A Dragonfly is Driving the Design

Last month my main focus was capturing and defining the essence of my current design project. Images help me achieve this and I will spend hours scouring the internet, gathering photos into a folder that will then be curated, selecting the most inspiring images that will help me tell the best story of the future landscape.

With this particular project it came down to this:

Simple and elegant. A balance between the masculine and the feminine. Contrast in light and shadow and in color. Strong in form yet effortless, not overbearing. Naturalistic. 

Of course there are a plethora of other images that made the short list, but this one I singled out to have with me as I developed the core of the design. And I will share the results in the coming weeks ahead.

It Was Like Being Inside A Big Beautiful Marble

For as dry and desert-y Utah is, it does have its watery places. I love spending time in these places as water is a great contributor to the dynamics of light, shadow and reflection...something that deeply interests me as a landscape and garden designer. 

This past Saturday I was traveling home from Northern Utah and decided to take a detour - as one always should on a Saturday (or any day). I followed a gravel road, which turned into a dirt road, after which I ended up on a narrow dike with Willard Bay stretched out in front of me. It was mesmerizing, the water was so flat and still. It really did feel like I was inside a big beautiful marble, watching it change and evolve as the sun sunk lower into the horizon line. 

To see more images from my Willard Bay adventure, see my Instagram account. The sky caught fire afterwards and it was breathtaking.

Artemisia tridentata

Since returning to Utah last September, I have been focusing on what I love about this state and why I love living here. 

This is one of those reasons:

I absolutely love Sagebrush. The way it smells after a rainfall, the way it twists and turns as it grows, and the way it fills the vast Great Basin and high mountain desert, adding to the expanse and personality of the West. It is wild and free - and drought tolerant. 

As we are having a very warm February in Utah (lovely for hiking, no allergies!), I am thinking to the growing season ahead and the potential lack of water this part of the world may face. It would do the Earth well if more of us fell in love with this native and incorporated it into our landscapes and gardens. Think how happy the water and wildlife would be! 

Here is a bit more information about this wonderful shrub for those who are curious. This information came from the USU website:

Driving through the Great Basin, you can often look out upon a sea of gray-green shrubs. This shrub of commanding presence is big sagebrush. This is a woody shrub with silvery three-lobed leaves that stay green all year.

There are several subspecies of big sagebrush. The most common are Wyoming big sagebrush (Artemisia tridentata ssp. wyomingensis), mountain big sagebrush (Artemisia tridentata ssp. vaseyana), and basin big sagebrush (Artemisia tridentata ssp. tridentata). These subspecies are difficult to tell apart, but each has a habitat it finds most favorable. Basin big sagebrush grows in valley bottoms and lower foothill areas with relatively deep, fertile soils and more moisture. Wyoming big sagebrush is more common on hotter and drier sites with shallow, lower quality soils. Mountain big sagebrush tends to occur at higher elevations that are wetter and cooler.

Native Americans made a tea from big sagebrush leaves and used it as a tonic, an antiseptic, for treating colds, diarrhea, sore eyes, and to ward off ticks.

This shrub grows in communities with bunchgrasses throughout the Great Basin. Usually plants grow between 2 and 4 feet tall, but scientists have found shrubs taller than 10 feet in areas with deep soil and plenty of moisture. In late summer or early fall, sagebrush plants bloom with inconspicuous golden yellow flowers. Big sagebrush has a sharp odor, especially after rain. Early pioneers traveling along the Oregon Trail described the scent as a mixture of turpentine and camphor.

Plants must be tough to survive where summer is hot, little rain falls, and strong winds blow. Big sagebrush has many adaptations to fit this harsh environment. Their leaves are covered with tiny hairs that help prevent it from drying out in the heat and wind. Some leaves are shed in the summer when soil moisture becomes scarce, thereby reducing water requirements. At night, the taproot of sagebrush pulls moisture from deep in the soil and distributes it to shallow branching roots that grow near the surface. During the day, the shallow roots use this water to keep the shrub alive.

While the gnarled branches of big sagebrush may seem tough, it is easily killed by fire because it cannot resprout afterward. Occasional fire is the principal means of renewing old stands of big sagebrush.

One of the big reasons cheatgrass invasion is bad for the Great Basin is because with it and frequent fire, we are losing large stands of big sagebrush. Without these shrubs, animals are affected and ecosystem processes change.

