Half Term

I have a busy week ahead of me...D3 is due next Monday and I know what I have to do to wrap it up, but I don't know how long it will take. Judging by how things usually go - it will take longer than anticipated. (I am hoping for the opposite, naturally). 

It's also half-term this week (!) - so while the school is open and the studio space available, there is no school, which is always nice before a project is due. I can sink away into my thoughts and ideas completely - see what surfaces.

Also go for some runs at the park.

I am quite curious about how my D3 will resolve itself in the end. I spent several hours Saturday developing my design in Sketchup (first-timer, other than playing around with it for a few days 7 years ago) and as it's coming together I am questioning myself and the design more and more. It's feeling a little soul-less at this stage while I am trying to hold on to that initial vision I had for the space several weeks ago. I don't know if it's the computer drawing that is taking the heartbeat out of the design, or if the design itself is lacking, or if it was just a late Saturday night and my mind was shot. So we'll see how I feel about it today as I am just opening the file now. Regardless, I will keep pushing ahead, and if anything - this project has been a great one to learn Sketchup with. 

Though that being said, really, I still want to find that heartbeat. 

X-Ray No Color

A Story for Tomorrow

I am obsessed with this video. I have shown it to several people, emailed it to a bunch of others - watched it myself dozens (like over 50 probably) of times. I would love to live this. It is to me - magic.

What is it that takes me? Raw nature, adventure, incredible landscapes, unforgettable experiences, off the grid, epic exploration, discovery, friendship, culture, minimalistic-back-to-the-basics, exposed and hidden elements.

Each of these are concepts, ideas or moments which I want to implement into my own garden and landscape designs...referencing, working with and alongside nature is so important to me and having sites and structures that tap into the existing landscape are what I hope to work with one day (think Olson Kundig Architects or similar). 

There seems to be a connection to the primitive earth which I crave regularly...one of the weeks I laughed the most was the week I spent in the Amazon jungles and the mountains of Ecuador. Oh, it was beautiful there. So green and exploding with plant life...breath in deep!

Anyway - I looked back at this blog's short archive and noticed I had never posted it here. So I just had to post it! Hope you love it too.

Maybe I have found my 2020-2021 sabbatical!

take a sabbatical...or two or three

"Every seven years, designer Stefan Sagmeister closes his New York studio for a yearlong sabbatical to rejuvenate and refresh their creative outlook. He explains the often overlooked value of time off and shows the innovative projects inspired by his time in Bali."

I first came across this TED talk at the end of last year (It's from 2009). I thought it intriguing and a really good idea. Definitely a good idea. I thought to myself, "Hey, I want to do that!" Then I started working some maths (yes, here they call it "maths").

I started my own business as a landscape designer May of 2007 (the 2 years before that I was working for a landscape architecture firm...so I'll count that as my "internship"). 

I left for London September of 2013. 

If you do the maths right, and I counted this out several times (I am not good at maths)...then I am currently in my 7th year...my sabbatical year. 

B-I-N-G-O

I am already on track for a sabbatical every 7 years! My "one year" away from my "design studio" is being spent learning more about my craft, developing ideas, cultivating creativity, and testing out new techniques that speak "me." It's been extremely worth it so far - my foundation and confidence is gaining strength and integrity...everything that I am doing here will have a direct influence on the next 6 years of work. 

I had felt for several years prior coming to London that I needed more advanced training, time and space to explore my interests and talents...I call it needing "negative space." And that if I was really going to make it as a garden designer and make a positive difference in the design world, then I needed a solid base to build and explode from. The Inchbald is doing just that and I couldn't be more pleased with how the year is unfolding...too quickly that's for sure. 

The only real question of concern now is...where's my next sabbatical?? (2020-2021).

Craving Desert, Sun, Warmth and Color.

Today I feel a bit suppressed (verge of illness?). It hasn't been a bad day, but it's been a grey day. I guess I could put it that way. This time of year I would normally make my way to Arizona to be in the sun and the desert for several days. Well, that's not happening. :)

I could really use a big dose of it right about now. 

So here's some desert and some Luis Barragan (Mexican Architect).

Why I love the desert:

  • Dry air
  • Negative space/void
  • Color of the lichen on the rocks
  • Sunsets
  • Structure of the desert plants
  • Other-worldly feeling...almost alien
  • Expanse

Why I love the work of Luis Barragan

  • Bold colors
  • Block colors
  • Simplicity
  • Mass and Void
  • Saturated 
  • Steve Martino (American Landscape Architect) is inspired by his work
  • Again, something about it is other-worldly

Vaughan Williams: Fantasia on a Theme by Thomas Tallis

If you're in the classical mood, and one wrought with grand crescendo's and stirring diminuendo's...fortissimos, fortepianos, pianissimos (and everything in between) - then here's the appropriate piece to sit still to.

