cairn + lotus

Personal; intriguing; nourishing; an oasis; a pleasure garden; inward and outward and upward looking; et al. Just a quick mind map to test out feelings of the time here in Sambucs and there are of course some elders as the title of the garden suggests . . .

colour

. . . narrow paths run across the terraced land leading to areas, some intimate for lounging and the odd larger space for eating, through varied vegetation interlaced with sculptural features; some discreet . . .

features

stones

. . . and some functional constructed from smooth river stones.

terrace + pool

Many pools alongside the dry stone walls holding the changes in level provide habitats for dragon flies, frogs and snails.

lotus

better 2 weeks ago

Poetry, inscriptions and selective writings are part of the experience. Above is the classic comment: ‘you should have been here two weeks ago, the garden looked so much better then’.

messages

clement

Zinc panels here in la Porte des Étoiles, display selected inspirational thoughts from Gilles Clément from le Jardin en Mouvement. Apposite for this garden that is managed on ecological systems and also retains an unmanicured look which in turn relays a welcome sense of freedom. Heaps of composted spent garden waste sit naturally at path junctions.

This impressive static cairn stands proud against the open extent of the south facing boundary. . . .

big cairn

. . . while glittering stipa shimmers against a darker background in a more enclosed area . . .

stipa

lythrum

. . . lythrum, indigenous to the ditches here in Hérault, provide some flower colour. I was hoping for more colour but in truth, I should have planned an earlier visit. Next year a return in May perhaps and then better photos? Lovely garden Nicholas and Agnès and tasty lunch too.

arch final

My eyes already touch the sunny hill.
going far ahead of the road I have begun.
So we are grasped by what we cannot grasp;
it has inner light, even from a distance-

and charges us, even if we do not reach it,
into something else, which, hardly sensing it,
we already are; a gesture waves us on
answering our own wave…
but what we feel is the wind in our faces.

Rainer Maria Rilke   A Walk Poem

 

in tuscany

May 23, 2016

terrace poppies olives 2 copy

a short visit to friends just south of Florence. vineyard and olive groves spread across their property retained in practical flat ribbons  – some grass mown and some left long with decorative results . . .

olive old copy

. . . old olives are retained if they are single stem but those from the bad frost some years ago are being removed and replaced with fresh young plants.

terrace poppies olive copy

textures copy

Around the buildings, the owners prefer to leave the fluffy growth on the canopy. Pleasing contrasting textures in this composition . . .

cork oak 1 copy

. . . and also on the cork oak.

pienza 1

In Pienza, narrow views out to the wonderful countryside even on a cold and cloudy May day. Who gave these streets such pretty names?

pienza 2

pienza 3

pienza 4

pool2 copy

Many years ago we designed this pool garden within what once was a walled kitchen garden. Simple, clean lines, reflections, peaceful – what more to say? only that these friends understand importance of good management; many clients do not.

pool cupressus window copy

The love of the place and the people who inhabit it – this is the reason behind the choice of the poem.

poppies cupressus copy

The tumult in the heart

keeps asking questions.

And then it stops and undertakes to answer

in the same tone of voice.

No one could tell the difference.

 

Uninnocent, these conversations start,

and then engage the senses,

only half-meaning to.

And then there is no choice,

and then there is no sense;

 

until a name

and all its connotation are the same. Elizabeth Bishop

salvias chateau 1

A follow on post from this. And to set the scene: rivers of salvias – masses of Salvia ‘Amistad’ and S. uliginosa in late summer run riot through the planted areas around the park and the two areas of the festival site. Just wanted to acknowledge a  couple more of the temporary garden installations that worked well.  ‘À table’ – the theme of an edile table which recurs and never disappoints – to share a meal in the form of a garden party but, here, seated on benches with carnivorous plants suspended as lights over the long refectory table packed with old species of edibles,produced by pollination,  so unsuitable for large scale cultivation – black tomatoes, purple peppers, violet cauliflowers and climbing spinach . . .

a table

. . . the planting, edging the garden, reverts to the ever popular flowery mead style.

a table perimeter

la cuisine africaine 3

‘Cuisine Africaine’ showcased edible plants and seeds from the African bushveld required for the survival of human, insect and animal life.

