outdoor rooms
All projects come to an end, of course, but there are times when the inevitable takes its own, sweet time. The project featured here, for example, took more than six years from the time I first met the clients until we wrapped things up. Unlike some projects that take a long time because of ongoing problems, change orders and difficult challenges, this one was very much a labor of love from start to finish. Sure, there were some tough spots, but for the most part, this was one of those jobs that we watershapers and landscape professionals can only hope will come along from time to time - projects we don't mind extending through a period of years. This one had everything going for it, starting with great clients who had the resources to do something special as well as playful, fun-loving personalities that made the process exciting and rewarding. Then there was the property: an acre of ocean-view hillside in Brentwood, Calif., with mature trees and a big, Cape Cod-style house that was going through extensive remodeling during the time we were involved with the landscape. The clients wanted something that was elegant but playful, with formal lines and structures but a light overall touch. They insisted on beautiful materials, were heavily involved in every decision and, ultimately, had our firm, New Leaf Landscape of Agoura Hills, Calif., work with
It often happens that the way people enter a space has everything to do with the way they experience it and come to regard its overall design. This was much on my mind as we concluded our work on the Long Beach Island project I've discussed in my last few "Details." By orchestrating access and movement toward the backyard/pool area, we developed a string of transitions that lend a sense of surprise and delight to those entering a beautifully designed and constructed space that literally seems like a world apart. As discussed in previous columns, the backyard features a
In most projects, great work requires the watershaper's personal understanding of who the clients really are, deep down. That doesn't mean we have to become our clients' best friends or marry into their families. Rather, creating watershapes at the highest level involves a different kind of relationship, one in which a shared vocabulary and common vision develop through discussions of water, stone, art, plants and the orchestration and staging of experiences that will occur in given spaces. Take the project covered here as an example: The scope of the work, an unlimited budget and a mandate for the highest possible levels of quality were enough on their own to force us to explore the limits of our skills and creativity. More important from our perspective, however, is that we
"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
A tremendous amount of synergy and teamwork went into the making of "The Ultimate Family Home." Initiated by Builder magazine (the official publication of the National Association of Home Builders) and Pardee Homes (the Los Angeles-based developer of the Nevada Trails neighborhood in which the home was built), the project unfolded as a partnership between the magazine and the developer's Las Vegas office along with Bassenian-Lagoni Architects (Newport Beach, Calif.), Color Design Art (Los Angeles) and Lifescapes International (the Newport Beach-based landscape-architecture firm). "The Ultimate Family Home" opened in January 2004 in conjunction with
Last month, we covered a side-yard project that fulfilled one family's dream of gaining a kitchen garden. This functional design worked well for what had basically been a small, unused space - but it's by no means the only use for such spaces. Small spaces can lend themselves to a number of different possibilities. Discussing the clients' lifestyle or wish list might uncover something they really want or can identify ideas they haven't yet considered as possible uses for the space. Case in point: I had a client who wanted to create three
Looking for inspiration in an urban environment can leave a designer with precious few useful references. Take downtown Chicago, for example, where our indigenous waterfeature is Lake Michigan and our public art is too often plopped in the middle of concrete plazas. Be that as it may, I do my part by trying to introduce both water and art into my projects. So I was thrilled to be retained by Mary O'Shaughnessy, owner of the Wood Street Gallery in Chicago, to design a sculpture garden. I knew it would give me the chance to create a balanced, beautiful space - even though I also knew the job wouldn't be easy. What she wanted was a garden environment in which she could display and sell contemporary American sculpture - a place that would help clients visualize the way the art might look in their own gardens. As we dug deeper, we uncovered additional goals: It needed to be a space that would accommodate a changing variety and number of pieces; it had to be functional for large parties; and it had to incorporate and acknowledge the garden's urban neighborhood while still providing a sense of enclosure for gallery visitors (and, of course,