Breathtaking, powerful, deep, emotional. Here is Vaughan Williams: Fantasia on a Theme by Thomas Tallis. It raises my heartbeat.

Imagine a garden designed to that! (One would need a good sized piece of land in the right location to accommodate that grandeur)

D4: History & Brief

It feels like I have been creating presentations a lot lately. My Favourite Things is now followed by D4: History and Brief. 

This past Monday we walked around the city looking at public squares and gardens. Everyone in the class will design a different public space. I picked (at random) the last one on the route...(I may have mentioned that in an earlier post?)...which is the Victoria Embankment Gardens. We were to research the history of our site and then create a brief which will be the fulcrum for our design. I am pretty excited about my space.

The following images are my presentation - which do a decent job on their own...one may get a little lost without some of my narrative of the purpose for the slide, but just keep your eye on the lower righthand corner which acts as a navigation tool for where you're at in the presentation. 

Hopefully the slides speak well-enough on their own without my narrative...and tell a story. On a related side-note: I think so much of what design is/could/should be about is telling a story. 

D3 and D4 are now running along side each other...time management will be the ultimate tool over the next 2 weeks especially!!

My Favourite Things

For school we had to create a slide show featuring our "Favourite Things." We chose 3 designers, 3 trees, 3 shrubs, 3 herbaceous plants - and I added in a "misc." category to accommodate my love of lichen. :)

Now when it comes to favourite things...well, my favourite colour is green, but I learned from a friend several years ago that life is too short to have favourites (well maybe too short to have just one favourite, but what about a lot of favourites?!)... so I am glad we got to chose at least 3 for each category because there are too many wonderful things out there to love and appreciate...just click on the image to move it to the next slide.

Also - when you get to the plants - underneath the scientific name you will see the common name followed by three more plant names...which are plants I have paired with the main plant...just giving them some friends to hang out with.

I was going to write up a little note for each slide, to tell you why it's my favourite....or A favourite...but I just have so much to do before tomorrow so I am bypassing that idea! But if you have any questions about any of my slides, feel free to ask! 

It was an interesting and useful exercise for me in that I learned more about myself as a person and a designer as I watched themes surface throughout my slides. This year at the Inchbald has been as much about self-discovery as it has about gardens and design! Quite the interesting process really.

All images were taken from Google search.

'Red on Red'

Missing painting for 'The Lorflor Project'...so I decided to have my friend/stylist "paint" the ends of my hair! Click on the image to scroll through.

I call it 'Red on Red.'

D4 begins

Just a little photo documentation...to begin with...

Screen Shot 2014-02-06 at 10.14.15 PM.png

As D3 still has a few weeks left - D4 has commenced! 

We were each given a public space/garden in central London to develop a design for. I picked (at random) Victoria Embankment Gardens (close to home!!) 

We had a free day to research and spend time in our spaces. Mine was buzzing at lunch time, especially since the sun was out! People were reading, walking, sitting, eating, exercising, playing ping pong, PDA, and kicking their feet up!

We have to present the history and our brief in a few days.

Time is ticking...

A Weekend Away for Body and Mind

When February the 1st starts out with a drive through the countryside with the top down (ahem) - you know it's going to be a great day. And it was. 

Living in the heart of London I am probably overstimulated and over-saturated more than I realize...the city can be demanding (as well as my schooling), and that's partly why I love it so much. I love all that's going on around me be it the movement of traffic, the several languages I hear in a day, the hustle of people on the walks and in the tube stations...there's always something going on, except calm blue oceans. 

I love the pace of life here. It's a good rhythm for me and I feel like London and I are a great fit. 

But every once in a while you need to get away. And so I embraced the chance to do so!

Walking along the White Cliffs of Dover for a several hours was magnificent (you could even see France!). It had been very stormy the night prior so there was a strong gale the entire walk. But that didn't lessen the joy of being out and away from the city for a few days.

It's something that everyone needs every once in a while (and probably more often than that) - we all need ways to escape, mentally and physically - escape and rejuvenate. I feel that as a creative mind, allowing myself to leave my craft or the current project I am working on for a time - even a short one and do something freeing and (possibly) unrelated helps me focus when I set myself back in the saddle. 

D3: Concept, Mood Board, Sketch Model

We are knee-deep in D3 so I thought it high time I share my mood board and talk a bit about what I am trying to achieve. If you read a few posts back you may remember I was designing D3 in my head while attending the London Symphony Orchestra. And this is what it has become since.  

