November 6, 2014
Through the glass of YSP (Yorkshire Sculpture Park) visitor centre – a very decent building by Fielden Clegg Bradley – tree canopies abound. Elements of the original parkland estate remain.
Yorkshire is synonymous with dry stone walls. This level of craftsmanship doesn’t appear often enough in counties to the south. The only person I know of who can select, cut and place stone well is Mr Swatton. He’d enjoy these modest but well built retaining walls . . .
. . . the major exhibition is a survey of the work by Ursula von Rydingsvard – she works with wood – mostly Red Cedar – bronze, polyurethane resin and other more organic materials. Is she crafts person or an artist? Or both? If I could, I be there to listen to her.
In the Camellia House, her work sits well within the singular architecture.
A little history as provided by Pevsner The Buildings of England 1967: ‘Camellia House circa 1812 by Jeffrey Wyatt for Col. Thomas Richard and Diana Beaumont. Materials are ashlar stone and glass. A symmetrical composition of 7 x 1 bays plus a diagonal projecting bay at each corner. Square panelled piers to the front supporting the entablature . . . . full height glazing. Large round-arched windows . . . framed by engaged Tuscan columns. Hipped glass roofs, separate over the projecting bays . . . Interior: niche at left and right. Scrolled iron brackets support the iron gutter and similar arched braces to roof apex. Iron tie rods to 2 intermediated trusses clasped by pairs of slender ion columns‘. It is a little gem.
Traditional furnishings alongside a strong masculine head by Frink . . . .
. . and a Pye water feature.
The Cascade Bridge spans the Lower and Upper Lake and connects the gardenesque part of the estate with the pasture and woodland. A gentle and quite mesmerizing feature . . .
. . . lost in thought here too.
David Nash made the Seventy-one Steps – amongst other site-specific works in 2010 along the walking route to Longside Gallery. This path runs along by some modest estate workers cottages and the quarry and the old well below.
Another David Nash, Black Mound, in a lovely setting. And a piece of Goldsworthy called Outclosure.
Ai Weiwei has taken over the Chapel both inside and out. Ming + Qing dynasty chairs fill the interior and a rather ugly ‘tree’ sits outside.
Walk over recognition to all those who have contributed financially and with their time and effort – on leaving or arriving. Much appreciated, thank you.
A stranger here
Strange things doth meet, strange glories see;
Strange treasures lodged in this fair world appear,
Strange all and new to me;
But that they mine should be, who nothing was,
That strangest is of all, yet brought to pass. Thomas Traherne The Salutation
When I wake the rains falling
and I think, as always, its for the best.
I remember how much I love rain,
the weakest and strongest of us all;
as I listen to its yeses and nos,
I think how many men and women
would, if they could,
against all sense and nature,
tax the rain for its privileges;
make it pay for soaking our earth
and splashing all over our leaves;
pay for muddying our grass
and amusing itself with our roots.
Let rain be taxed, they say
for riding on our rivers
and drenching our sleeves;
for loitering in our lakes
and reservoirs. Make rain pay its way.
make it pay for lying full length
in the long straight sedate green waters
of our city canals
and for working its way through processes
of dreamy complexity
until this too- long untaxed rain comes indoors,
and touches our lips,
bringing assuagement- for rain comes
to slake all our thirsts, spurting
brusque and thrilling in hot needles,
showering on to anyone naked;
or blaming our skins in the shape of scented baths.
Yes, they are many whod like to tax the rain;
even now, they whisper, it can be done, it must be done. Penelope Shuttle Taxing the Rain
‘A small but special Spring Plant Fair’ (the header on the flyer) this weekend at Great Dixter offered the opportunity for a gentle stroll around the garden as well as to view, buy, make notes about and order from exquisite plant nurseries. Wandering up the drive by foot and admiring the structure of the trees around the horse pond – an experience often missed if entering and exiting by car. A still and misty morning . . .
. . . some plants just need more observation now such as the chusquea in relief against the castellated yew hedging.
Simon’s stacks of timber await his decisions on their reinvention into a functional item. Organised groupings and practical arrangements show clearly in the early season before the masses of ornamental vegetation take over . . .
