APLD The Designer Spring 2015

thedesıgner ASSOCIATION OF

PROFESSIONAL LANDSCAPE DESIGNERS

Spring 2015

Marking Time

NATURE’S PATTERNS SUPERSTAR NATIVES AMAZING AGASTACHE

editor’sletter It's All About Sustainability

A

round ten years ago I heard renowned nurseryman and grasses expert John Greenlee speak about the mechanics of reducing lawn size. Expecting an earnest, statistics-driven lecture, I became fully alert when he dramatically pounded his fist on the podium, demanding that we make a choice. We were either for lawns or against them.

While I never did make that choice—under the right circumstances, lawns still have a place in my designs—Greenlee’s passionate position was one of the events that influenced me to fully commit to a sustainable design aesthetic. At times this can be challenging, as designers are often caught between what we know is the right sustainable choice, and following the client’s wishes, which may fly in the face of best practices. My strategy?

Explain the environmental benefits, but also explain how a sustainable approach benefits the garden’s owner. Keeping water onsite not only protects watersheds, it recharges groundwater, which in turn creates sturdier plants that require less water over time. Attracting pollinators ensures healthier fruit trees and vegetables.

In this issue, the idea of sustainability is tackled from many angles. Jessi Bloom and David Boehnlein explain a key tenant of permaculture by sharing how “Nature’s Patterns” can influence a garden’s design. Edible landscape designers Stefani Bittner and Christian Cobbs share why they include “Amazing Agastache” in all of their planting plans. Combine these articles with our regional experts weighing in on their favorite natives, and you have the tools and inspiration you need to dig into spring.

SUSAN MORRISON

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EDITOR@APLD.ORG

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9 PRESIDENT'S MESSAGE 12 DESIGN ROUNDUP 14 PRO PLANT PICKS Superstar Natives 22 TECHNOLOGY Tracking Hours

BY K E L LY G R EENWO O D

24 BOOK REVIEW The Living Landscape

BY JA N E B E RGE R, FAP LD

28 DESIGN 101 Natures Patterns

BY J E SS I B LO O M & DAVID BO EH NLE IN

34 ARTIST'S PERSPECTIVE Marking Time

BY SCOT T H OKUNS O N

40 POLLINATOR HEALTH Amazing Agastache

BY ST E FA N I BI TTNER & C H R I ST I A N CO BBS

46 DESIGN MASTER CLASS 3D Modeling

BY C H E R I ST R INGER

54 SAVING WATER Low Water Trees

BY M AT T F R ED M O NS KY

O N T H E COV ER: S C U L P T U R E BY DAVID H ARBE R LTD.

O N T H I S PAG E: P H OTO G R A P H ©SAXO N H O LT/ P H OTO B OTA N IC

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SPRING 2015

contents

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thedesıgner EDITOR IN CHIEF Susan Morrison ART DIRECTOR

Jane Berger, FAPLD Book Review

p. 24

Stefani Bittner Pollinator Health

Jessi Bloom Nature's Patterns

p. 28

p. 40

Marti Golon EXECUTIVE DIRECTOR

Denise Calabrese ASSOCIATE EXECUTIVE DIRECTOR

Lisa Ruggiers MEMBERSHIP DIRECTOR

Angela Burkett COMMUNICATIONS DIRECTOR

Michelle Keyser DIRECTOR OF CONFERENCES & EVENTS

Jen Cramer CERTIFICATION COORDINATOR

Kelly Clark COMMUNICATIONS ASSOCIATE

Courtney Kuntz BOOKKEEPER

Jennifer Swartz MEMBERSHIP, FINANCE & EVENTS COORDINATOR

Leona Wagner NEWSLETTER EDITOR

Amy Bobb COPY EDITOR

Claire Splan

➸ Click name to email us!

For information on advertising in The Designer, contact communications@apld.org For submission guidelines click here

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Jane Berger, FAPLD, has been designing gardens for the past 20 years and writing about them even longer, for Landscape Architecture Magazine, The American Gardener, The Associated Press, and others. After a career as a radio news correspondent in Washington DC, Jane graduated from the Landscape Design Program at George Washington University.

She served on the Board of Directors at APLD as Communications Chair and was editor of The Designer from 2009 to 2013.

Stefani Bittner is the owner of Homestead Design Collective, a San Francisco Bay Area landscape design firm focusing on aesthetic edible gardening. Together with her team at Homestead, she offers a unique, sophisticated, and effective set of design, fine gardening, and organic farming skills for people who want help creating aesthetically designed, organic edible gardens. Stefani is also the co-author of the best-selling book, The Beautiful Edible Garden (Ten Speed Press, 2013), which was selected as one of Amazon’s best garden books of 2013.

Jessi Bloom is a best-selling author, national speaker, and award-winning ecological landscape designer.

Her firm, N.W. Bloom ~ EcoLogical Landscapes is known for innovation in sustainable landscape design, construction, and maintenance. Her book Free-Range Chicken Gardens is praised for being informative and inspiring, changing the way people integrate animals into their landscapes. Recognition for her work includes awards from the Washington Department of Ecology and the American Horticultural Society.

contributors David Boehnlein

Matt Fredmonsky

Kelly Greenwood

Scott Hokunson

Nature's Patterns

Saving Water

Technology: Tracking Hours p. 22

Artist's Perspective

Kelly Greenwood designs residential gardens and interiors for indoor-outdoor living. Her work was featured in the book Backyards: A Sunset Design Guide as well as on HGTV’s “Landscape Smart” and “Small Spaces, Big Style.” She earned her certificate in Landscape Architecture from the UC Berkeley Extension program, and is a member of ASLA as well as a past board member of the APLD California chapter. Look for her to appear this summer in the PBS documentary Decoding Ancient Chinese Gardens.

Scott Hokunson, principal behind Blue Heron Landscape Design, has been creating landscapes since 1981, and brings a wealth of experience and expertise to each project. A proponent of natural and sustainable principles, Scott works closely with his clients to create elegant outdoor living spaces, minimizing the impact on the environment through all phases of the project, including ongoing stewardship.

p. 54

p. 28

Dave Boehnlein serves as the education director at Bullock’s Permaculture Homestead on Orcas Island, Washington. He is also the principal and a founder of Terra Phoenix Design, where he helps clients around the globe achieve their sustainability goals through integrated master planning. His freelance teaching services are highly sought after by universities, nonprofits, and other organizations. He seeks to mainstream permaculture design with integrity. In addition, Dave is passionate about plants, especially weird but useful ones.

