly, life is livedoutdoors.

Even though Stockholm has one ofthe

highest rates ofsecond-home ownership

in the world, locals don't need to leave to

get back to nature. At various spots around the city there are koloni

- one-room wooden shacks with gardens around them, rather like

British allotment gardens. People sign up onwaiting lists for koloni

and lavish loveon themwhen they get them. The city's parks are also

full in the summer, and there are places like Rosendals Tradgard, a

public garden with a cafe and nursery on the island ofDjurgarden

that ispacked whenever the sun shines. People picnic in the orchard,

cut flowers, buy plants, or eat lunch in one ofthe glass houses.

Before I moved here, I thought of Swedish design as being all

designed newcomer Hotel Skeppsholmen, located

ona small island connected to the city center bya

bridge. Neighbors include the Museum ofMod-

ernArt and theSwedish Museum ofArchitecture.

Stallmiistareqarden isa 49-room inn datingfrom

the1600s abutting theRoyalPark ofHag a (Hag-

aparken), which features walking paths and a

large tropical greenhouse. Tosample Sweden's

take on the "new Nordic" cuisine, which favors

naturalistic techniques and Scandinavian ingre-

dients, head toMathias Dahlgren at the Grand

Hotel, where one can sample a signature dish

of raw and smoked reindeer with whitefish roe.

At Restauranq Volt, the likes of lamb tongue,

spruce, sea buckthorn, gooseberries, and ash

are served in a cool, minimalist space. (See

"Sourcebook, "page 72,forcontact information.)

about white minimalism. His, in fact, full ofreferences to the natural STE P HEN WH I T L 0 C K was once an associate editor at Gard

world. "Nature is agreat inspiration," saysVictoria Skoglund, owner Design.He lives inStockholm and writesfor numerous magazines.

64· January/February2012· GARDENDESIGN.COM



< ~WorldMaii~

GARDENDESIGN.COM • Jonuary/February zolz;- 67



WorldMags



< ~WorldMaii~

Clockwisefrom top left: Aseating area atthe Hiiringe Slott hotel, decorated inmuted earth tones and elegantjloral wallpaper, has a

gardenfeel; afern and birchforest near Jiirna, south of Stockholm; Grythyttan Stalmobler, a company knownfor its simple steel desi

nished Swedish gardens since 1930 with items like its Classic Series chairs and table, which are set out on the dock at Kriigga Herrq

an hour's drive northwest ofStockholm; at Grythyttans Giistgivaregard, or Grythyttan Inn, established in1640, a shed's grassy roo

an old-school take on the green roofconceptwhile the brick red, or Falu red, exterior exemplifies the go-to color for wood buildings

Sweden; herbs are collectedfrom the gardenfor teatime at Hiiringe Slott; in the Paul Fejos room at Hiiringe Slott, a tray inset w

collage of botanical drawings isplaced out for visitors to admire. Facing page: Afragrant atlee of Syringa vulgaris welcomes visit

ditional home on the island of Gotland, 60 miles off the southeastern coast ofSweden.

GARDENDESIGN.COM • January/February 2012 . 69



< ~WorldMaii~

NOTEBOOK

StraightfrOnt

theSourceWHILE ON assignment for the likes

of House & Garden and National

Geographic over the past 20 years,

photographer Andrea Jones has been

lucky enough to set foot in many of

the world's finest gardens. She's col-

lected the best of her finds in her

latest book, The Garden Source:

Inspirational Design Ideasfor Gardens

and Landscapes (Rizzoli; $40), asort of

delicious consolation prize for the rest

ofus.Especially as thewinter daysdrag

on, leafingthrough the book - due out

in bleak February - isnearly guaran-

teed to stimulate verdant daydreams

ofwarmer daysto come.Garden Source

is appealingly catholic in its coverage,

taking the reader from the hills ofPet-

ropolis in Brazil to the shores ofLong

Island, New York; from quirky play-grounds in Tokyo to topiary-filled

estates in England. Itdepicts paths and

pergolas, meadows and moss, lighting

and water features, amateur plots and

professional showpieces. As befits the

creation ofa photographer, the book is

strikingly visual, relying on some 800

color photos to depict a globe's worth

of green space. Moreover, as opposed

to traditional chapters, the material is

divided into four sections in amanner

that makes sense to the perusing eye.

Thus "Space" explores different spatial

formats like rooftops and courtyards

while "Divide" deals with elements

such aswalls, hedges, and seating. As

Jones explains, the ideais to strip down

garden design to its basic elements.

"We wanted the organization of the

material to be as approachable aspos-

sible," she says. An inspiring concept,

indeed. - Becca Bergman Bull

Above: A London garden

illustrates how a swirling

design maximizes space

and artfully divides areas

for dining and relaxing.

70· January/February 2012 . GARDENDESIGN.COM



< ~WorldMaii~

Caribbean Claydistinctive red varnish also

hails from the island, created

from iron-rich rocks crushed

by hand into a powdery paint.

For the final step in the pro-

cess - per an age-old local

tradition - the pottery bakes

directly on coals made from

a fire of coconut husks. Visi-

tors can observe the process

at the small factory and shop,

which is an easy but easy-to-

miss mile east of the island's

airport along the main road.

After a visit, one begins to

spot Newcastle pieces all over

the island, from small pots

brightening people's homes

to grand containers populat-

ing top-drawer resorts such as

the Golden Rock Inn ("AMasterpiece in the

Making," page 42). Allow enough time and

Newcastle willcustom-make avessel to your

specifications. Now if only you could bring

home some ofthat amazing Nevisian flora.