In the field below the nursery and the shop, many small, established nurseries showed their plants, seeds and products. Lohhof Stauden displayed many grasses and Wildside with Keith Wiley presented delicious, delicate looking but tough treasures.
Around the Lower Moat, gunnera fronds are on view – the unfurling is magnificent to behold – such stature – accompanied by new vertical growth on the iris – slim and neat in contrast.
From the orchard the house appears to retreat behind the flowering fruit at this time of year but in the Long Border the drama is centre stage. Confident planting with all companions appearing well orchestrated. Great knobbly stems of salix, naked and as yet unadorned, punctuate the composition . . .
. . . the beauty of emerging foliage and flower heads is quite breath taking.
The Exotic Garden looks tantalising but we are not allowed in quite yet, as everything is under wraps until the temperatures rise, so the Topiary Lawn claims our attention . . .
. . . large trumpets of lime green and piped stems of bamboo and the coppery skirts on Euphorbia x pasteuri delight my eye around the Blue Garden.
Pretty blossoms on Prunus tenella in the Sunk Garden – so feminine. And various compositions both detail at ground level and bulkier and more distant at eye level offer themselves up to those who can’t get enough . . .
. . . Fergus has a thing about euphorbias and he’s right! Marvellous with the clipped yew backdrops . .
and just to finish lines of early, fosteriana, double and late tulips. All one could wish for.
Preludes and dawns, those spare awakenings
Gone before listened to, how we miss such
Arrays of opportunities. As sun lifts up
Its wings and birds tune their large orchestra,
We are invited out of sleep, called to
Take part, share all such daily, sweet beginnings.
Dramas of dreams rise up, the haze of them
Dries in the sun and the awakened mind.
The spirit’s opportunities see flights
We seldom heed. Good moments of regret
Vanish in our wanton rummagings,
O bold designs, O short disparaged nights. Elizabeth Jennings Missed Chances
November 10, 2013
We woke up to warm sun this Sunday and it was most welcome following torrential rain and a storm ten days ago. Standing in the attic window, I spied a swimmer doing a fast crawl towards the pier – wondered if the sea was warm too – and was a little relieved to see him exit the water about 30 minutes later.
The storm threw the pebbles over the lower promenade disguising the division between beach and tarmac . . .
. . . strong shadows on the soft, sandy, lower stretch . . .
. . . all the crunch is now higher up mixed with seaweed drying out and crisping up.
Taking this shot, I start to notice the cracks and fissures in the concrete oversail . . .
. . and conscious of Cornelia Parker, having watched and been influenced by her episode in What Do Artists Do All Day, started to take more detailed shots . . . .
. . and then I started to think what I was going to do with the photographs – time will tell.
Wild nights – Wild nights!
Were I with thee
Wild nights should be
Futile – the winds -
To a Heart in port -
Done with the Compass -
Done with the Chart!
Rowing in Eden -
Ah – the Sea!
Might I but moor – tonight -
In thee! Emily Dickinson Wild Nights
October 10, 2013
Meet under the canopy of the Shard – this was the instruction for the students studying garden design masterplan (BA Hons Garden Design) and place and culture and masterplanning (BA Hons Landscape Architecture). New start to the term and new project site: The Borough, Southwark. Cold, windy and hard environment here with major works happening to London Bridge station. The Wikipedia reference: Southwark is recorded in the 1086 Domesday Book as Sudweca. The name means “southern defensive work” and is formed from the Old English sūth and weorc. The southern location is in reference to the City of London to the north, seemed appropriate to machinery machinations . . .
. . just a glimpse of a tree and a tempting offer on a station poster.
We intended to cover a semi circle – radius of 1000m centred on the station with first stop at more london . . black Kilkenny limestone defining the strong desire line . . . a busy ‘chunnel’ at 1pm on a working day. We talked about how the space would feel on a Sunday. We hoped/suggested that the students might make a visit then to note changes. I would if this was my major design site . . .
. . . some tumbling and some sitting about and some standing around on scaffolding. Great Fraxinus – they work better here than the more decorative birch . . .