Matt Fredmonsky is a project manager in corporate communications with The Davey Tree Expert Company. He has more than ten years of experience as a professional writer, including as a magazine freelancer, journalist, adjunct professor, social media manager, photographer, blogger, and public relations manager. When not working, Matt enjoys spending time outdoors, whether hiking, cycling, kayaking, or just relaxing.

p. 34

Cheri Stringer Design Master Class: 3D Modeling

p. 46

Cheri Stringer, owner/principal behind TLC Gardens has been designing and building landscapes since 1999.

TLC gardens works with architects, engineers, city planners and professional builders on landscape renovation for both residential and commercial projects throughout Colorado. Their goal is to reconnect clients with nature, either by integrating elegant outdoor spaces or by upscaling commercial properties with areas for people to reflect and engage with the natural world.

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president’smessage Why I Volunteer

I

feel honored and privileged to be your 2015 APLD president. Many might say I am a bit crazy, but I don’t think so, and I want to share with you why I volunteer.

For me it was simple. When I started my business 12 ½ years ago I wanted to grow it fast. I have been in other types of business and around the block enough to know that I can easily learn (some call it “glean”) from others faster than trying to learn everything I need to know by myself. I had just finished my two-year horticulture/design degree and quit my job, and I needed to kick-start my design business. What to do? I heard about APLD and thought it could be a good learning tool.

I contacted headquarters and joined.

The area where I live did not have a district and it was at least a three- to fourhour drive to attend the closest APLD meeting. So I put on my volunteer cap and with a couple fellow designers started the Sacramento District of the California Chapter. I learned a lot fast and met many wonderful people along the way. Our small APLD group worked a couple home shows and built a network of designers. We held meetings with presentations about topics we wanted to know more about. We grew our membership and our businesses. We were a team and cared about the success of everyone, even though we each had our own businesses as our first priority.

I truly believe that the more you give, the more you get, and in giving there is satisfaction that you did so, even though you may not immediately reap the profits. What I have found is that so many in the horticulture industry have a similar philosophy. It simply feels wonderful!

COLLEEN HAMILTON APLD

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Garden Photography WorkShop Goes Online Celebrated photojournalist Saxon Holt has launched PhotoBotanic.com, an online garden photography workshop, learning center, and photo repository. The workshop consists of 24 lessons inspired by what Holt teaches in his live classes as the photography program director at San Francisco Botanical Garden. In addition to the workshop, the website is packed with useful information for those looking to improve their garden photography skills, including ebooks filled with beautifully illustrated gardens, advice, and interactive links. Holt has photographed numerous iconic public and private gardens, and his work is familiar to anyone who owns a garden book or subscribes to a garden magazine. His advice to designers wanting to improve their own photography skills? “The first lesson I always tell my students,” says Holt, “is fill the frame of your camera, whether that’s a smart phone or high-end DSLR.” PHOTOGR A PHS ©SAXON HOLT/PHOTOB OTA N IC

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designroundup Taking Herbs To the Spa Written by garden designer and APLD member Sue Goetz, The Herb Lover’s Spa Book (St. Lynn’s Press, 2015), covers many areas of interest to gardeners and designers, including growing, harvesting, design plans and recipes for sachets, scrubs and bath products that create the ultimate in-home spa experience. The emphasis is on understanding the cultural conditions and wellness uses for a core group of herbs, rather than creating an exhaustive encyclopedia.

What makes Goetz’s approach unique is her emphasis on using herbs to create sanctuary and retreat spaces in the garden and home. “I love it when a landscape client falls in love with their garden,” says Goetz, “sometimes by the simple discovery of what an herb planted in their own garden can be used for. ”

Timeless Beauty® Desert Willow A North American native, Timeless Beauty desert willow (Chilopsis linearis ‘Monhews’) is a 15- to 20-foot deciduous tree that works well in borders, containers or firescaping situations. Large, fragrant bi-colored burgundy and lavender flowers bloom in clusters at the ends of the branches. Because it does not set seed, the flowering season for Timeless Beauty is significantly extended over other desert willow species. Purportedly a chance discovery from an undisclosed location in Arizona, the tree is hardy to USDA zone 7, needs full sun, and once established needs only occasional watering.

PHOTO COURTESY OF MON R OVI A

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proplantpicks

Dudleya pulverulenta

USDA HARDINESS ZONES: 8–10 SIZE: 6­” H x 12–18” W CULTURAL REQUIREMENTS: Sun to part shade. Any soil with good drainage. Plant at an angle to keep water away from crown and provide occasional summer irrigation (not overhead).

Anne Weinberger is a garden designer and freelance writer based in the San Francisco Bay Area city of Piedmont. She specializes in water-conserving gardens and has a special place in her heart for succulents. She has designed gardens throughout the East Bay region of the San Francisco Bay Area and in Los Angeles.

PHOTOGR A PHS BY KEN B LACKFOR D

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SUPERSTAR NATIVES WEST

Chalk Liveforever Dudleya pulverulenta

C

BY ANNE WEINBERGER

reating a western garden with mostly natives is a welcome challenge for a designer, but some clients worry that a native landscape will lack drama. That’s when I introduce them to the dazzling California succulent, chalk liveforever, native to rocky areas of the coastal ranges from San Luis Obispo to northern Baja California.

With ghostly bluegreen foliage coated Dudleya caespiotosa in chalky white, it’s an eye-catching garden accent throughout the seasons. The rosette of nearly two-inch-wide leaves reaches up and out like a fountain, brilliant against ground-carpeting natives with colorful blooms, like the late-winter blue of ‘Centennial’ California lilac (Ceanothus ‘Centennial’) and the summer-tofall crimson of ‘Everett’s Choice’ California fuschia (Epilobium canum ssp. latifolium ‘Everett’s Choice’).