Centre stage in this garden was a spectacular metal and wire wrapped sculpture  – a homage to the significance of the Boabab tree in this landscape – the canopy offering shade for villagers and travellers. A place  to meet, to rest and to eat under.  Leon Kluge built a good garden.

cuisine africaine

cuisine africaine 2

Farfugium japonicum, an evergreen ligularia, looking resplendent in containers in the hospitality area. An extremely French look –  but beware as this plant needs copious watering grown like this.

farfugium

In the Prés du Goauloup, a large flat area of landscaped park adjacent to the festival site, some of the garden installations from previous years have been relocated; many are Chinese . . .

carre et rond 2

. . . the red ribbon of ‘Carré et Rond’ or ‘land and sky’ integrates the contemporary concept of storm water management with the philosophical ideas of the link with man to water in traditional Chinese garden. Designed by Yu Konglian for the 2012 festival.

carre et rond 1

carre et rond 3

poplares 1

I find this poplar group very pleasing and, equally interesting, is a site specific installation by Chris Drury called ‘Carbon Pool’ –  a magnetic spiral of felled cedar lengths capturing some of the Goualoup Park secrets and appearing to drag them down into the earth.

New planting of Liquidambers make a seasonal frame.

chris drury 1

boardwalk

Selected existing mature trees are partnered with sculptural but also practical landscape elements . . .

sculptural bench

. . . leaving the festival but looking forard to the next event. views across the Loire river beyond the fiery Rhus – a willow and poplar landscape just losing the green and softening to yellow.

rhus + Loire

I have built a house in the middle of the Ocean

Its windows are the rivers flowing from my eyes

Octopi are crawling all over where the walls are

Hear their triple hearts beat and their beaks peck against 
the windowpanes

House of dampness

House of burning

Season’s fastness

Season singing

The airplanes are laying eggs

Watch out for the dropping of the anchor

Watch out for the shooting black ichor

It would be good if you were to come from the sky

The sky’s honeysuckle is climbing

The earthly octopi are throbbing

And so very many of us have become our own gravediggers

Pale octopi of the chalky waves O octopi with pale beaks

Around the house is this ocean that you know well

And is never still.  Guillaume Apollinaire  

Ocean of Earth to G.de Chrico.

 

 

 

 

 

grass sissinghurst

And a return visit – always a pleasure after doing a little work in a garden nearby – and 2 months on. Seeing the shadows on the grass  – just a casual pause before hitting the glamour of the garden rooms. Roses in full bloom – it’s that time of the year after all. My interest here is how the rose works against/with the background and as part of the composition – not many idents for the plantaholics, sorry – so below the soft coppery/pink tones of this rose at the entrance that work so so well with the old brick facade.

rose 1

rosees sissinghurst

sissinghurst roses 2

On the wall that divides the front courtyard and the rose garden – a Clematis – C. montana ‘Marjorie’ and time for a pause to remember a much loved aunt – a lady so confident, elegant and happy with herself and so interested in the younger generation.

clematis montana marjorie

rose garden

From the rose garden,  the eye slides easily to the slim towers. The planting here in this garden room appears to have lost its way a little. Once upon a time at the end of ’60’s and into ’70’s, the theme was simple: roses and shrubs with some underplanting and quite a bit of soil showed – this was fine. But now with the custodianship of the National Trust there appears to be a need to provide a continuous show of anything and everything – a fruit salad look has evolved with any old thing popped in to ‘please the punters’. Big organisations taking the individuality out of their product and, in this situation, not the head gardener or gardeners fault. Happily the planting in the Cottage Garden has  maintained the original clear ethos  – planting with a predominance of  hot colours.

end of spring walk

Within the nuttery, Dionysus stands calm and thoughtful as he has for years – a quiet interface between the Spring Garden (now in quiet post season mode) and the Cottage Garden. A delightful detail was on show low down –  Tulip sprengeri around the peeling trunk of Acer griseum . . .

