Susanna Grant is a garden designer and co-director of Care, Not Capital, with the irrepressible John Little (we wrote about him here). With help from “lots of excellent gardeners and ecologists,” they offer a free program that helps to equip trainees with the skills needed for “modern gardening.” Susanna explains: “The main idea is shifting the emphasis and some of the budget away from hard landscaping and infrastructure towards planting, habitat creation—and gardeners.”
This little yard in North London was transformed by Susanna for like-minded clients, who had already successfully campaigned with their Islington neighbors to get the local authorities to install some planters on a sad stretch of sidewalk, which they described as a “disused piece of pavement.” They asked Susanna to make a wildlife garden there; then asked her to help them with their own disused backyard.
Above: A lot of plants and a consistent palette in the hardscaping make a small space seem bigger. “It was a tough brief as the owner wanted interesting plants: lots of planting plus room. I think it shows what you can fit in a space.” Above: “The back garden is tiny, north-facing and quite boxed in,” says Susanna. “It backs onto flats, and rather than try to pretend they weren’t there, I wanted to ensure the view from the house focused the eye on the planting—not up and beyond.” Above: “The client wanted interesting plants,” continues Susanna. “Although my scheme was predominantly quite woodland because of the aspect, there was an existing banana, nandina domestica and acer palmatum which I needed to work around. I added an Abutilon ‘Canary Bird’ right next to the house as it flowers for most of the year and picks up on the vibe of some of the existing plants.”
When Janet Mavec’s husband bought Bird Haven Farm in Western New Jersey in the 1980s, it had been the long-cherished retreat of publishing maven Harriet Stratemeyer Adams, whose most famous character was Nancy Drew. Nancy had been invented by Harriet’s father, who also came up with the Hardy Boys and earlier characters with evocative names like Dashaway Dan. His untimely death meant that his daughters inherited Miss Drew before their father was able to enjoy her success, and Harriet played the central role in turning Nancy into a publishing phenomenon. Janet, who has lived at Bird Haven Farm for 30 years, maintains that the original old stone house is haunted by Harriet.
It’s okay, she’s quite happy: on reading Janet’s entertaining and splendidly photographed book, Bird Haven Farm: The Story of an Original American Garden, it is clear that she approaches the farm’s bounty and generosity in a similar way to Harriet, sharing it with friends and family. For Harriet, it was a retreat that was also a venue for writer’s parties (her domestic focus was on the vegetable and cut flower garden). But the property’s collection of buildings, set within 100 acres, was not terribly functional, and after some sleuthing into its past, Janet decided that the renowned landscape architect Fernando Caruncho was just the person to make sense of the landscape’s clues.
Photography by Ngoc Minh Ngo, except where noted.
Above: Janet’s intensely tended vegetable garden, where she also entertains. “I spend most of my time planning which vegetables, fruits, and herbs to grow, and then dreaming up menus and parties around them.”
When Caruncho first visited Bird Haven Farm in 2001, he recalls, the property’s layout “evoked a sense of unease and constraint, as if the trees of the neighboring forest were an encroaching army, encircling the property.” Trails were cut through to invite in shafts of light and tree canopies were raised at the forest edge to highlight their forms.
Above: A circular fountain with a single jet in a calm space, designed by Fernando Caruncho. Photograph by Marion Brenner.
It’s always a delight to catch up with our friends at the California design studio Terremoto. Talk inevitably ranges beyond the confines of gardens, touching on issues within the landscape industry that are rarely addressed.
Appreciation of laborers and the creativity that they bring to a project is part of the Terremoto DNA. Co-founder David Godshall explains how this dynamic collective of garden thinkers and doers continue to meet the moment, while showing us around a lovely little garden in Ojai, northwest of Los Angeles.
Photography by Caitlin Atkinson except where noted.
On the Client Brief
Above: At the back of the house, old Chinese elm trees provide protection from the elements.
“The bones of the property were very beautiful but needed updating to be more functional for the clients, as their needs were softly different from the previous property owner’s. An avocado orchard existed, which we, of course, preserved and protected, and coast live oaks surround the property in a beautiful halo,” says David.
Above: For an area in full sun, “We created a mosaic of native and non-invasive Mediterranean plants.” These include sage and lavender.
“The magic of Ojai (I say this as a plant nerd) is that it sits at the confluence of multiple horticultural typologies,” David continues. “It’s a place where coastal sage chaparral crashes into agriculture (most notably avocados and citrus) and more cottage-y, slightly old-school garden-making traditions. Opuntia and geraniums have a surprisingly synergistic relationship. Our clients wanted to bring their garden into a thoughtful new era while being respectful of the innate qualities of Ojai that make it the place that it is.”