Dudleya pulverulenta is sensational tucked between rocks, snuggled up against the grand Agave ‘Blue Flame’ or combined with other succulents in a container. Best in part shade inland, it dazzles from beneath a cluster of deep wine Aeonium arboretum ‘Zwartkop’ or the nearly black ebony conebush (Leucadendron ‘Ebony’). In late spring, silvery spikes with clusters of orangered flowers rise up over a foot long.

This distinctive genus also includes the stunning Dudleya brittonii, with a sea-green glow to its broad, chalky leaves, and D. caespitosa, with finger-like clumping foliage. Dudleyas are a part of every native garden I design, and I’m always confident my clients will fall in love with these California beauties.

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SUPERSTAR NATIVES

MIDWEST

Indian Pink Spigelia marilandica

I

BY BOBBIE SCHWARTZ, FAPLD f you are looking for an alternative to the pastel flowers of most shade plants, you’ll appreciate the vibrant color of Indian pink. Its tubular blossoms boast bright red sheaths surrounding sunny, yellow starbursts that light up a shady garden.

Short of stature, the alternate, ovate foliage of Indian pink forms a lovely skirt for taller shade perennials such as yellow waxbells (Kirengeshoma palmata), autumn fern (Dryopteris erythrosora) as well as taller shrubs like Hydrangea arborescens ‘Invincibelle ® Spirit’. In my Cleveland garden, the main flush of bloom occurs in late June, but Indian pink will continue to bloom intermittently through the beginning of September, with blooms emerging sequentially from the bottom of the stem to the top.

This woodland perennial acts as a nectar source for butterflies and hummingbirds. Its native habitat stretches from New Jersey to Florida and as far west as Texas and Wisconsin. It is greatly underused, perhaps because so few nurseries produce it. Although clump forming, the clumps will enlarge with time, and the plant has the potential to reseed.

This beautiful native is an eye-stopper!

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USDA HARDINESS ZONES: 5–9 SIZE: 12–18” H x 12–16” W CULTURAL REQUIREMENTS: Part to full shade. Prefers moist soils with good drainage. Does not transplant well.

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PHOTOGR A PHS BY B OB B I E SCHWA RTZ

proplantpicks

Bobbie Schwartz, FAPLD, is an awardwinning landscape designer in the Cleveland area. Her signature is fourseason interest. In addition, she writes extensively, lectures nationwide, and blogs at Bobbie’s World.

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As temperatures drop, leaves take on a reddish cast.

Vanessa Gardner Nagel, APLD, NCIDQ, owner of Seasons Garden Design LLC in Vancouver, WA, designer for over 35 years, and author of The Professional Designer’s Guide to Garden Furnishings and Understanding Garden Design, supports the design philosophy of integrating exterior with interior and finding the common thread when “weaving” garden designs.

PHOTOGR A PHS BY VA N ESSA GA R DN ER N AG EL

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proplantpicks SUPERSTAR NATIVES

NORTHWEST

Evergreen Huckleberry

Vaccinium ovatum

BY VANESSA GARDNER NAGEL, APLD, NCIDQ

I

n the northwest, native plants often have little presence during cold, wintry months. While some take on a dried, distinct shape, many have a form that is muddled or non-existent anytime other than the growing season. Enter evergreen huckleberry. Evergreen, it provides year-round structure and plays a dominant role in winter when many plants are dormant, then settles gracefully into the background during high season. As temperatures drop, leaves display a reddish cast, adding even more winter interest.

Evergreen huckleberry’s tiny, pink, urn-shaped flowers in spring ripen into late summer blackish-purple fruits. In sunny locations it will grow to about three feet high, while in partial shade it can reach up to ten feet tall. Additional sun will usually dictate more fruits—a welcome occurrence as the tasty berries are highly valued for pies and jams, can be difficult to find, and unless frozen, spoil quickly. Its flowers and fruits attract hummingbirds, butterflies, and birds.

Evergreen huckleberry’s native habitat is along the west coast at the edge of coniferous forests in moist, acidic soil, although I have also seen it growing abundantly in sandy beach soil with shore pines. Because its leaves are small, it can be clipped to good effect. It makes an excellent formal or informal native hedge, but if left to its own devices, it typically grows to about six feet in width. An excellent backdrop for other plants, evergreen huckleberry combines well with other partial-shade-loving plants like variegated Lenten rose (Helleborus artgutifolius ‘Janet Starnes’), many forms of hosta and both native and hybridized forms of mahonia. It is particularly stunning with Himalayan blue poppy (Meconopsis betonicifolia), which has similar cultural requirements and flowers that shine with an evergreen backdrop. Combined with evergreen carex cultivars in winter, evergreen huckleberry creates delicate garden bones.

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USDA HARDINESS ZONES: 7–9 SIZE: 4’ H x 6’ W CULTURAL REQUIREMENTS: Partial shade and moist, well-drained soil. Once established, it is drought-tolerant in its native habitat.

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SUPERSTAR NATIVES

NORTHEAST

Fragrant Sumac Rhus aromatica ‘Gro-Low’

BY CHRISTINE DARNELL

W

hen I encounter a difficult site, fragrant sumac is the native plant I turn to again and again. An essentially no-maintenance plant, fragrant sumac, also known as gro-low, possesses a fibrous root system and arching, rooting branches ideal for stabilizing slopes and preserving soil banks from erosion.

With a low profile and fragrant, glossy, trifoliate green leaves, this workhorse shrub performs well as a groundcover. Woody plant expert Michael Dirr recommends it for naturalizing and massing. It thrives in tough areas with poor soils and withstands both sun and shade.

A fast grower, fragrant sumac has a low, wide-spreading form, reaching only two feet in height and six to eight feet in breadth. Its dense, suckering habit will create an almost impenetrable mass of branches and leaves in a short period of time. This is a female plant and bears insignificant yellow flowers and hairy red fruit, which attracts both birds and butterflies. A male is required for fruit.

Fall is when this native shrub really becomes something special. Its foliage turns a brilliant orange to purplish red, delighting both gardeners and homeowners. I combine fragrant sumac with plants that thrive in like conditions, including ornamental grasses like ‘Hameln’ fountain grass (Pennisetum alopecuroides ‘Hameln’) or ‘Ruby Ribbons’ switch grass (Panicum virgatum ‘Ruby Ribbons’) for color and textural contrast. It also pairs well with the silver/blue-green foliage of ‘Junior Walker’ catmint (Nepeta ‘Junior Walker’). Native to the dunes, open spaces, and dry woods of North America, this is one superstar native that should be seen much more in the landscape.