Sage grouse rely heavily on big sagebrush. As much as 70 to 75 percent (higher in winter) of their diet is made up of its leaves and flower clusters. Antelope eat substantial amounts of big sagebrush throughout the year, and mule deer feed heavily on the plant during late fall and winter. Sharp-tailed grouse, jackrabbits, elk, and many species of small mammals eat big sagebrush sparingly at various times of the year.

Big sagebrush provides nesting cover for sage grouse, other upland game birds, and several species of sparrows. It also helps prevent erosion, protects animals against wind and rain, and provides shade. Big sagebrush communities serve as important winter ranges for wildlife throughout the Great Basin.

Form

I have been thinking about form lately (the mounding variety in particular), and the way it plays with light, shadow, and a sense of the tangible. Two specific images have been coming to mind repeatedly, the Chocolate Hills in Bohol, Philippines, and the Yareta plant in the higher elevations of South America. I believe if you or I were to come across these in their native locations we would probably scratch our heads and smile in curiosity and delight. I think we would feel wonder.  

It is when I see that such creations exist naturally in our world, that I think we ought to be a bit more daring and adventurous in our design work.

The Chocolate Hills: Grass-covered limestone. The conical domes and mounds vary in height - from 98 to 164 feet with the tallest being 390 feet tall. They cover an area of 20 square miles. The green grass turns a chocolate brown during the dry season, thus the name Chocolate Hills.


The Llareta plant: Native to South America. It grows at altitudes between 10,500 and 14,800 feet and is found in the Puna grasslands of the Andes in Peru, Bolivia, northern Chile and western Argentina. It grows approximately 1.5 centimeters a year and many Yareta are thought to be over 3,000 years old. 

yareta-01_slide-5e7529c48ac9ea75764086f61f65e204e62c4460.jpg

Hard Work and Working Hard

This morning I am thinking about the ability of working hard. And hard work. And the courage it takes to do both. 

Some others have thought about it as well.

Inspiration is the windfall from hard work and focus. Muses are too unreliable to keep on the payroll.
— Helen Hanson
I’m a greater believer in luck, and I find the harder I work the more I have of it.
— Thomas Jefferson
Sometimes there’s not a better way. Sometimes there’s only the hard way.
— Mary E. Pearson
The three great essentials to achieve anything worthwhile are: Hard work, Stick-to-itiveness, and Common sense.
— Thomas A. Edison
You cannot plough a field by turning it over in your mind.
— Author Unknown

Now it's time to get to hard work and to working hard.

Clouds, light and contrast

Here's a moody and moving image I found while searching for images portraying 'light'.

Click on the image to experience it fully.

Clouds and light are some of my favourite things about this planet, Earth.

Friday Musings

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Each design I am commissioned for has its own unique personality, character and soul. My job is to find it and provoke it into something beautiful, livable and wonderful.

Sometimes I am able to express how I view my work and responsibilities as a designer. Other times I really struggle to be succinct and end up rambling on without much coherency. I definitely experienced both this week. Bless the soul who experienced the latter.

The little nook of my recently-moved-back-in studio space in progress.

The little nook of my recently-moved-back-in studio space in progress.

Aspen and Dogwood in Winter

This is just amazing. 

Click on the image to enlarge your experience.

Definitely going to work this into a design somewhere, sometime.

Wagner Residence

Discovering respectable work of other designers and architects in my field is inspiring. While searching for images of cor-ten steel I came across this space:

Click on the image to enlarge your experience.

I love the sculptural presence to the garden.

To see more images of this residence, and other projects check out their website. They achieve simplicity and organization in a freeing manner. Calm and pleasing spaces. 


Deschampsia cespitosa 'Bronzeschleier'

Gorgeous.

What I love about this image: 

The Deschampsia has gone to seed creating a spattered-cloud effect. The seed heads capture light at various angles, thus illuminating various particle sizes which makes it more interesting. The seeds that are in shadow create contrast. The in-focus champagne color vs the grass green color vs the blurry chartreuse color vs the sea foam green color.

January

January...

January is a fresh word. Fresh and new. Full of potential and hope if we are brave enough.