An allotment is the British English term for community garden, but it means more than that: it is a European concept of growing food where space at home might be limited. It has currency in the UK and Italy, where landscape architect Stefano Marinaz grew up, taking stock of his grandfather’s allotment and learning the business of seed-sowing and nurturing plants from a young age. Now based in Chiswick, West London, the landscape architect has been able to fulfill his dream of owning a glasshouse, while dividing the 30 square yards available to every allotment holder between his interest in food and a desire to experiment with plants. It is also a place for his colleagues to get some dirt under their nails, and to show eager clients a bit more about the business of growing.
Above: In the greenhouse. Allotments are often messy but highly organized. This one in Chiswick is beautifully organized while still being recognizable as an allotment.
“Our apartment didn’t have any outdoor space, therefore the idea of an allotment was perfect,” explains Stefano. “When we got it [there is often a long waiting list] there were brambles everywhere, with rotting timber around raised beds. After roughly a year I realized how much space we actually had. I didn’t need to feed 50 people. So I decided to allocate roughly half of the allotment for edible plants and half for flowering perennials and annuals that I wanted to test and see how different plant combinations worked together. In particular, I was interested in seeing how the perennials would establish with very little care, and which plant communities would be the most resilient, with an idea of adapting these planting schemes for our clients.”
Above: The glasshouse is surrounded by personal touches like a habitat for insects on a bamboo frame, and woven edging along the dirt path.
“The allotment then started to became an interesting project, as bit by bit we were putting in vegetables beds, with new perennial combinations, and growing in pots, and adding the glasshouse. Every season there was so much to look forward to.”
Above: Glass cloches provide warmth for young cucumbers in an uncertain climate.
“It became also an opportunity for us to bring clients along and show them how a naturalistic planting can be integrated with vegetables,” he continues. “The allotment is a way to show clients that it is not impossible to grow vegetables, and to work with nature within your own garden—and that they should give it a try.”
Above: “By showing real examples, it is easier to educate people to make changes in the way they live in their garden,” says Stefano. “The allotment is also a place where we do design work and plan projects, bringing over laptops and sketching paper.” Above: Rusted metal arches provide structure in a wild-looking garden featuring wildflowers and edited weeds such as teasel.
“I think time is the fourth dimension,” says Louise Agee Wrinkle, in the kind of Southern accent you’d hope to find in Alabama but so rarely do. She continues in a way that is dramatically unhurried: “Time, and change, and the garden, all tied together. Every time you deal with plants, you’re dealing with change.” In a remarkable half hour film presented by The Garden Conservancy (A Garden in Conversation: Louise Agee Wrinkle’s Southern Woodland Sanctuary), we are pulled into Louise Wrinkle’s world, the one she grew up in, and the same garden that she called “the jungle” as a child. On returning to the garden and the town of Mountain Brook 40 years ago, she was not tempted to give it a more formal and conventional look. Her approach, summed up in the title of the new edition of her book, Listen to the Land, is more responsive: “I’d rather stand back and look at the landscape, and let the landscape speak to me.” Let’s go for an amble.
Above: What it looks like when nature guides the design.
The region around Birmingham, Alabama, is mountainous and essentially wooded, with an enviable abundance of native flora. Mrs Wrinkle’s decision to gently guide the woodland rather than aggressively cultivate was logical, especially when described in her own no-nonsense voice: “The design is what nature gave me to work with,” she says, noting that there would be little point in pursuing an English, French or Japanese-style garden. “They are an imposed pattern on the landscape.”
Above: Louise Agee Wrinkle. “Every garden is an autobiography, whether they’re prim and proper, or wild and woollier.”
In forging her own path as a gardener, Louise Wrinkle has had a great influence in her region, and was a founding member of The Garden Conservancy, while taking an active involvement in the Garden Club of America. Now in her tenth decade (having published her book in her ninth), gardens all around Mountain Brook have held on to a strong sense of place, even with development going on all around, because of visits and advice from the informal garden doctor. Recalls one member of the Little Garden Club, Louise would point to a garden’s essence, with the mantra “Play up, and clear out.”
Above: A garden of pathways and streams, that asks visitors to look around, and then look around again.
Louise Wrinkle assembled some of the region’s most interesting garden figures to help her in reinvigorating the garden. John Wilson of Golightly Landscape Architecture points to the rock work along the creek bed: “They look like they’ve always been there but every rock was meticulously thought out.” Landscape architect Norman Kent Johnson, a member of Louise’s original team, describes the garden as collaborative; it is not the result of garden plans, but was designed on site.