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USDA HARDINESS ZONES: 3–8 SIZE: 2’ H x 6–8’ W CULTURAL REQUIREMENTS: Full sun to part shade, dry to medium water requirements but tolerant of most soil situations except standing water.

proplantpicks

PHOTOGR A PHS BY CHR I STI N E DA R NEL L

Christine Darnell is principle of Christine Darnell Gardens, a garden design firm located in Chester, CT, that emphasizes sophisticated horticultural selections. In addition to operating her business, Christine teaches landscape design at Naugatuck Valley Community College. She is also a Wetlands Commissioner and Vice President of the Connecticut Chapter of APLD.

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technology Tracking Hours

BY KELLY GREENWOOD

A

few years ago, I started looking for a better way to track my billable time, and ended up realizing exactly how much precious time I was spending creating invoices and doing accounting. I was also shocked to see how much income I was losing when I forgot to note my time accurately. As a procrastinator who hates accounting, I would love to be more Zen about the value of money, but I have a plant habit to support! Fortunately, I discovered a program that streamlined the process.

Make Your Phone Work Harder for You The iOS app TimeWerks allows me to enter my billable time on my iPhone as I’m leaving a job site or switching from project to project at my desk. Since I have my phone with me everywhere, taking just a few seconds to do this helps me track my time accurately, and also supplies a running total of how much unbilled time is outstanding. New contacts can be created directly from a contact in your phone’s address book, eliminating the need to reenter information. A list of unpaid invoices can be seen at a glance.

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Even better, professional-looking PDF invoices can be created right from the phone. As a meeting concludes, it can be uncomfortable to ask for payment, but sending an immediate invoice creates a natural segue. Connect a PayPal or Square account to the app, and this sometimesawkward moment becomes a natural “Would you like to pay by check or card?” Be sure to take note of any transaction fees. If your bank offers mobile check deposit, you can cash checks instantly, usually without a fee.

Choose the Right App for Your Business

Some key things to keep in mind when selecting a time

and billing app:

■ Coordinate with your accounting system. If you’re using QuickBooks, consider using one of their add-on apps for time tracking and payments, so that your data is integrated.

ISTOCK

■ Choose an app that allows you to put your logo & business information into a professional-looking printable invoice, preferably in PDF format.

■ Consider your specific business practices and needs. If you are a reseller that needs to charge sales tax, look for reporting functions, so it’s easy to get summarized tax information for tax time.

■ Make sure you can export the data easily, so you can migrate to something else as your business grows—or when technology improves.

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TimeWerks allows you to do it all on your phone.

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bookreview

The Living Landscape

BY JANE BERGER, FAPLD

A

s our planet grows increasingly fragile due to climate change, it’s more important than ever to do what we can to protect the plants and animals within it. In The Living Landscape (Timberpress 2014), authors Doug Tallamy and Rick Darke show the way forward by explaining how we can design gorgeous, functional landscapes that nurture wildlife and deepen our connections to the natural world.

In the book’s preface, Darke explains that the “design of broadly functional, ecologically sound, resource-conserving residential gardens requires a carefully balanced mix of native and non-native plants.” He adds that it’s time to stop worrying about where plants come from and focus instead on “how they function in today’s ecology.”

In the following chapters, the authors recommend that designers think in terms of the layers commonly found in wild landscapes, from the overhead canopy to the ground layer and everything in between. The authors note >>Get the book! Click here to view on Timber Press

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that consideration should also be given to what they term the “cultural layers” created by human intervention, such as old farm fields, roads and railways and pastures, and the “temporal layers,” which such as seasons and centuries. All of the layers, of course, have a vital impact on wildlife, from insects to birds and larger animals.

Finally, Darke and Tallamy apply their concepts to residential gardens and explain how to design gardens that sustain life at every level. You might be surprised at the authors’ unusual definition of “native.” ➸

A formal allée of sweet gums (Liquidambar styraciflua) form a canopy and frame the view of a sculpture by André Harvey.

A L L P H OTOS TA K E N FRO M THE L IVING L ANDSC AP E© COPYR I GHT 201 4 BY R I CK DA R K E A N D D OU G TALLAM Y. P U BLIS H ED BY T I MB ER PR ESS, PORTLA N D, OR . USED

BY P E R M ISSIO N O F TH E P U BLIS H ER. ALL RIGHTS R ESERVED.

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bookreview

The back of the book includes extensive lists of plants for different regions around the country, along with landscape functions and wildlife values for each entry. Who knew that Ironwood (Carpinus caroliniana) supports 411 species of caterpillars?

Beautiful photographs throughout illustrate the authors’ main concepts and the wildlife that depend upon them.

The Living Landscape is a book that belongs in every designer’s library.

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Sweetbay magnolias (Magnolia virginiana) create a semitransparent enclosure around an outdoor patio.

INSET: A Baltimore oriole in its distinctive pouched nest, built in a sycamore (Platanus occidentalis).

Nature’s

BY JESSI BLOOM & DAVID BOEHNLEIN

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ISTOCK( 4 )

A

s we think about permaculture design, we can also learn from nature’s patterns. A pattern is defined as an arrangement of repeating or corresponding parts. Many different patterns show up in nature—large and small, visible and invisible, exemplified in space and in time. Nature uses patterns to move, collect, and disperse matter and energy.

Ultimately, patterns are nature’s elegant way of solving problems efficiently and effectively. If we apply nature’s patterns appropriately in our designs, we should be able to tap into that efficiency and effectiveness. The key word here is appropriately. Applying patterns from nature will yield beneficial results only if the appropriate pattern is applied for any given situation. Applying the wrong

design101

Patterns pattern can actually create more problems than solutions. Large spiral annual gardens are often a pain because getting to the center with a hose or wheelbarrow involves walking in circles for a long time (and pulling a hose around a spiral is no fun at all). A network pattern or a network overlaid on a spiral may be a better design for easy access in an annual garden. Therefore, as we design it is crucial that we pay attention to the patterns that address the situation in nature most analogous to our own situation.

