ARTICLES Archives - Page 248 of 316

Designing landscapes, says Richard Scott, is very much like painting a portrait: In both cases, you compose shapes, values and colors to make a beautiful work of art. In the first of a series on the nature of color and using it to create landscapes your clients will love, he begins with the fundamentals -- a basic vocabulary that will help you (and your clients) understand color.

Designing with Color

My clients' eyes light up when they first discuss color. They describe intense images of saturated reds, violets, and blues. The more color we can pack in, the better. No one yet has asked me for a garden awash in neutral grays. But what do they really want? As a landshaper, am I delivering the best service by designing a landscape overflowing with pure, vivid colors? As the hired expert, how am I to produce a landscape design that evokes the feeling they really want? That end result - the feeling, or emotional response, that the client gets from the garden - will not necessarily be achieved by placing bright colors everywhere. What we want is a garden that sings, not screams, with color. Of course to design this kind of garden, we designers must understand color ourselves. There is, unfortunately, an abundance of misunderstanding and misinformation on the subject. Let's aim at a more thoughtful understanding of color by approaching it in a logical, sequential manner. Let's explore how color really works, and how to design with color to form compositions that produce the feeling your clients

For years, says surfacing expert Bruce Ferguson, permeable pavements have been seen as a solution to several environmental problems faced by urban spaces. Pervious concrete is one of these materials, and he’s convinced that it has the potential to revolutionize landscape design by easing water infiltration into the soil and reducing the need for stormwater-control facilities.

Concrete with a Difference

Think about what happens when rainwater falls on an impervious surface in a big outdoor parking lot studded by the occasional tree: The water dampens the surface, which instantly becomes saturated. Only a minute percentage of water that penetrates the trees' canopies to reach their curb-bound planters becomes available to the trees' roots. The rest almost immediately starts flowing to drain grates or perimeter drainage details and is lost to a stormwater-collection system. The trees are helped only marginally by the life-giving rain, and the water

Established trees often sustain irreparable damage during construction projects as a result of soil compaction, root damage and/or drought. Protecting valuable specimens from these problems is easy, however, if landshapers and other contractors understand trees’ characteristics and their roots’ function – and apply some simple measures to ensure their safety.

Rooting Out Problems

In an ideal world, tree roots would never be disturbed and decks, hardscape, structures and plantings would all avoid impinging on a mature tree's space. Too few job sites, however, work that way: In our world of shrinking spaces, homeowners want as much useable space as possible, and this often entails building over and around tree roots. In the process, contractors all too often cut through roots to accommodate footings and other structural elements and generally ignore trees and their needs for the duration of the construction project. As is also often the case, arborists are brought in to remedy problems only after irreparable damage to a tree becomes evident. This is true despite the fact that trees generally serve as the anchors of our landscape designs and that most of us know that we should them with significant deference when designing landscapes and beginning construction. Typically, however, protecting a tree and its roots is a low priority for most general contractors and architects - and even some

Quiet Efficiency

Recent times have seen the introduction to the pool/spa industry of a new breed of hydraulic pumps that use what is known as 'variable frequency drive' technology. Here, watershaper, hydraulics expert and Genesis 3 co-founder Skip Phillips describes why he believes these devices, which have been used successfully for years in other industries that demand hydraulic efficiency, represent the future for pools, spas and other watershapes. For all the progress made in recent years to change the nature of the game, to this day I still see situations in which pumps, filters and other system components for pools, spas and other watershapes have, hydraulically speaking, been completely

Naturally Art

Just as nature inspires art, I believe that art can inspire landscape professionals to "paint" themes and moods into gardens. Claude Monet's work is a striking example of this unconventional relationship between art and landscaping, a connection explored fabulously in Monet the Gardener (Universe Publishing, 2002), a collaboration between Sydney Eddison, who writes and lectures on gardens; and Robert Gordon, a leading authority on French Impressionism. Together, they delve into Monet's obsession with his famous garden at Giverny, describing his fixation on flowers and the struggles he had in creating his lily pond. Included are letters from Monet, members of his family, journalists and writers from the late 1800s, all of them chronicling the artist's choices among

Watershaper Michael Nantz has designed and installed projects across a wide range of styles, budgets and overall levels of complexity. Among the most challenging and ultimately satisfying of all those designs, he says, are those that unfold in the yards of clients who want to make significant personal statements – but in very small spaces. Here, we take a look at two such projects, both of which prompted him to summon up all of his creativity.

Space Savers

Working in constrained spaces is entirely different from tackling projects that unfold in pastures where the only boundary might be a distant mountain or an ocean view. Indeed, in small areas that may be defined by fencing or walls or adjacent structures, the constrained field of view offers substantial aesthetic challenges to the designer in that every detail, each focal point, all material and color selections and every visual transition will be seen, basically forever, at very close range. When you're working small spaces, in other words, there's literally not much room for error. In this smaller context, each and every decision watershapers and clients make will subsequently be in direct view, and it's likely that each detail will take on special significance for the clients, positive or negative, as they live with the watershape over time. And on many occasions, what we're asked to start with as designers leaves much to be desired, including spaces already vexed by sensations of confinement, closeness or downright claustrophobia. To illustrate what I mean, let's take a look at two projects I recently completed in smallish yards for clients who wanted to

Integrated Style

As the first columnist among several who will be writing in this space, I've been elected to explain what this "Material World" thing is all about. I agree with the editors that it does require some explaining - but not much. The thought is that we in the landshaping business, designers and installer alike, seldom use a single material all on its own. Even a huge, monolithic concrete deck outside a grand office building will have ribbons of stone or brick to break up the monotony. The aim of this and subsequent articles - whoever writes them - is to discuss the process we go through in selecting plant and/or hardscape material combinations that ultimately work together to become beautiful and seemingly effortless explorations of style, texture and color. In other words, we'll be looking at projects for which all the

Pretty as a Picture

Swimming pools and other watershapes make great subjects for photographers, which makes it logical that every year or two I've be able to amass a new collection of these books to review. In general, publications such as these are all about pretty projects and are aimed mainly at consumers, but I've always found them useful as sources for design ideas and, in general, as a means of seeing what other people are doing. For the most part, however, these publications are not particularly "informative": Once you get past the pictures, there's really not much else there to build knowledge or advance the craft. Such is the case with all four of the publications I'll cover here in quick, round-up fashion. All are beautifully illustrated, and some display an interesting range when it comes to

The ‘Ahh’ Factor

"No matter how sophisticated you may be, a large granite mountain cannot be denied - it speaks in silence to the very core of your being." - Ansel Adams The man considered by many to be the father of American landscape architecture often referred to himself as a "garden maker," a self-description by Fletcher Steele that influenced me greatly when I first saw it in a book about him in 1990. When I think of the word "making" on its own, I see images of human hands crafting cherished artifacts or offerings, while the word "garden" conjures a host of images from Eden to Shangri-La. Taken together, however, the words evoke even more powerful images of the deliberate shaping of places of great beauty and serene repose - an apt definition for any landscape professional. When I borrowed those

An Elegant Inception

Beginning a project can be wonderfully exciting, especially when you're working in a beautiful place with a terrific client who wants something truly elegant and special. In fact, I can honestly say that there's nothing quite like the exhilaration of stepping into a new situation with great potential, defining those possibilities and watching a client's eyes light up with the fire of inspiration. Case in point: Not long ago, my partner Kevin Fleming and I were called out to a job site on Long Beach Island, N.J., by local landscaper Mark Reynolds, who'd heard of us and our reputation for using top-quality materials in top-flight designs. When we pulled up, the first thing I noticed was the