Above: “It’s a designed landscape, not a preserved landscape,” says James Brayton Hall, CEO of the Garden Conservancy.
A Garden in Conversation is the longest film that The Garden Conservancy has made so far (beautifully photographed by Michael Udris), and it is the first one to interview a garden’s creator. James Brayton Hall, CEO of the Garden Conservancy told me: “It’s a wonderful thing to hear a living person talk about how they design their garden, and why they garden. The Garden Conservancy is not about the ‘how’ of gardening; it’s about the ‘why’ of gardening. Gardening is a cultural activity and as Americans we’ve lost sight of that a little bit.”
A career in art direction is a useful grounding for anybody wishing to go into garden design. Sheila Jack’s career shift was not so much a break as a continuum—of research, editing, and presentation. Before designing the pages of Vogue magazine, her first job was for the architect Norman Foster, and these visual strands from the past feed into her present-day career as a landscape designer.
We visit the project which turned Sheila’s design ideas into something more three-dimensional: her own urban garden.
Above: A work studio faces the house in Sheila Jack’s garden in Hammersmith, London.
“When we installed my husband’s garden studio, we needed to create a pathway to it,” explains Sheila of the garden’s layout. “Our children were beyond the need for lawn, so there was scope to include more planting.”
Above: Photograph by Sheila Jack.
I first met Sheila by the photocopying machine at Tatler magazine, several decades ago. Amid the madness, Sheila stood out as a beacon of clarity, in a crisp white shirt. A few years later I spotted Sheila, ever crisp, at 444 Madison Avenue, a recent arrival at Condé Nast in New York. While I failed to take my job on the 17th floor seriously, Sheila worked hard downstairs, in the scary offices of Vogue. Fast-forwarding a few years, she suddenly appeared on Instagram, with beautifully composed pictures of gardens, in focus. How had she got from there to here?
Above: Sheila’s London garden of mainly green and white.
In San Francisco’s often foggy, dune-filled Outer Sunset neighborhood, landscape design firm Talc Studio transformed a small “sand pit” into a lush and characterful garden. While the garden is equal parts custom and artful, there are a number of design details and useful sources to glean. Here we detail our favorite components. Materials Furniture & […]
A garden is brought to life by birds, not only with the sound of their singing but the sight of their constant activity, from dawn to dusk. Water, too, is an essential component of a garden with vitality. More than a trickling decoration, it brings in the insects that attract birds; it cleans the birds, and hydrates them. There is really no point in putting out seed without fresh water—which can be as simple as a few bowls (shallow enough for a bird to stand in), on the ground near shrubs, on a wall, on a makeshift pedestal.
People who love birds know that formality is a human, rather than avian interest, and that informal watering holes enhance any space. One of the most memorable aspects of designer Cleve West’s last garden at the Chelsea Flower Show (in 2016) was a trio of large rocks with indents carved into them for holding water. He does the carving himself, and on occasion still makes the kind of bird baths that birds like; there is one for sale now at Lichen Antiques.
Above: Campo de’ Fiori have a range of carved and weathered limestone planters in oval (above), round, square or rectangular shapes, starting at $116.25 for an interior dimension of approximately 4″. If a vessel has straight sides, bees and other insects will find it difficult to get out. Add large stones that emerge above water level or keep the water shallow. Moss is also helpful. Above: A bird will be happy with a wide bowl, or overturned dustbin lid. For more focused beauty in utility, Manufactum sells sensible birdbaths of granite-ceramic (aka Granicum) with an island to hop on to in the centre. €99.90; stainless steel stand also available. Above: The classic concrete bowls and planters that Swiss designer Willy Gruhl designed for Eternit in the 1950s have been used very effectively over the years for water as well as soil (by blocking the drainage holes). This vintage one is $3,200 at 1stdibs.
Above: Water evaporates more quickly from smaller vessels—a good reason to keep them topped up with fresh water instead of letting it stagnate. Made in New Hampshire by Dances with Stone, these hand carved river stones are given bathing-sized indents, with two small stone offcuts supplied to keep each mini pool in place. Available to order via Etsy from $80, and starting at a size of roughly 7-9” in length.
Above: Corten Steel curved water bowls by the Pot Company range between two- to over six-feet in diameter. Starting off as a blue steel, it naturally weathers, developing a coat of rust that prevents further erosion. The Pot Company is trade only (and comes recommended by designer Sheila Jack) but they retail at various online outlets including Harrod Horticultural, where prices start from £159.