What follows is a basic, nonexhaustive library of patterns from nature. For each pattern, we give examples of that pattern showing up in nature as well as some design applications to help drive home the point that our designs get better when we use the right pattern at the right time. ➸

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design101

Branches in a tree

Streams in a watershed

Circulatory system

Fire department organization

Pathway hierarchy

Branching Branching patterns are great examples of ways nature collects and disperses both energy and materials. The branches of a tree allow energy photosynthesized in the leaves to be collected and redistributed via the trunk. Creeks come together to form streams, which lead to rivers and so on as water is collected from an entire watershed. The circulatory system in the human body is a way to collect de-oxygenated blood, recharge it, and send it back out to bring oxygen to the farthest reaches.

In design we use branching patterns all the time in the form of hierarchies. An access hierarchy allows us to have paths of increasing widths and durability for more intensive uses. Imagine a paved road that can accommodate a dump truck with offshoots that are somewhat smaller to accommodate pickup trucks.

These may have offshoots that accommodate garden carts or wheelbarrows, which may in turn have offshoots that accommodate a single person. This can be incredibly useful when trying to make the most efficient use of space while allowing good access to all locations.

A good example of an invisible application of this pattern in design is the organization of a fire department. For every one district chief, there are typically a few battalion chiefs. Under the battalion chiefs are several lieutenants and under them a host of firefighters. This clear chain of command makes a lot of sense in this case. After all, no one wants the firefighters making decisions by consensus when their house is on fire. In this case the branching pattern is well applied to social design.

I LLUSTR ATI ON S BY PAUL KEA R SLEY

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Waves & Meanders Waveforms appear frequently in nature and provide an example of how manipulating an edge can achieve a goal. When rivers come out of foothills and hit a flat floodplain, they often begin to meander a lot more. This happens because much of the energy in that water was played out when it was moving through steeper areas. These meanders are where rivers drop out most of their sediments, leading to some of the most fertile places on earth, floodplains. Many mushrooms burst from the ground and unfurl in a modified wave pattern called an Overbeck jet. This is where ominous mushroom clouds get their name. This pattern allows the mushroom to push up from the soil with minimal edge, thus minimal resistance. When it breaks the surface, it can unfurl to expose its gills and send out spores. When two fluids move past one another, waves are the result because they minimize turbulence. This means each fluid can move past more efficiently. Waves in bodies of water occur when wind passes over the surface (in which case air is acting as a fluid).

WINTER

AUTUMN

SUMMER

SPRING

BI O LO G I CA L AC T I V I T Y

TIME

Meandering river

Mushroom growth

Ocean waves

Seasonal energy needs

Constructed pond

In design, one way we can use waves and their accompanying manipulation of edge is by changing the shapes of elements. A pond that is a perfect circle has minimal perimeter for maximum area. In some cases this is exactly what we want. However, if we want to grow more pond edge species, we can increase the pond edge using a wave pattern while still allowing it to hold the same amount of water.

Similarly, we can find an invisible pattern in the pulse of the seasons. Pulses are actually waves that occur over time, which we can see when we map them out on a graph. In this graph we see that relatively little biological activity happens in winter. When spring comes, plants start growing, animals wake up and ➸ apld.org

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design101 begin seeking food and finding mates, and soil microbes quicken the pace of their decomposition work. During summer, things aren’t as frantic as spring. Plants are either continuing to grow at a modest pace or they are in maintenance mode.

Animals are raising young. When fall hits, everything in nature must get ready for winter. Extra energy is spent to harden off cell walls, store food, and shut down systems that will be damaged by cold. Then we return to the calm of winter. This waveform repeats year after year. The double pulse of energy expenditure in nature that happens in spring and fall matches up perfectly with time and energy required of people working with natural systems. Knowing this, we can plan the activity cycles of our lives appropriately or try to minimize extra work when we know our biological systems will need our attention.

Grids, Networks, & Tessellations Grids, networks, and tessellations all tend to maximize connections. They are also patterns of expansion and contraction (think of how your clothes, which are a network of threads, have the ability to stretch). In nature, the network pattern of a spiderweb is quite resilient. If part of the web is damaged, the bulk of it can still catch flies. Tessellations are repetitions of the same shape that, when put together, can fill up all space, leaving no voids. Hexagons in a honeycomb efficiently use space and maximize the volume of honey the bees can store while using the minimum amount of material to make the structure itself.

Another example is the pattern of sunflower seeds in a flower head, which fit tightly together with no wasted space in between.

Spiderweb

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Honeycomb

Sunflower seeds

Net-and-pan system

Plant spacing

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In landscapes, we often see orchards planted in grids. When dealing with arid landscapes, we can use a network pattern to help concentrate the small amount of rainfall where the trees are. By installing basins around the trees and a series of shallow drains to connect them, we can catch any rainfall hitting the landscape and route it to where it’s needed most. This is called a net-and-pan system.

In the garden, we can also think about tessellations when we consider plant spacing. The crown shape of many plants is roughlyHORTICA round, so when we plant on a rectilinear grid, there is always CLAIMS ADJUSTER - 4 Color Ad some wasted space.

If you triangulate the plants Trim No Bleed: 7”of x 4.75” instead, you can fit more in Size, the same amount space. What if you thought about other ways to #3081, 10.2013 cause the different shapes of your plants to tessellate so you could fit more per acre?

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P U B L ISH E D BY TIM BE R P RE SS , P O RTLAND, OR . USED BY PER MI SSI ON O F T H E P U B LIS H E R. ALL RIGH TS RES ERVED.

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artist’sperspective

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Used as a focal point, an armillary sphere adds depth and interest to a garden.

Time

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artist’sperspective

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BY SCOTT HOKUNSON

ankind has studied the sun and stars since the dawn of civilization. The constant pattern of rotation and orbit of the planets in relation to the sun has provided a basis to track the passage of time and the occurrence of events for thousands of years. Gardens provide a similar consistency. As the seasons change, shoots break ground in spring, followed by the yearly appearance of a favorite blossom, then the first chill of fall.