D3 Mood Board

Here's my mood board. It's inspired by my concept - that or vice-versa (they take turns taking the lead). The working concept is "A Shifting Perspective" with the kaleidoscope being the object of impetus. I am designing a rooftop garden/terrace/space for a London hospital. The hospital treats individuals with cancer and is an outpatient facility. We are to design a space for patients, visitors and staff to enjoy. My thoughts thus far are that those people whom have a reason to be at this hospital, either for themselves or for those they love, are experiencing life-changing events - heavy and difficult ones at that. Often it is through our dark times we have a change of perspective...mostly to what really matters in life and how we view life in general - we do a lot of evaluating.

For me, looking into or being inside of a kaleidoscope represents this change or shift in perspective. And though it is brought about by undesirable circumstances, the lives of the patients and their families can still be colorful; full of pattern and hope. And that the light which comes into their lives during these dark days will illuminate these shifting patterns and colors and emphasize the love felt in a fulfilled life. 

This is my sketch model I have been working on. Pretty cool, huh! Looks like a bunch of jell-o blocks. Finger food models are on the horizon folks...

There are 8 (ugly) existing skylights on the roof terrace that are about 750cm tall. The entire ground plane is also a skylight of sorts - bluish green glass that is "milky" in that you can't see through it - but light can move through it to give light to all the floors bellow (which are 4 or 5?). The roof terrace is surrounded by four walls at 4 meters high so there aren't really any views unless you look up to the sky. It's not a very inviting space at present - the blueish green glass floor resembles ice and on a winter's day you feel rather nervous as you walk across the surface to find a chair to brace yourself in.

At first I was trying to work around or ignore all the 90 degree angles on the rooftop by introducing curves - I also was ignoring the skylights and glass flooring, etc. They were still present in my design, but I was trying to impose a design that would distract from them rather than work with them. After a good wrestle I decided to shift my own perspective on this space and embrace these elements which I, at first, viewed as weaknesses. These 3 elements (right angles, the skylights, and the glass floor) became my base for the design dialogue I would create for the space.

IMG_1565.jpg

Looking down onto the space you can see how I have incorporated the 8 skylights into the scheme of the design. During the symphony I saw in my mind these columns of glass (made out of acetate for the sketch model) which would be placed over the skylights, but still open at the top so that light can pass through to the floors below (there will also be openings/cutouts on the sides so that the top of the skylights may be cleaned - and to allow water, air and light to pass through the columns). At first the columns were all white - but to add some joy and life into the space I have decided to go with colored glass - and it will have the same transparency (not crystal clear) as the glass floor to create cohesiveness.

The question was raised whether adding all these glass columns would make the space feel even colder as the glass flooring already was doing that  - but I think it will do the opposite. By adding even more glass (some warm and welcoming hues as well) - I think it will give more purpose to the floor - and melt the iceberg as it were. 

The columns are 2x2x6 meters. They will be solid in color - rather than multicolored as some of the columns show in the sketch. Two trees with lovely arching canopies will also occupy the space to give refreshment and shade during the hot months. Then on the floor plane low glass walls (shown in yellow) will run around creating a variety of areas for people to sit in. Loose chairs will be the order of the day so people can move around at will - and can accommodate large or small groups. Also weaved into the space will be planters (shown in green) to add greenery at hip-height and eye-level...

IMG_1563.jpg

...there are adjustments to be made and the walls surrounding the space are in production! I will post my progress here next week...

P.S. It was suggested that my design, as strong and successful as it may be on it's own, may be too overwhelming and "strong" for a hospital rooftop garden or for an outpatient facility that treats cancer patients. This could easily be the case. Then again - this idea may be well-suited, inspiring, hopeful, and a nice change to what may normally be expected. I can see it, and see it working wonderfully - a different space indeed, but in a good way.

I have not been through the fight with cancer myself nor have I accompanied a loved one to receive treatments...if anyone reading this post has personal experience, and would like to comment on my concept - of whether they think it's appropriate or not, I'd love the feedback! 

D2 Process

D2

The Design Process

by

Lorien Hall

Inchbald School of Design

January 27, 2014

The unfolding landscape reveals itself as I move over sweeping terraces, steps and lawn; down pathways and into fields and meadow I wander.

I am approached by a feeling of wonder and even grandeur, yet this space is so intimate and familiar.

As I walk and pause, and walk and pause, I realize I have come to a garden of gratitude and abundance, where the sowing and growing season is rewarded with a bountiful harvest of fruits, vegetables, herbs, flowers and even water.

Like rain feeding the earth, concentric circles ripple outwards, reminding us of the blessings of the harvest, whether through a maturing landscape or good deeds accomplished; a celebration of a life well-lived.