-B.B.B.

NORMALLY, BRINGING home a bag-

ful of foreign soil from a tropical vacation

would cause quite a dustup at customs. But

wise vacationers to the Caribbean island of

Nevis bring back their handful ofparadise

in the form of a singular piece of pottery. At

Newcastle Pottery (nevis1.com/newcastle-

pottery), a small island cooperative, everyserving dish, candleholder, light fixture, and

Newcastle Pottery was created aspart of agovernment initiat ive topromote the arts and

flowerpot ismade ofpure Nevisian clay.The cottage industries in the Caribbean.

Soft RockTHANKS TOSouth African textile designer

Ronel Jordaan (roneljordaan.com), pet rocks

no longer represent the pinnacle ofgeological

chic. Jordaan and her Johannesburg team(she trains unemployed women to knit) craft

rocks - ranging in sizefromboulders topebbles

- out ofhand-dyed wool into shapes that form

cushions, rugs, and wall hangings. Though she also designs floral pillows and

decorative felt birdhouses, the stones are her signature pieces and bring aubiq-

uitous but oft-overlooked piece ofthe natural world indoors. Happily enough,

they're much softer than their outdoor counterparts. - Katie Mendelson

GARDENDESIGN.COM • January/February 2012' 71

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Except io na l d es ig n. Un s urpa ss ed qu ali tyUSA Office: 1-800-360-6283

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SaveTime24/7 CUSTOMER CARE

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72· Januory/February StrlS » GARDENDESIGN.COM

SourcebookFRESH

Read about Sunbrella'srecycling program andlocate retailers that sellits eco-friendly fabrics(sunbrel/a.com). Plan tostay at the stunning VillaAugustus in Dordrech t,

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NOTEBOOK

Purchase AndreaThe Garden Sourc

(Rizzo1i; $40) throPowell's (powells.c

POSTAL INFORMATION GARDEN DESIGN, Number

0733-4923). Published seven times per year (January/F

March, April, May/June, July/August, September/Octob

vcmbcr/Deccmber) by Bonnier Corporation, P.O.Box850

Park , FL 32790. © Copyright 2011, all rights reserved.

tents of this publication may not bereproduced in whole

without consent of the copyright owner. Periodicals po

at Winter Park, Fla., and additional mailing offices. SU

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subscribers add $8.00 per year, foreign subscribers a

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POSTMASTER: Send address changes to GAHDEN DE

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enclose your current subscription label. Occasionally ,

port ions of our subscr iber l ist avai lable to careful ly

companies that of fer products and services we think m

interest to you. Ifyou do not want to receive these off

advise us at 386-447-2491. EDITORIAL: Send c

dence to Editorial Department, GARDEN DESIGN, 15

Street, 12th Floor, New York, NY 10016; e-mail: garde

bonniercorp.coru. We welcome all editorial submissions

sume no responsib ility for the loss ordamage ofuusolic it

rial. ADVERTISING: Send advertising materials to Att

Design Ad Management Module, 460 N. Orlando Ave

200, Winter Park, FL 32789. Phone: 407-571-4798. Retail

counts available; contact Circulation Department. The

are trademarks of GARDEN DESIGN and Bonnier Corpora

their use by others is stric tly prohibited: Fresh; Style; G

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U.S. POSTAL SERVICE STATEMENT OF OWNERSHIP,

MANAGEMENT,AND CIRCULATION

(Required by 39 USC 3685)

I. PublicationTitle: Garden Design; 2. Publication No. 0733-4923; 3. Filing

Date: 9/30/ II; 4. Issue Frequency:Jan/Feb,Mar,Apr, May/Jun,JuVAug,Sep/Oct, Nov/Dec; 5. No. of IssuesPublishedAnnually: 7; 6.Annual Subscription

Price: $23.95; 7. Complete MailingAddress of Known Office of Publication:

Bonnier Corporation, 460 N. Orlando Ave.,Suite200,Winter Park,Orange

County, Florida 32789; 8. Complete Mailing Address of Headquarters or

General BusinessOffice of Publisher:Bonnier Corporation, 460 N. Orlando

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and Complete MailingAddresses of Publisher,Editor, and ManagingEditor:

Publisher:Jodi Bech,PO Box 8500,Orange County,Winter Park,FL 32790;

Editor: Norman Vanamee,PO Box 8500, Orange County, Winter Park,

FL 32790; ManagingEditor: Becky Strauss,PO Box 8500,Orange County,

Winter Park,FL 32790. 10.Owner: Bonnier Corporation, 460 N. OrlandoAve.,Suite 200,Winter Park,FL 32789;Terry L Snow,P.O.Box 8500,Winter

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"

BREAKTHROUGHThis picture was taken at the Brooklyn Botanic Garden last winter

after aheavy snowfalL I'm inspired byand interested in the structures,

shapes, and foundations that are exposed in the winter. It's meditative

and introspective, perhaps a little morbid and poetic in away that other

seasons are not. I took a number of photographs that day that made

me see the garden in a completely different way.This detail reveals the

moment that the snowmelts awayand life is revealed again."

Photograph byJan Baracz

80· Januory/February Sol S » GARDENDESIGN.COM

Garden Design Magazine USA January_February 2012 HQ(BBS)

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Transcript of Garden Design Magazine USA January_February 2012 HQ(BBS)