I am back in Salt Lake City, back on L Street…filling up my old place with new memories. I got rid of everything before I moved to London, so I have been doing the run-around for a few weeks in order to create a space in which I can function and feel at home. But also a space where I can be highly inspired and creative. It's coming together and I am giving myself one year to get it all figured out. Rugs take time.

So far I have some furniture arranged about and three plant skeletons I found in the mud flats suspended from the ceiling, so I would say I am off to a decent start. The massive bulletin boards arrive next week. I will paint them white and cover two of my walls with them. Then I can pin up whatever I like, whenever; visualize my thoughts. 

Maybe I have mentioned this before, but during the course of 2015 I will be preparing to open an appendage to my landscape and garden design work, Lorien Hall Studio (I think that's the name). It will be a creative studio that will explore tangible expressions which stem from my landscape work - art installations and drawings that are quite conceptual. I am anxious to see my ideas materialize in a way that can reach a wider audience, and touch more people on a more personal level. 

The year ahead is going to be ace. I already have a great landscape commission on my plate with new opportunities on the horizon. While I miss my life in London everyday, it's good to be back creating dreams here in Utah, where other possibilities do exist.

 


Faithless is he that says farewell when the road darkens.
— JRR Tolkien

September 30

I thought I should at least get one blog post in during September. 

I returned from London on September 10th....20 days ago. Since then there's been a lot of sorting out - some physical, but mostly mental and emotional.

Nothing about my future is defined yet, but I am sketching out several ideas and options.

For now I am in Utah enjoying nature, becoming reacquainted with family and friends, and exploring potential design commissions.

Garden

There's something about this time of year that makes me want to harvest summer squash and zucchini from the garden and prepare it for dinner tonight. It's my childhood again, peeking up over the counter looking at me. Growing up, summertime dinners mostly came from the garden, and I am grateful my parents instilled in me the blessings of planting, tending, and harvesting from your own soil each season. It makes one conscious of time, nature, and the value of life, work, and sharing.

I have loved this video since it came out three years back and re-watched it again a few weeks ago. I still love it. The husband-wife team, Tiger in a Jar, does some fabulous work.

4 Questions

There are several makers and designers I follow on Instagram whose work I absolutely admire. As I was reading one of their blogs I came across a set of four questions that are being passed around their network of creatives. Normally you are invited to answer these four questions by one of your peers, but seeing how I will probably not be invited anytime soon, I thought I would ask myself. And it's not because I think I have amazing answers or anything, but rather, I want to discover for myself, what my answers are. 

What am I working on?

Currently I am preparing a Master Plan for my friends in Shropshire. If you have been following me you know this was for my final project at school, but now I need to get the design client-ready which entails lots of writing and some rendering.

I am also working on a Q&A for my Lorien Hall website. As a landscape and garden designer I get asked the same questions over and over so this is my way of presenting my answers to the masses. By going through these questions it is also helping me refine and define my business plan and set goals for the future. 

In my loose hours I have been doing some exploratory writing, charting, and planning for future projects that are all about collaboration and creativity, but not about landscape design. I am extremely excited about the prospects. 

How does my work differ from others of its genre? 

This is a great question. What is it that sets me and my work apart. I think I spend more time on site than many other landscape designers. I won't work on a project unless I can see the ground - so if I am working in Utah and it's freezing and covered by snow, I will wait until spring before starting any new projects. I spend a lot of time on-site prior to designing and I try to be on-site during the initial concept stage. And the more I can be on-site during installation the better. I am present as much as possible because I think in the end, it makes a massive difference.

Also - I do most of my work by hand rather than using a computer. I think the medium you design with will directly and strongly influence the outcome of the design and for that reason, I stick to my pencils and markers so that I don't become too mechanical and limited in my expression. I am thinking of moving into watercolour for my medium.

Why do I create what I do?

I love nature.

I love design.

I love imagination. 

I love contributing to other people's happiness.

Being a landscape and garden design allows me to be absorbed by all four.

How does my creative process work?

As stated above, I spend a lot of time on-site. To me, this is a very important part of my creative process. Having just finished a year at the Inchbald I am exciting to see how my creative process has evolved and changed. Once I start back designing in my own studio I envision utilizing more sketches, mood boards, models, playfulness, and as always, lots of day-dreaming. 