tulip sprengeri + acer stem cottage garden

. . . . here too a specimen Rosa ‘Mme Alfred Carriere’ climbing skywards against the cottage walls.

mme alfred carriere rose cottage garden sissinghurst

Overhanging the walls of the Moat Walk are a couple of splendid Wisteria floribunda ‘Alba” . . .

wisreia florinbunda sissinghurst

wisteria floribunda alab sissinghurst

. . . and a single Wisteris venusta with larger fleshier foliage. A more  restrained, intriguing and, therefore, perhaps sought after plant.

wisteria venusta

Near the herb garden, back with the norm – a pair of mauve flowered wisteria standards – old and gnarled and exotic

wisteria sinensis sissinghurst

white garden sissinghurst

And at half past five, just the right time to enter the White Garden – another  Rosa ‘Mme Alfred Carriere’ clothes a wall. The light starts to fade. A custodian arrives – someone delightful, a Gilbert and Sullivan character and part of the final act – to announce the closing of the garden . . . exit centre stage under a Rosa banksiae ‘Lutea’ on the tower.

white garden rose sissinghurst

rosa bansiae sissinhurst

All her youth is gone, her beautiful youth outworn,

Daughter of tarn and tor, the moors that were once her home

No longer know her step on the upland tracks forlorn

Where she was wont to roam.

All her hounds are dead, her beautiful hounds are dead,

That paced beside the hoofs of her high and nimble horse,

Or streaked in lean pursuit of the tawny hare that fled

Out of the yellow gorse.

All her lovers have passed, her beautiful lovers have passed,

The young and eager men that fought for her arrogant hand,

And the only voice which endures to mourn for her at the last

Is the voice of the lonely land. Vita Sackville-West Mariana in the North

 

year end

December 31, 2014

glanum 1

In San Remy de Provence (specifically Glanum) for the year end. Can’t think of a better place to be . . .

glanum arch

san remy

 

glanum bust detail

. . . much to admire and much to reflect on.

glanum arch detail

How like a winter hath my absence been

From thee, the pleasure of the fleeting year!

What freezings have I felt, what dark days seen!

What old December’s bareness everywhere!

And yet this time remov’d was summer’s time,

The teeming autumn, big with rich increase,

Bearing the wanton burthen of the prime,

Like widow’d wombs after their lords’ decease:

Yet this abundant issue seem’d to me

But hope of orphans and unfather’d fruit;

For summer and his pleasures wait on thee,

And thou away, the very birds are mute;

Or if they sing, ’tis with so dull a cheer

That leaves look pale, dreading the winter’s near.

Sonnet 97 william shakespeare

drift garden phellodendron + salvia p rain1

” I had the idea of creating different garden rooms but on a big scale” says Piet Oudolf. The walled garden at Scampston Hall is where this idea was carried out. Within a geometric structure, the informality of the planting spreads through and harmonizes the experience of the journey  – from room to room. Rivers, drifts and flowing lines are the theme – just enough and, not so much, as to dampen or annihilate. Unfortunately, these images show clearly that the air was laden with Yorkshire moisture on this visit, so water is all around  . . .

drifts of molinia poul peteresn3

. . . . curving ribbons of Molinia caerulea ‘Poul Petersen’ are woven through the mown turf base layer in the Drift Garden. As the grasses grow, the dynamic changes into a soft meadow landscape  – the initial pattern is hidden. Low seating beneath the Chinese cork trees (Phellodendron) is surrounded by Salvia ‘Purple Rain’  – all quite delicious and showing that simple’s best.

drift garden phellodendron + salvia purple rain2

 

spring box border - beech hedges + geranium 'brookside'4

Mature beech hedging rings the exterior of the garden rooms – visible on one side of the Plantsman’s Walk as well as within in the Spring and Summer Box Borders . . . .