Vistas within and without are emphasized and discovered, that of sculpture or a church steeple. Spaces exist for gathering, dining, and laughing, but also for the private conversation - close to the security of the home, or out in the nether reaches where the mind is not bound by the mundane tasks of the everyday.

D2: The Design Process

Contents

  • Site Visit to the Jones Residence

  • Site Inventory/Analysis & Notes

  • Exploring Curves

  • Mood Board

  • 3 Concept Plans: Grid, Circular, Trid

  • Master Plan Development: Circular

  • Planting Plan

  • 3D Drawings/Model

  • Final Master Plan

Site Visit to the Jones Residence

From the beginning I was excited about the potential of the Jones' landscape. The dilapidated and somewhat helpless state it was in somehow made it endearing. And as I mulled around the property in body and thought, I was enchanted by the nuances that made this place unique.

Perhaps the highlight of the visit was the piece of property not yet owned. I hesitated at first, but then climbed over the barbwire fence (in a skirt no less) and explored the space which seemed unused for years as it was full of stinging nettle. It was an escape and enclosed from the surrounding properties. One felt removed and a world apart and I think that is so because of the rawness and wildness I felt. All of this was brought to a climax when in the distance, over the tops of the trees in the far end of field, one sees a church steeple. It was indeed a delightful discovery and became an important part of the design process.

Two decisions I made that day on-sight were 1) I wanted to maintain the ditch, and 2) I wanted to work the mysterious stone “relic” into the design.

Also, I had an idea of the feelings I wanted to maintain, enhance and in some instances, create. But other than that – I had no idea where everything would head. And that's the adventure of it all.

Site Inventory/Analysis & Notes

I had a copy of the survey on an A3 paper with me the day we went to site. I wrote down several observations which I made on my own on the front side and wrote out a program list of sorts or things I heard from Caroline Jones on the backside.

I think it's good to write down first impressions and first experiences when getting to know a site. Everything is new and raw and your impressions seem to be more of a knee-jerk reaction, for better or for worse. I did refer to my notes afterwards, but maybe not as much as I would have liked to.

Once back in studio I continued making notes and observations on various copies of the survey – dealing with the site itself and with some core design ideas that worked themselves into the concepts and even into the final design. It's nice to see that thoughts I had from day one are now the backbone of the final design.

Exploring Curves

I enjoyed this day in studio even though I remember being in a very nonchalant mood. I moved through my curve studies quickly and effortlessly. I didn't want to think, and I didn't want to over-analyze. So I didn't.

And even though I didn't use the curve studies in my final design, it was still a useful exercise which may come into play in the future.

Mood Board

A mood board was not required for this project. But after having experienced working with one on D1 and feeling that it had a major influence on the outcome and success of D1, I decided to go ahead and create one for D2. Though I didn't do this immediately.

After a few days of feeling uninspired and a bit directionless in studio, I saw Robert put his mood board up on his wall – I quickly followed suit. And I am glad that I did. It was something that I could refer to when I was at a crossroads or a point of designers-block.

I think for me, always including a mood board into my design process will be very important. I am a highly visual person and the images I gather helps to keep me centered on my initial vision.

3 Concept Plans: Grid, Circular, Trid

Once the process of developing the three systems or concepts (grid, circular, trid) was complete, I was very pleased with how they each turned out. During the process I wasn't so convinced and was stubborn for a few days in studio about what level I was and wasn't going to take my designs to.

In the end, and with encouragement from Marcus, I relinquished and pushed my concepts further than originally planned and was extremely grateful that I had (they were still pretty basic). I found each of them to be exciting designs with great potential and would have been (mostly) pleased to further develop any of the three.

Though I felt that the grid concept was more true to the architecture and style of the house, I was curious to see where the circular one (the selected one) would take me and what I could discover in those spaces as I developed and resolved each area of the design further and further.

It was great to see the landscape come alive in several different directions.

Grid

My inspiration for the grid concept is two fold: 1) lines pulled from the house, doors and windows to create a grid, and 2) the shape of the eyebrow over the doorways. Combining those two elements resulted in some really fantastic spaces around the house which were echoed further out into the landscape.

I felt that this grid was true to the house in many ways. It was simple and straightforward, but still interesting. At one point I hoped it would be chosen because I also felt that it would be the easiest to finish developing and I was tired. Not tired of D2, just tired.

A favourite aspect of the grid concept was the water feature out in the middle of nowhere in the new area of the property – I also loved how the shed and greenhouse mirrored each other, as well as the several axis woven into the design.

Circular

It was on a Thursday and Andrew was giving a lecture about curves and something about concentric circles in design. I raised the thought of concentric circles echoing out in the golden ratio. He said, “that's what you're going to do in studio.” (something similar anyway) – well I think he may have forgotten, but I hadn't. So when it came time to do my curvilinear concept I carried the idea of concentric circles radiating out in accordance with the golden ratio.