Through Potters Field and on by the London City Mission, we crossed under the tunnels arriving at St Mary Magdelen Churchyard and then into Tanner Street Park. A group of Prunus sargentii were starting the fireworks display of autumn but, these poor trees showed the detrimental effect on plants trying to cope with badly laid paving + kerbs – terrifying hard landscaping. Through Leathermarket Gardens and Guy Street Park and on southwards to Tabard Gardens (lovely, potential here for detailed design – hint, hint) then east to Merrick Square and slowing down, a bit, to enjoy Trinity Church Square. .
. . . through Mint Street Park, we came across this community garden – green roof building and plenty of info for interested visitors. And yes, the baby came too.
On passed Cross Bones Cemetery and the ‘site with most potential’ that is currently a car park prior to development, we swung left down Southwark Street and into Neo Bankside. Many smiles spread across faces here. Maybe because the end was in sight but most likely as this landscape was deemed attractive by those studying – the staff more sceptical, which is their rightful position when analysing landscape projects, . . . . we’ll be doing it all again with the MA students – click here for this. We covered the semi circle ending at Tate Modern – another potential site – in just under 3 hours. So, looking forward to hearing and seeing the group survey presentation on this area, reading the A3 document and getting stuck into individual masterplanning at 1:500. All by the start of December – no pressure, of course. Exciting site will produce imaginative designs. And the poem, well for me it’s about not being precious about the past, allowing some respect but, mainly welcoming the future.
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.
—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster. E Bishop One Art
September 22, 2013
To the west of Aix-en-Provence, is a site that forms part of ‘Sur les Pas de Cézanne‘, if you are a tourist but is also a splendid place if you are a resident. I was very taken with this well built welcoming wall but someone else, quite small, charged off to see what happened beyond the far gate. The gate was quite lovely and well designed – everything was looking very promising until we hit the visitor’s centre . . .
. . . peering into the entrance through bars, we discovered that unfortunately we’d missed the only slot of the day for a guided tour. This happens at 9.45am but only on certain days. So I am grateful to Louisa Jones + photographer Clive Nichols for these scans below taken from Mediterranean Landscape Design – a wonderful book – of the scheme. Philippe Daliau (ALEP Agency) has created fine and sensitive interventions within the exposed stone providing a walk over differing surfaces with differing treatments – timber, metal -where views are encapsulated and framed by angled mass of the rock – some hewn and some natural.
Wandering through just part of the 7 hectare site that provided stone for the building of Aix (up to the end of 18C), we came across individual stone landscapes. In a certain way, it’s like a lost world but then in another, it’s seems well used. Rock climbing at a novice scale, mountain bikes carefully controlled, joggers, picque niques and large family get togethers and 4 legs all jostling together in a merry fashion.
Scrub oak, arbutus, pistacia lentiscus and pine form the major structural planting with some cistus, rosemary, euphorbia and rambling lonicera in the sunny patches . . .
. . framed views of Mont Sainte – Victoire and the barrage Zola taken while we lounged around on a rocky outcrop – an indulgent pastime for a Saturday morning and why not?
And moving on we find a built structure, not a cabanon that Cézanne might have used during his time drawing and painting here . . .
. . but a building that encouraged interaction and it had with a great view. Can’t take my eyes off the landscape.
The Irish lady can say, that to-day is every day. Caesar can say that
every day is to-day and they say that every day is as they say.
In this way we have a place to stay and he was not met because
he was settled to stay. When I said settled I meant settled to stay.
When I said settled to stay I meant settled to stay Saturday. In this
way a mouth is a mouth. In this way if in as a mouth if in as a
mouth where, if in as a mouth where and there. Believe they have
water too. Believe they have that water too and blue when you see
blue, is all blue precious too, is all that that is precious too is all
that and they meant to absolve you. In this way Cézanne nearly did
nearly in this way. Cézanne nearly did nearly did and nearly did.
And was I surprised. Was I very surprised. Was I surprised. I was
surprised and in that patient, are you patient when you find bees.