These days, we rely on smart phones and digital timepieces to track time, and electronic alarms and appointment calendars to remind us of birthdays, anniversaries, and other important events. These modern-day means have distanced us from natural cycles, and separated us from the wisdom of the garden.

David Harber has a different vision of timetracking and its connection to the garden, a vision he is sharing with the world through an ancient tool. He is reintroducing modern society’s gardens to the ancient art of timekeeping with the sundial. An internationally known artist, Harber leads a team of skilled craftspeople at David Harber Limited in Oxfordshire County, England. He and his team produce beautifully artistic sundials that reconnect with natural cycles and track time and events, all while luring one back into the garden.

Harber’s installations can be found all over the world, in such places as Windsor Castle, The Millennium Dome, and Princeton University, as well as a dozen colleges in Oxford and Cambridge.

Harber’s journey with sundials, in particular the armillary sphere, began in 1992, when he came upon what has become his life’s passion: Twenty-five years ago I was introduced to an armillary sphere by an antique dealer. I was in-

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PHOTOGR A PHS COURTESY OF DAVI D HA R B ER

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Noting important dates on a sphere creates a personal connection within a garden.

stantly captivated by the elegance of the form without fully understanding the strict restrictions placed upon it by the mathematical/scientific elements of the design. Twenty-five years on I am still in love with the purity of the armillary sphere; it symbolizes the perfect marriage between art and science and is imbued with oracle status.

An armillary sphere has a circular framework that depicts celestial movement, and is used to mark the passing of hours and minutes. Its “oracle status,� as Harber mentions, has made it a focal point of inspiration and solace.

As such, it enjoys a tradition of inscription in the form of mottos, quotes, and sayings, on or about the sphere. It can be used to mark other events as well, as Harber describes:

It can also show the progression of the seasons, marking the summer/ winter solstice and the Spring/Autumn equinox and indeed any individual date specified. It can include specific markings for birthdays, wedding anniversaries, and other significant dates relevant to the commissioning of the sundial.

Placement of a sundial is paramount to its successful use as both clock and calendar. Location, along with the addition of a commemoration or inspirational phrase, makes it a perfect choice for a focal point in the garden. Because of ➸

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BEYOND ART An armillary sphere sundial as a focal point in a garden is not simply a timepiece or sculpture, but a connection—a connection to the natural order of things, a connection to the art and artistry of our ancestors, and quite possibly, a reconnection between modern day happenings and time spent in the garden.

the particulars of installation and the ability to draw focus, a sundial can establish a sense of place in the garden, an important element in a successful garden design. The important considerations for installing a sundial are functionality, aesthetics, and accuracy. Harber explains: Placement of the dial has three main elements. Firstly, as the maker we want the piece to function to the best of its ability. It therefore needs an unimpeded view of the southern sky. There will naturally be occasions when objects block 38

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artist’sperspective part of this, trees, buildings etc. However, as I point out to many of my clients, the dial will be there sharing its wisdom and time-keeping long after the tree has passed on. The second consideration is the dial’s aesthetic location. It can be positioned to be a statement piece, e.g., the center of a lawn, the intersection of two paths, or the focal point at the end of a vista. And thirdly, is accuracy. The dial’s accuracy is determined by the scale of the sundial (the larger, the more accurate,), and its adherence to ancient mathematics as established by the Babylonians, Greeks, and Romans. Any dial worth its salt has been made for its correct latitude/longitude by craftsmen who know the trade and should be accurate to within a minute or two.

The attributes of a David Harber sundial—inspiration, personal connection, and an affiliation to natural cycles—that make his pieces unique, have been overlooked in many of today’s gardens. Designers, faced with a society that has gradually become disassociated with its natural surroundings, are increasingly challenged in creating spaces that are in harmony with the surroundings.

The inclusion of elements that reestablish that connection, be it with human events or the natural world, personalize the garden and establish a sense of place. The armillary sphere is a Inspirational inscription establishes an wonderful design element that "oracle" status an an armillary sphere. connects us with natural cycles as it reminds us of time and events, while drawing us back into the garden with its beauty and grace.

For Harber, a chance encounter long ago with an antiques dealer sparked a passion that transformed a career. Through the years, that spark has grown to affect the lives of those who have commissioned Harber’s artistry, and inspired countless others to look to the heavens once again.

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pollinatorhealth

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Agastache 'Black Adder' PHOTO CO U RT ESY OF A N N IE'S A N N UA L S

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BY STEFANI BITTNER & CHRISTIAN COBBS

Fire speaks to the senses

G

one are the days when a plant can be just pretty.

When a garden requires a commitment of time, water, and other resources, shouldn’t it also work for us? Plants that provide a harvest—food to eat and cut flowers to enjoy—while also filling the garden with beauty and supporting organic gardening practices do exactly that. That’s why agastache varieties are among our favorite plants when designing an edible garden.

Agastaches sport showy flowers spring through fall, and are relatively easy to grow.

Beloved by hummingbirds and pollinators, southwestern varieties are even referred to as hummingbird mint. Although you won’t feed your family each night with edible flowers, agastache flowers can be used as garnishes for salads, baked goods, and cocktails, while their foliage can be added to herb salads, or used as the basis for a cup of tea or a cocktail.

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Globetrotter's pinkpurple blooms are a pollinator favorite.

pollinatorhealth

PHOTO COURTESY OF A N N I E' S A N N UA LS

On the west coast, we are especially fond of the species and hybrids derived from the high deserts of the southwest for our edible landscapes. Varieties that have held up nicely through our sometimes wet winters include ‘Tutti Frutti’, ‘Rosy Giant’, and Agastache rupetris. All have the most amazing fragrant foliage, making them suitable for teas.

In the San Francisco Bay Area, many innovative chefs have begun using the flowers in savory dishes, including the stunning orange-red flowers of ‘Coronado’, and the tall, luscious, deeppink spikes of ‘Tutti Frutti’. Some varieties are tastier than others, but try them all out for yourself and see what you think. At the very least, they are a worthwhile and attractive addition to any drought-tolerant garden.

Good drainage is essential, ➸

'Apricot Sprite' is a great choice for rock, butterfly and kitchen gardens.