I took my first measurement from the part of the house which I wanted to emphasize and made that the diameter of the first circle. I placed these circles around very important trees, the center of the home itself, and a key point near the back of the property. I then created a grid of sorts by drawings out the concentric circles around these points whose diameter was created by multiplying the original circle's diameter by the golden ratio (1.618). Combining this grid with my initial thoughts of views, vistas and corridors...resulted in the original concept for the circular or curvilinear design.

It was fascinating to watch this space create itself. And again, I had to push it a level further than I originally had planned on, and I am very grateful that I did.

Trid

I am too tired to deal with trid right now. I have a major headache. I will just say that I was the most reluctant and the least enthusiastic about this concept until I worked it out. Then I ended up loving it – but more for itself rather than for the site.

Done.

Master Plan Development: Circular

The concept based off of the concentric circles was selected to move on to the final stage and become my design for the Jone's landscape. As strong as the initial concept was, there were a lot of holes and weak areas as well that had to be resolved. First off, the areas immediately around the house had to be addressed – pushing and pulling – pushing and pulling. My breakthrough with this area came when Andrew told me to put down my mechanical pencil and pick up a regular pencil. That shift seemed to free my mind and even though I still had to go through several edits before the area came to an acceptable resolution, it was resolved in a wonderful way.

From there I tackled each area individually – the greenhouse and it's garden, the area around the existing relic, the way the shed sits with the orchard..figuring it all out bit by bit. And even though the resolving phase took a lot of time and put be back in the schedule, well – the areas had to be resolved and I knew it when I had it and couldn't be satisfied until everything felt at home.

Planting Plan

The planting plan took me a while to sink my teeth into. For some reason I just couldn't wrap my head around it. I think that is because I was focusing on such a small and specific area without addressing the planting scheme for the landscape as a whole first. I think if I had created a well developed overall plant palette for the entire landscape, zooming in on a little space and defining species would have been easier. But that's just one aspect of the planting plan. I think a major reason for developing the plan was practising the technical side of a planting plan and not so much the aesthetic side, I could be mistaken.

So now on to the technical. If I were to do it again I would do it differently. I would not have free-handed my design, but would have used a straight-edge and a circle template so that it would have combined with my master plan graphics better. But sometimes you can't know and realize these things until you have finished going the other route.

3D Drawings/Model

This obviously has not happen. Yet.

I took photographs of my 2D drawing at an angle then printed them out so I could create a 3D drawing off of those photos. It was hard to see my photographs through the trace paper so I taped them to a window upstairs creating a light table of sorts.

I can't say I gave it diligent effort in trying to create 3D drawings off of these photographs, but not too far into it, I could tell it was going to be difficult and unconvincing. Creating 3D drawings off of a sketch model seemed to be working well for others in studio so I thought I would go that route.

That decision turned into going the finished model route. And not ever having made a real model, time was spent researching how and what and who, etc. So no model has been created yet! But it is coming.

Final Master Plan

Today my main focus was deciding how I would render my plan. D1 was with colored pencil, and while that was a great exploration I knew the same techniques weren't right for D2. And while D1 turned out great, I don't feel like it quite reached the very depths of me and pulled something out.

But I believe that this afternoon that happened. And it made for a good way to end a school week.

I have these certain markers from the States (I decided to go with Chartpak) which create fumes (mmm, fumes) and fill any studio with said fumes. And while my classmates enjoyed them for the first 10 or 20 minutes, it was apparent that I would need to relocate to finish working and experimenting with my plan. I went to the lecture room, but not long after I settled down I was relocated again as a meeting was about to take place. I found the "storage" room - filled with files, drawings, projects and a table to spare. Perfect. (I think that being isolated was the key to my success with this rendering).

At one point I became frustrated with the direction the rendering was going and the markers were bleeding out on the paper, which initially bothered me, but ended being an asset after Claire pointed out the benefit of such a look. Anyway, I initially wanted something monochromatic, sophisticated, elegant. But what was resulting in front of me was something bland. And it was bothering me. So once I was by myself is the unused studio - I started adding color. Whatever color I wanted - wherever I wanted - nevermind that I was coloring the grass blue and grey and yellow. It did take me a few seconds to feel okay about this, but inside I was thinking, "But this is what I want to do. This is what I feel." And so I went for it.

For years I have been wrestling with my personal rendering style as a landscape designer. I have been having a hard time finding "my look" - something that connects to my very center. I have wanted my designs to feel more expressive and painterly...rather than a literal interpretation of a landscape. Rendering the grass green and the stones grey is not a poor choice...but I have been wanting to try something a bit different. And I have been wanting to try something different for at least 5 or 6 years and it paid off!