Bees in a garden make a specialty of honey and so does honey. Honey
and prayer. Honey and there. There where the grass can grow nearly
four times yearly. G Stein Cézanne
September 9, 2013
Parque de la Memoria ( Memory Park) is unique in symbolism and unique among the eclectic mix of parks and green spaces in Buenos Aires. Carlos Thays planned most of the 19 – 20 C parks during the initial growth of this city as the capital of a large country facing industrialisation. In recent years, more contemporary open spaces have been slotted into post industrial developments such as Puerto Madero, along the Plata underlining the growth in the economy and changes in social requirements. Many of the new parks and urban spaces integrate abstract sculptures – this park has eight visually powerful pieces conceived and created within a broad collective theme of Human Rights. This is not only a park but also a monument to the tens of thousands of Argentines that disappeared during the military dictatorships that spanned 14 years. It’s fitting that the site chosen is by the river believed to be the final resting place of many of the disappeared and also that it is adjacent to the University that many victims were associated with.
The main access is uncompromising in its bleakness – an immediate wake up call to the rationale behind the design – but transforms itself well into a user friendly open classroom when the young inhabit the park . . . .
. . distant horizons are incorporated into the linear framework. The river is wide here but the sense of the opposite shore, Uruguay, is strong although too distant visually – the seen and the unseen. The personal memorial to those ‘lost’ is a series of concrete walls that vary in angle, height and length and define spaces that are sharply angled and sloping. The names of those that disappeared during the dictatorships are carved into bricks attached to the walls making a textured surface that contributes to a sense of discomfort, tension and sadness – all suitable.
The planting is chosen to underscore the symbolism as well as compliment the architectural feel of the park. A bosque of red budded Erythrina crista-galli, the national tree, and well able to cope with the harsh river side conditions plus the lack of management, stand in a asymmetrical group.
Areas of grass are left long perhaps to discourage active play – a creeping geranium tinged the sward with a flush of pink similar in tone to the spectacular flowers on the Ceiba speciosa . . . . .
. . . one installation that demands attention is the arc of 53 signs. Traffic signs that have become a visual language here display information as though on a route through Argentina’s recent history of state terrorism (Grupo de Arte Callejero). . . .
. . . and the dreaded Ford Falcon.
The park spreads out into the river in a wide arc enabling immediate connection with the water as well as opportunities to gaze, rest and reflect.
Pablo Miguez disappeared at the age of 14. This sculpture by Claudia Fontes was conceived specifically for this siting in the Rio de la Plata. If Pablo had survived he would be the same age today as the sculptor.
Libre de la memoria y de la esperanza,
ilimitado, abstracto, casi futuro,
el muerto no es un muerto: es la muerte.
Como el Díos de los místicos
de Quien deben negarse todos los predicados,
el muerto ubicuamente ajeno
no es sino la perdición y ausencia del mundo.
Todo se lo robamos,
no le dejamos ni un color ni una sílaba:
aquí está el patio que ya no comparten sus ojos,
allí la acera donde acechó su esperanza.
Aun lo que pensamos
podría estar pensándolo él;
nos hemos repartido como ladrones
el caudal de las noches y de los días.
Free of memory and of hope,
limitless, abstract, almost future,
the dead man is not a dead man: he is death.
Like the God of the mystics,
of Whom anything that could be said must be denied,
the dead one, alien everywhere,
is but the ruin and absence of the world.
We rob him of everything,
we leave him not so much as a color or syllable:
here, the courtyard which his eyes no longer see,
there, the sidewalk where his hope lay in wait.
Even what we are thinking,
he could be thinking;
we have divvied up like thieves
the booty of nights and days.
Jorge Luis Borges Remordimiento Por Cualquier Muerte
July 6, 2013
The term ‘pagoda’ is quite often misused, and surprisingly often misused by those in the garden profession. Many times I have heard contractors define a timber structure as a pagoda when it should be termed pergola. There again pergolas are often confused with arbours . . . but enough now on terminology. This tiered structure ‘La Pagode de Chanteloupe’ was built as a folly within a large 18C country estate on the Loire. The gardens were laid out in patterned formality to include the necessaries – vegetable, decorative, copses + groves – by the architect Louis-Denis Le Camus for a Duke.