PHOTO BY ST EFA N I B IT TN E R

PHOTO CO URT ESY OF A NN IE 'S A NN UA L S

In general, agastaches are both cold hardy and drought tolerant, but both of these characteristics can vary, so it is important to choose the right one for your growing conditions. It seems like there is a new variety coming out every day—some tougher than others—but at our design firm, we love to try them all!

Agastache rupetris, also known as licorice mint, is one of the more durable agastaches.

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pollinatorhealth and many succumb to rotting in heavy soils in wet winters.

Southwestern varieties do not hold up well in humid summers.

Growing four feet tall with lovely dark blue-purple flower spikes, varieties like the anise hyssop (A. foeniculum) and its hybrid, ‘Black Adder’, are native to the central U.S. and hardy to USDA Zone 4. They can tolerate much more winter rain and return reliably regardless of how wet the winter or spring.

Their foliage has an especially fragrant licorice scent that is intoxicating when brushed against. Not surprisingly, anise hyssop’s licorice-flavored foliage is a fantastic addition to herb salads and makes a refreshing herbal tea. Both of these varieties have edible flowers that can be used in salads, drinks, desserts, and more.

To create a balanced and cohesive design, we rely on agastache for repeating the colors and textures in the kitchen and cutting garden throughout the entire landscape. Varieties seem to be available in every color!

SOME FAVORITES INCLUDE: ■ ‘Apricot Sprite’ with soft apricot blooms ■ ‘Black Adder’ with deep purple flowers

■ ‘Lavender Haze’ with lighter purple flowers that even have a lavender taste ■ ‘Champagne’ for light pink/ white blooms ■ ‘Summer Breeze’, a multicolored variety with flowers ranging from hot pink to brilliant orange

■ ‘Globetrotter’ with vibrant pink-purple blooms

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WHERE TO FIND THEM If you can’t find a specific agastache at your local nursery, try these mail order resources:

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■ Morning Sun Herb Farm

■ Annie’s Annuals Nursery

■ Plants Delight Nursery

➸ Click name to go to website

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Incrediball Hydrangea ®

Improved ‘Annabelle’ hydrangea While ‘Annabelle’ hydrangea’s flowers will typically flop over, Incrediball hydrangea’s huge flowers are held upright on sturdy stems so the plant looks great all summer long, even after rain. This durable native hydrangea is adaptable, growing well in full sun or partial shade. Best of all, it puts on a fantastic flower display even after harsh winters.

FULL SUN TO PART SHADE USDA ZONE 3, AHS 9 4-5’ TALL AND WIDE.

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www.provenwinners-shrubs.com Available from Proven Winners® ColorChoice® growers.

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THE VALUE OF

3D Modeling

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designmasterclass

BY CHERI STRINGER apld.org

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F I GU R E 1 48

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designmasterclass

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s landscape design professionals, our business depends on creating landscape plans that look good, get clients excited about the space, and show enough detail for both clients and builders to visualize the final product. Although we may be skilled in creating 2D representations of our design concepts complete with texture, color, and line distinctions, most of us stop there. Yet once our firm began using 3D modeling, it allowed us to bring a higher value to our design clients and increase our profit margin by: ■ Improving our design skills, as the creation of a 3D model forces a designer to thoroughly evaluate the spatial relationships between landscape areas.

■ Helping our clients to visualize themselves in the space we’ve created, which in turn sells the project installation.

■ Allowing us to spot construction problems before they arise.

Getting started is easier than you might think.

With a learning curve similar to the conversion from hand drafting to CAD-based design, you can learn the skills needed to create 3D models of your landscape plans. Programs like Vectorworks Landmark, my professional choice, and Google SketchUp have integrated tools for professionals to produce 3D models from their 2D landscape plans. The following case studies show how powerful integrated 2D and 3D landscape plan formation can be.

3D modeling can help refine many of the questions that arise during a landscape design project, including: ■ How will steps integrate with a patio wall?

■ How will the architecture influence the perceived space?

■ How will furniture placed in the space affect the flow pattern dynamics?

■ How will an alternate walkway configuration change the space for better or worse?

Project One

DESIGN GOAL: Create intimate interconnected spaces throughout the site that

balanced the modern architecture of the home with the native landscape around it.

▲

The 2D design (Figure 1) shows an entrance courtyard aligned with the main entrance to the home and leads past a pool terrace to a series of terraced outdoor steps. While it is easy to see that these spaces are interconnected, the 2D rendering does not convey how the architectural style of the home will affect the space ➸ P H OTO G R A P H Y AND ILLU STRATIO NS BY CH E R I STR I N GER

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designmasterclass

F I GU R E 2

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dynamics, nor does it show how the F I GURE terraced steps will create a visual connection to the native ground level. â–˛ Multiple camera angles of the 3D landscape model (Figure 2) allow us to instantly grasp how these spaces will be perceived in the constructed landscape, as if we were actually standing in the space.

More importantly, in the 3D model we feel the impact of the home’s architecture on the spaces being designed. During the design process, the 3D model allowed us to easily visualize the impact of several different design configurations. In this project, by defining the landscape spaces prior to construction work, the 3D model sold the installation contract and streamlined construction. Images of the installed project (Figure 3) ▲ demonstrate how accurately the 3D models represent the finished site. apld.org

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Project Two

F I GU RE 4

DESIGN GOAL: Create outdoor

destinations that integrate seamlessly with the existing deck and site grade.

▲

At the rear of the home you see the development of a patio space with an intimate seating and fire pit area (Figure 4). The presence of steps makes it clear there is a grade change, however, the 2D plan does not allow for a full appreciation of the weight of the existing upper deck, which directly impacts the designed spaces. ▲ The preliminary 3D model (Figure 5) helped us to understand in better detail how the existing deck could be used to define the edge of the transitional space between the intimate seating area and the fire pit area.