Where We Played, Where We Became

When I was a young girl we had a large hillside behind our house which was covered in tall wheat-like grass. Here we could run, hide and explore. At the top of that hill was a very large and open field (an old buried dump site we could sometimes find treasures in) and if you walked far enough south you came to a lone cherry tree from an old orchard that provided us with sweet eats in the summer months. To the back side of our house there was a gully which we called The Back Fence - a city-owned easement completely full of palm trees. Of course, being in Utah - they were not palm trees at all. But to me they were and I had a jungle to play in everyday. Monkeys lived in the trees. But of course, they didn't really. 

I had terrible allergies growing up - and everything outside our back door made my eyes go red, puff up, and itch like mad. My throat would swell up and be scratchy and my nose ran badly. But I didn't care. I went out anyway. There were too many lives to live - too many worlds to explore. 

In The Fields there were a few large tangles of barbed wire piled into a mess - must have been left over from the dumping grounds. There was a particular one - our favourite one - which we dubbed as Big Mouth because there was a large piece we could pull up like an upper lip then crawl into the space behind as we stepped over the lower lip. We would hide inside this mess of pokey wire to feel protected and enclosed - somehow we never came out bleeding. 

The two main trails leading from the base of the hill to the top had names. The dominant sweeping half-circular trail was the Jolly Roger. The one further north was the Spanish Main.

Off the Spanish Main was The Time Machine - a large old log pointing downhill with a wide enough girth to hold three, maybe four of us. We spent many hours playing on this old tree trunk, gripping the worn down branch stubs, and riding the waves of wheat as the wind moved across the fair fields. Right next to the Time Machine was The Quarry. Here the hillside indented and was filled with a massive pile of rocks which hid old glass bottles. We found some neat items in those rocks. And some neat rocks.

Spring was signaled by the first sprouts of green at the base of the hill and on those lion-lamb days we flew kites on the crest. Summer was full-throttle expeditions hoping that dinner was delayed just a little bit longer, and that we could retreat to our imaginary worlds afterwards until dark. As we moved into Fall it was transformative to watch the mass of golden wheat heads move rhythmically in the wind before the white flakes of Winter fell - matting down the golden shafts and providing the best sledding hill we could have asked for. Sometimes tunnels were built.

There was no fence or barrier between the boundary of my parents property and these other worlds where my younger siblings and I played in most days. And though we definitely grew up in suburbia Utah - and had all the benefits of a friendly butter-and-sugar-borrowing neighborhood where riding bicycles around the block was also a constant - we also had this incredible connection to a non-structured space and time where we could play out our imaginations. Nothing was as it was. Even our days spent on the swing set wasn't that - it was a large ship! Jumping on the trampoline was anything but jumping on the trampoline. Instead there were waterfalls and pools made out of crystals with greenery in luscious abundance. We were creative - we used our imaginations - anything was possible. We pushed "reality" away and created our own. 

Now, as I develop and explore my identity as a landscape and garden designer - I draw from my precious childhood memories to understand who I am, where I come from and where and how I "became". I love and hold dear the spaces that we defined, that in turn - defined us.  There was such freedom in those days.

I want to capture and create this freedom and looseness in my designs. Less formal hedges, more loose grass. Less manicured lawn, more dirt to make mud pies and watering holes with. Less "don't you dare pick the flowers", more handpicked bouquets for the dinner table or for mom on Mother's Day (even if they are weeds). Less boundaries, more exploration.

Do we allow ourselves to have enough unstructured hours in our weeks and months? Do we play enough? And not just our children, but we ourselves? I believe that our gardens and landscapes can pull this out of us if we let them be a bit "unstructured" as well.  

Now the hillside of tall grass is gone including Big Mouth, many trees have been taken out of the Back Fence and there is a fence on the boundary line. The Time Machine was hauled off, The Jolly Roger and The Spanish Main plowed over. On the top of the hill are condominiums filled with people who will never know what worlds they are built on. But we still remember. 

It's where we played. It's where we became. 

And that will never leave us. 

Folded Light, Folded Shadow by NISHIMURA Yuko

Since last September, the potential use of Light and Shadow in my design work has been a constant in my thoughts. This women captures the simple beauty of these elements so elegantly.

I am enchanted. 

And not to mention that each tool she uses is an amazing piece of art in and of itself. (Now you'll watch it again just to pay attention!) I love Japanese tools.