These gates and railings appear to be original, even though most of the infrastructure of the estate was destroyed in the revolution. Visible features today are the pagoda with semi circular basin, Petit Pavilion (concierge house) + 2 other pavilions in Louis XVI style – markers for the estate entrance. Until recently the long avenue of limes afforded a view from the small parking area by the road, but now the first sighting is well and truly screened with hoardings – a shame – and the visitor is taken on a orchestrated route through ticket office, new Chinese garden and an area containing many traditional and rare children’s toys and games before being allowed through the gates and onto the shingle surround. The simplicity of this open shingle space in front of the structure is quite attractive not only visually . . .
. . but also for those who want to play instead of absorbing factual info – 44m high, 7 storeys and each ring with 16 columns – with the main function of the pagoda being to follow the routes and actions of the hunting parties within the woods and forests of that era. The ladies, I imagine, were not invited to ascend and view – staircase is far too narrow for wide skirts!
. . .
The banister rail on the ground floor is cast iron . . . . . .
. . and mahogany on the higher levels. Looking through to what were the original garden areas – now fields – it’s relatively easy to imagine the scale of the gardened grounds.
Below shows a proposed ground plan showing the château outlined in red and the central axis to the water features with the pagoda (largish dot) to the right. Also a bird’s-eye view showing the formality and precision of the garden layout.
Peering down from the highest landing . . .
. . . and up to the domed ceiling. Ah, the craftsmanship of the past. Mr Swatton could do it but not many others nowadays.
There are just a few signs of garden features – just enough to feel the character and ambience.
‘A dream of blue horizons I would garble
With thoughts of fountains weeping on to marble,
Of gardens, kisses, birds that ceaseless sing,’
Je veux, pour composer chastement mes églogues,
Coucher auprès du ciel, comme les astrologues,
Et, voisin des clochers écouter en rêvant
Leurs hymnes solennels emportés par le vent.
Les deux mains au menton, du haut de ma mansarde,
Je verrai l’atelier qui chante et qui bavarde;
Les tuyaux, les clochers, ces mâts de la cité,
Et les grands ciels qui font rêver d’éternité.
II est doux, à travers les brumes, de voir naître
L’étoile dans l’azur, la lampe à la fenêtre
Les fleuves de charbon monter au firmament
Et la lune verser son pâle enchantement.
Je verrai les printemps, les étés, les automnes;
Et quand viendra l’hiver aux neiges monotones,
Je fermerai partout portières et volets
Pour bâtir dans la nuit mes féeriques palais.
Alors je rêverai des horizons bleuâtres,
Des jardins, des jets d’eau pleurant dans les albâtres,
Des baisers, des oiseaux chantant soir et matin,
Et tout ce que l’Idylle a de plus enfantin.
L’Emeute, tempêtant vainement à ma vitre,
Ne fera pas lever mon front de mon pupitre;
Car je serai plongé dans cette volupté
D’évoquer le Printemps avec ma volonté,
De tirer un soleil de mon coeur, et de faire
De mes pensers brûlants une tiède atmosphère. Charles Baudelaire Paysage
More chasteness to my eclogues it would give,
Sky-high, like old astrologers to live,
A neighbour of the belfries: and to hear
Their solemn hymns along the winds career.
High in my attic, chin in hand, I’d swing
And watch the workshops as they roar and sing,
The city’s masts — each steeple, tower, and flue —
And skies that bring eternity to view.
Sweet, through the mist, to see illumed again
Stars through the azure, lamps behind the pane,
Rivers of carbon irrigate the sky,
And the pale moon pour magic from on high.
I’d watch three seasons passing by, and then
When winter came with dreary snows, I’d pen
Myself between closed shutters, bolts, and doors,
And build my fairy palaces indoors.
A dream of blue horizons I would garble
With thoughts of fountains weeping on to marble,
Of gardens, kisses, birds that ceaseless sing,
And all the Idyll holds of childhood’s spring.
The riots, brawling past my window-pane,
From off my desk would not divert my brain.
Because I would be plunged in pleasure still,
Conjuring up the Springtime with my will,
And forcing sunshine from my heart to form,
Of burning thoughts, an atmosphere that’s warm.
— Roy Campbell, Poems of Baudelaire (New York: Pantheon Books, 1952)