I hope to use the techniques I used for D2 again and again. It feels very “me” and I am more found and settled as a “designer”.

Ferns and Moss

I do have an affinity for ferns. And moss.

They keep creeping into my designs; I always let them stay. Ferns and moss are ethereal, magical, and drenched in green. I will have lots of both in my future garden. Until then, my clients get to live with and love them. (Rivendell needs more of each!)

(All images found on Google images)

And that's all I can muster today.

Living with Less

When I was preparing to move to London I had to go through several session of getting rid of stuff. I have always been a fan of de-junking and did it regularly (ask my sisters, I would show up to the parents house every so often with a bag (or two+) of clothes). But by this time in my life I had lived by myself for 6 years and had collected more than I had realized, by way of furniture, clothes, kitchen appliances, random cool objects to look at, etc. You know, stuff I thought I needed to live.

I had read stories about people who didn't have much - just lived with like 10 t-shirts one pair of pants and some shoes and one cereal bowl or something...the bare necessities. Wasn't that all you were hearing about a few years back? I thought that I would like to live similarly, but even with my several de-junking sessions I never quite reached a minimalist stage. 

Until I was forced to.

And it was harder than I thought - ask my sisters once again - they were there with me through the process of letting stuff go and it was indeed a difficult and lengthy process.

I didn't see the point of putting all my stuff in storage. It seemed like such a waste of time, space and energy...and moving to London was the perfect reason to get rid of almost everything I owned and stay simple. Going to London, for me, was to be a new start and a re-birth in many ways, and logistically I couldn't take much with me anyway. 

So once I knew I was going I started getting rid of stuff. I began with the easy things...clothes I hadn't worn in a while. Those kitchen items that I hadn't used in years. etc. I threw a bunch of items up on KSL and Craigslist...then planned and carried out a yard/garage sale (exhausting) where I filled an entire front yard with my past and exchanged it for much-needed cash. I even sold my face wash. For weeks I went through several sessions with my mom and siblings going through my closest and found myself trying to hold on to things, even up until just hours before I was to leave I was arguing about needing this coat or that jacket, but I had to make a choice, I couldn't take it all. It was so frustrating and I was so tired, but at the same time it was very liberating once I put it down and let it go.

I ended up storing very little - my Japanese wooden bed frame, my mattress, my drafting table and one plastic tub of clothes and some shoes. I kept most of my books, my paints and brushes and business papers, etc. as well. But a lot of my personal history, mementos, and lots of random papers went to the garbage. For several weeks I filled up all three garbage cans on L street over and over again. I was continually surprised at how I could keep filling them up - because really, it didn't feel like I had that much to begin with.

I had planned on two suitcases and a carryon, which turned into three large suitcases and a carryon...and a big backpack. But really, that isn't that much because some of it was school supplies - and some of it was a years worth of stuff like toothpaste and whatnot. And I was packing for four seasons. Still, I wondered if I was taking too much, or if I would wish I had brought more. Only time could tell. And time has passed!

LESS.jpg

What I have learned is that less is less. Less clothes means less laundry and less time getting ready for the day. Less stuff to look at means less stuff to clean. Less to get out and use, means less stuff to put away. Less material possessions means less time managing said possessions. Less is less. I am happier with less. I feel lighter with less. And my living conditions are such that I really can't own all that much. There's just not the space for it. My room is tiny and I have one small dresser, one small book shelf and one closet. It's all got to fit into that space. But my portion of the flat is so easy to keep clean and orderly because there's just not that much to keep clean and orderly. I love it! And really, I still have plenty. 

I am not married and without kids, so I don't know how it will be once I have both of those in my life. But I feel like now is the time to create some minimalist habits that will carry into the future because I would like to keep living this way. I know it's not for everyone, but for me and my personality, well - it makes me happier. 

I once said years back, "I don't need a lot. I just need awesome." And now that I am closer to living that way than ever before, I couldn't agree with myself more. :)

A Rendering Revelation

It's Friday and today we had studio all day (my favorite) since D2 (the second design project of the year thus far) is due Monday. That is only 3 days away. I still have a lot to do. But really it serves me right as I didn't manage and prioritize my time well last weekend or this past Wednesday. 

Today my main focus was deciding how I would render my plan. D1 was with colored pencil, and while that was a great exploration I knew the same techniques weren't right for D2. And while D1 turned out great, I don't feel like it quite reached the very depths of me and pulled something out. 

But I believe that this afternoon that happened. And it made for a good way to end a school week. 