beech hedges katsura grove13

katsura grove astrantia claret,geranium rose claire

. . .  Astrantia m. ‘Claret’ punctuates pink Geranium ‘Rose Clair’, or is it the other way round? Woodland plants froth and spill under the Cercidiphyllum trees. A well-known Oudolf device of a central geometric  shape, in this case, an oval, is positioned here filled with Molinia ‘Transparent’  – the arching habit disguises the formality of the pattern. A sense of formality is retained all year however, in the Silent Garden, where columns of yew are firmly entrenched within square clipped bases – the only feel of movement here comes from the water surface which hardly ripples . . . a very poor photo. This is said to be a room with a calm atmosphere  . . . I’ve made it look depressing.

katsura grove, molinias to spring box border5

 

silent garden recatngular pond7

 

the mount view8

Cherry trees and a flowery mead circle The Mount which is worth ‘mounting’ to appreciate the whole scheme and understand how the rooms connect and balance  – just like looking at a master plan. Oudolf comes into his own with the Perennial Meadow – a traditional quincunx filled with naturalised planting. Groups of plants and individual species appear to be scattered in a graceful manner but rise up and blend into a powerful almost musical performance . . . even in the wet.

perennial meadow, trifolium rubens, phlomos, thermopsis9

perennial meadow, knautia, salvia + thermopsis10

perennial meadow salvi, allium schuberti, phlomis,amsonia11

perennial meadow rudbeckia occ,thermopsis caroliniana, salvia blauhugel12

Rudbeckia occidentalis wafting around above yellow Thermopsis caroliniana and Salvia ‘Blauhugel’  – quite splendid. A pleasing little gate too from which to exit – Yat is Yorkshire dialect for gate.

cut flower garden to veg garden14

One lesson, Nature, let me learn of thee,
One lesson which in every wind is blown,
One lesson of two duties kept at one
Though the loud world proclaim their enmity–

Of toil unsever’d from tranquility!
Of labor, that in lasting fruit outgrows
Far noisier schemes, accomplish’d in repose,
Too great for haste, too high for rivalry.

Yes, while on earth a thousand discords ring,
Man’s fitful uproar mingling with his toil,
Still do thy sleepless ministers move on,

Their glorious tasks in silence perfecting;
Still working, blaming still our vain turmoil,
Laborers that shall not fail, when man is gone.
Mathew Arnold  Quiet Work

 

photo.8

In 48:Eight – the gallery of The School Creative Centre, a symposium titled This Migration – the role of migration in the arts, our lives, societies and our future histories. The sculpted heads of first and second generation Londoners formed a silent last tier. Their individual stories could be heard through the headphones.

photo.6

photo.4

photo.2

A slide below that was used to explain the processing of personal information and how this can be translated into data – used by the border services as well as by those more creative. Francis Alys ‘ The Loop’, Yinka Shonibare ‘The British Library’, Xavier Ribas ‘The Fence’ + Anna Maria Maioino ‘Black Hole’ were used in a discussion on how certain artists deal with issues around migration.

photo.9

Not all the heads are inanimate and the colour of bone – some are the guests . . .

photo.3

photo.7

photo.12

. . . not in focus but that’s purposeful. Digital images of the Lost Land of Ubar. The tracking of a migration route – digital cartography. How beautiful is the earth. I found the whole experience of the session visual as well as informative and consequently thought provoking.

photo.10

photo.17

Open Studios here on 19+20 September. The text comes from Geography 111 – an anthology of poems by Elizabeth Bishop.

photo.14

LESSON I.

Q. What is Geography?

A. A description of the Earth’s surface.

Q. What is the Earth?

A. The planet or body on which we live.

Q. What is the shape of the Earth?

A. Round, like a ball.

Q. Of what is the Earth composed?

A. Land and Water.

 

LESSON VII.

Q. What is a Map?

A. A picture of the whole, or a part, of the Earth’s Surface.

Q. What are the directions on a Map?

A. Toward the top, North; toward the bottom, South; to the right, East; to the left, West.

Q. In what direction from the centre of the picture is the Island?

A. North.

In what direction is the Volcano? The Cape?

The Bay? The Lake? The Strait? The Mountains?

The Isthmus?

What is in the East? In the West? In the South? In the North? In the Northwest? In the Southeast?

 

“First Lessons in Geography,”

Monteith’s Geographical Series,, A S Barnes + Co., 1884

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