I have these certain markers from the States (I decided to go with Chartpak) which create fumes (mmm, fumes) and fill any studio with said fumes. And while my classmates enjoyed them for the first 10 or 20 minutes, it was apparent that I would need to relocate to finish working and experimenting with my plan.

I went to the lecture room, but not long after I settled down I was relocated again as a meeting was about to take place. I found the "storage" room - filled with files, drawings, projects and a table to spare. Perfect.

At one point I became frustrated with the direction the rendering was going. I initially wanted something monochromatic, sophisticated, elegant. But what was resulting in front of me was something bland. And it was bothering me. 

I started adding color. Whatever color I wanted - wherever I wanted - nevermind that I was coloring the grass blue and grey and yellow. It did take me a few seconds to feel okay about this, but inside I was thinking, "but this is what I want to do. This is what I feel." And so I went for it. 

*******

For years I have been wrestling with my personal rendering style as a landscape designer. I have been having a hard time finding "my look" - something that connects to my very center. I have wanted my designs to feel more expressive and painterly...rather than a literal interpretation of a landscape. Rendering the grass green and the stones grey is not a poor choice...but I have been wanting to try something a bit different. And I have been wanting to try something different for at least 5 or 6 years.  

This is just a trial run...tomorrow I will render the final version. But I am pleased with where it is going, and what it is saying. Plus, I received a "well-done". :) 

This is the song I listened to while rendering...

Fingers crossed that tomorrow goes amazingly well.

An Evening at the Barbican

Felix Mendelssohn (1809-47): Overture: The Hebrides Op 26 ('Fingal's Cave')

Robert Schumann (1810-56): Piano Concerto in A minor Op 54 (1841-45) Pianist: Maria Joao Pires 

Felix Mendelssohn: Symphony No 3 in A minor Op 56 ('Scottish') (1842)

Conductor: Sir John Eliot Gardiner

******

The doors were closing at 7:30pm and if I hadn't jogged in my heels from the tube station I would have missed the first symphony. 

And the heels were painful! Normally, these are my go-to pair, the one's I can walk around in all day (and the only pair I have). But last night they h-u-r-t. As my walking has increased by 500 percent since moving to London, and all I wear are flats, my feet, unaccustomed to the rise and run they were now forced into - were crying foul every time I took a step.

Though hard to choose, I will say that my favorite piece of the evening's performance was the Piano Concerto in A minor, particularly the third movement: Allegro Vivace. There's a certain passage in that movement that took me every time it surfaced...and I hoped it would rise up again and again and again. I was very content when it did.

But what really made it into something marvelous was the pianist - Maria Joao Pires (Portuguese). She was engaging and her gestures captivating. She looked as if she were on the brink of death by thirst but with each stoke of a key she was revived by water again and again - as if playing the piano was coming to an oasis in the desert where one practically falls into the water as cupped hands bring the life-giving liquid to your mouth and face. And then it started to rain from above and her face lifted towards the sky; her whole being smiled through her countenance as she swayed back and forth. And the music just kept rising.

It was awesome.

*******

During the first Symphony I kept designing D3 (the third project of the school year) in my mind. I developed a concept of sorts, which I further worked out during the third Symphony. Next week I will sketch these ideas out and see if they are any good. I am still not sure yet. Something about opacity and light and columns...and plants...where to put the plants...

It was a fabulous evening. I was graciously invited by a good friend and am so thankful I was! One musn't go too long in life without attending the Symphony.

Also - the members of the orchestra stood (except the cellists, who were raised on platforms) during the entire third Symphony...not sure why, but it was interesting in a cool way.

Welcome 2014

School is back in session! And has been since the 9th. I went home for the Christmas holiday, then had a week stay in Switzerland and a weekend in Paris so it's only now that I am feeling fully grounded and ready to run (jet lag is a real productivity-killer, no?).

My running legs are in high demand this week as D2 (the second design project we received) is due on Monday....one week - I have one week to somehow pull it all together. Yikes. Somehow it will happen. It always does. 

*******

Not only is school back in session, but it's a new year as well - 2014. And I declare this year, to be the best year yet! And why not?

  • I am immersed in something I am utterly passionate about
  • I live in the heart of London
  • I have superb friends, new and old
  • My favorite color is still green
  • I will graduate from the Inchbald School of Design this July
  • I will see Rome
  • And some other places
  • I am reading books (garden and design, and architectural philosophy)
  • My heart is open and free
  • I am discovering me
  • I feel happiness at my core
  • Everything is going to be alright - it's all going to be okay.
  • And anything is possible

I only made one resolution this year. Just one. (Which is pretty good, considering I used to be anti-New Years Resolutions) I figure if I can get this one thing down...it will have an positive domino effect on everything I do, everyday...and result in a rich, full, happy and productive life.

Early Bed, Early Rise.

Simple as that (ha, yeah...we'll see) - though then I think, well - I am going to the symphony tomorrow night, and it will be a late one, so...but there also must be room for some exceptions...right?

Approach and Threshold

Approach and Threshold (D2)

by Lorien Hall

Approach and threshold, two words when consciously combined then materialized, have the potential to create powerful or meaningful experiences. For our purposes, the transition from the interior space of the house into the exterior space of the garden will be the approach and threshold discussed and applied. And in this context it is the task of the garden designer to create or develop this transition.

A universal occurrence that everyone experiences when moving from inside to outside, or from house to garden, is a shift in the five senses: sight, sound, touch, taste, smell. Once the hand is placed on the door handle and pulled or pushed open – or a hand pushes aside the textile of an ancient hut, a shift in the senses begins...we step through the door frame...past the textile...and at that very moment of moving from shelter into exposure we are experiencing approach and threshold.

The experience of transition can be multiple; abrupt, dramatic, subtle, seamless, fluid, gradual, drawn out, obvious, understated and so on. It is what we make it to be, realizing that we can do it with purpose, or leave it to default. The latter being something a proper garden designer should never do.

In Design 2, there are essentially five opportunities for approach and threshold (this only applies to “from house to garden”, as there are potentially many more thresholds to consider and develop on the site). What will be the function and importance of each of these opportunities? What could be the experience? How can that be created?

1) Back of Kitchen (side of house): this is to be the main entrance/exit from the house for the homeowner and guests alike. And while this approach and threshold doesn't overtly include the garden, per se, the experience shall be simple, inviting, and respectable in an effort to make users feel comfortable and appreciated. This is to be accomplished by making the transition obvious through ground plane materials, door style and color, plant material and lighting. Nothing too overwhelming.

2) Kitchen: this will probably be the second most used set of doors (possibly the most used for the owners themselves?) and will land immediately in the garden. Relaxing yet invigorating, refreshing, life-giving with a sense of wonder and gratitude...these are the attributes to develop from this threshold by first being greeted by a generous landing to stand on and directing views out and around the expanse of the garden, followed by a step down to the breakfast terrace integrated with an herb garden to reflect the goodness that comes out of the earth.

3) Back of Dining Area: when formal outdoor dining is called for, this is the door for the job. Leading out into a meadow adjacent the house with the dining table placed amidst the grasses, wildflowers, small specimen trees and Buxus clouds, this will make for a threshold that is curious yet delightful with a hint of the whimsical.

4) Formal Entry Hall: this door shall be used minimally, but will share in the same delightful experience of leaving the inside dining area, as it leads out into the same area. There will, however, be one enhancement - and that is a bit of mystery. From the doorway, an arbor/pergola shall extend away from the house and support a vine appropriate to the hours of sunlight received in that area so that when one opens the door, the threshold extends and one is enclosed for just a second before entering full outdoor exposure.

5) Drawing Room: This will lead directly into the conservatory – however, an analysis of the approach and threshold from the conservatory into the garden should be developed further.

Any approach from inside the house that includes windows or glass in the doors, will in essence, start the moment that the eye looks out into the garden. At that moment the mind will start to shift the senses, and the anticipation of moving through the threshold is set in motion. 

I Wish I Would Have

Something I have realized since coming to the Inchbald is the great value of becoming familiar with other garden designer's work.

I wish I would have understood this a decade ago. 

Partly I avoided others work because I felt that I was supposed to come up with original ideas all on my own - without the influence of another designer. I thought if I was a real designer, I would come up with the next best idea solo. Well how ridiculous is that? 

I have always sought to be influenced and inspired in my designs by what surrounds me…leaning heavily towards music, architecture, travel, and nature itself. I felt those were noble and acceptable influences to be inspired by. But I always dismissed other garden designers, not wholly - but enough that now I feel I am playing a much needed game of catch-up. The game of who-is-who-and-who-designed-what.

So to all budding and beginning designers, I plea - get to know your designers - past and present! Research their work, know what makes (or made) them tick - what drives their designs, their opinions and their likes/dislikes, etc...and it's not so you can be them, or even be like them - but it's so you can be inspired by them. And in your journey of discovery - I believe that there will be one designer, one designer above all others that will emerge, whom you will be surprised at what you learn about them and their designs. And that one designer is you. 

As I have been reading and studying the works of other garden designers in an honest effort to get to know them and their designs, I have been surprised at how it has helped me get to know myself as a garden designer - and to see how my development is evolving into something that is indeed, unique to me. The irony lies in that the very thing I was avoiding in order to keep my individuality in my profession, is actually a force in discovering my distinctive essence as a garden designer.

Go figure.