For this project 3D modeling of the site was crucial to a smooth installation, as it allowed the successful integration of existing elements in a tight space with little margin for error. Traditionally, we would have been fine-tuning in the field during construction and watching our profit margin disappear. ➸

F IG URE 5

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designmasterclass Improved Communication & Construction In our practice, 3D modeling doesn’t replace 2D design, but rather enhances it. It is especially helpful in explaining the relationship of a newly designed space to existing structures. For a project that included a central courtyard with seating sandwiched between two buildings, ▲ we placed the 2D landscape plan (Figure 6) and 3D model with the

F I GU R E 6

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▲

buildings made transparent (Figure 7) side by side during our client presentation. This helped the client understand how FIGURE 7 existing buildings would impact the new space. The 3D model allowed us to explore these dynamics prior to creating a contract for installation; it sold the project, simplified construction, and increased the design value.

There are many programs out there that allow you to integrate 3D models into your design process. I prefer Vectorworks Landmark because of the flexibility it provides in presenting 3D models and because both the 2D and 3D environments are created at the same time. Regardless of the program you use, incorporating 3D models into your design process will improve the value of the finished product by improving your spatial design skills, streamlining your construction, and increasing your profit margin.

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one resource

FOR

D E S I G N | P R O D U C T S | M AT E R I A L S | AVA I L A B I L I T Y

Planters

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Fountains

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Tables

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Benches

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Pottery

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Accents

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savingwater

Low Water 54

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Xerscaping is an effective design strategy in lowwater regions.

Trees

BY MATT FREDMONSKY apld.org

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ersistent drought conditions across the American southwest illustrate the need for landscape designs that can endure harsh drying trends. A growing trend in western states and other dry areas is xeriscaping, a landscape water conservation concept that originated in Colorado.

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The term “xeriscape� comes from xeros, the Greek word for dry. The concept has spread throughout the west to mean using water-efficient landscape designs to eliminate irrigation. Xeriscape methods range from replacing whole sections of turf with permeable gravel or mulch to carefully selecting shrubs, trees, and other plants that thrive in dry areas.

PHOTO COURTESY OF THE DAVEY TR EE EXPERT COM PA N Y

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savingwater ▲

When a large specimen is needed for a design, bur oak trees (Quercus macrocarpa) are a drought-tolerant choice.

Trees with Low-Water Needs Not all trees need buckets of rain each year to grow tall, offer shade, and color the landscape.

By choosing the right tree, you can create a landscape with all the benefits trees have to offer—even for landscapes in hot, dry climates.

ISTOCK

The Kentucky coffee tree (Gymnocladus dioicus) grows naturally in the east but lives as far southwest as Oklahoma and Texas. It can tolerate drought and adapts well in USDA Zones 3 to 8. This tree can grow large and provide great shade benefits, but its seeds and seed pods can prove toxic to some small animals, so factor its toxicity into the location.

▲ Drought tolerant boxelder displays attractive samara fruit in autumn.

Western hackberry (Celtis reticulata) is native to the western U.S. and grows to about 25 feet. It can withstand full sun and low water. Also native to the west, Boxelder (Acer negundo) grows as high as 40 feet and is a fast-growing shade tree. Smaller ornamental trees include pineapple guava (Feijoa sellowiana). Native to Brazil and Argentina it features exotic, red and white flowers followed by edible fruit. Drought tolerant once established, it works well as a hedgerow or as a small tree up to 15 feet tall. ➸ apld.org

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savingwater Low-Water vs. No-Water No tree or shrub can survive without water even though many can thrive in regions where there is little natural moisture. Some tree and shrub species will require some additional irrigation, if available, or you will need to carefully consider their location—such as in a rain garden where they will ▲ benefit from storm runoff from down spouts. Finally, California buckeye it’s important to recognize that all trees need adequate (Aesculus californica) water during the first two to three years after they’ve needs only a few been planted. good rains in a year.

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PHOTO COURTESY OF THE DAVEY TR EE EXPERT COMPA N Y

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Beautiful spaces. Intelligent design. Experienced professionals.

We define landscape design!

Find YOUR landscape designer at www.apld.org.

2015 board of directors PRESIDENT Colleen Hamilton, APLD Bloomin' Landscape Designs 7122 Willey Way Carmichael, CA 95608 (916) 961-0191 PRESIDENT-ELECT Lisa Port, APLD Banyon Tree Design Studio 3630 Northeast 123rd Street Seattle, WA 98125 (206) 383-5572 SECRETARY/TREASURER Jock Lewendon, APLD Outdoor Living Spaces, LLC 766 Schoolhouse Lane Bound Brook, NJ 08805 (732) 302-9632 IMMEDIATE PAST PRESIDENT Susan Cohan,, APLD Susan Cohan Gardens, LLC 69 Hedges Avenue Chatham, NJ 07928 (973) 665-9260 ADVOCACY DIRECTOR Richard Rosiello Rosiello Designs & Meadowbrook Gardens 159 Grove Street New Milford, CT 06776 (860) 488-6507 CERTIFICATION CHAIR Maryanne Quincy, APLD Q Gardens PO Box 2746 Sunnyvale, CA 94087 (408) 739-5493

COMMUNICATIONS & OUTREACH CHAIR Vanessa Gardner Nagel, APLD, NCIDQ Seasons Garden Design LLC 12517 Northeast 20th Avenue Vancouver, WA 98686 (360) 546-2746 EDUCATION CHAIR Ellen Johnston, APLD ETJ Designs 5543 Wateka Drive Dallas, TX 75209 (469) 628-3321 GOVERNANCE CHAIR Eric Gilbey 7150 Riverwood Drive Columbia, MD 21046 (443) 542-0658

CONNECT WITH US!

MEMBERSHIP CHAIR Tina Nyce, FAPLD Nyce Gardens 20521 NE 34th Place Sammamish, WA 98074 (425) 533-4292 RESOURCE DIRECTOR Joe Salemi DynaSCAPE Software 3426 Harvester Road Burlington, ON L7N3N1 (800) 710-1900

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The Designer is an official publication and member service of the Association of Professional Landscape Designers (APLD), 2207 Forest Hills Drive, Harrisburg, PA 17112. Ph: 717-238-9780 Fax: 717-238-9985.

Disclaimer: Mention of commercial products in this publication is solely for information purposes; endorsement is not intended by APLD. Material does not reflect the opinions or beliefs of APLD. APLD is not responsible for unsolicited freelance manuscripts and photographs. All printed articles become the copyright of APLD.

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thedesıgner wants you!

The only magazine written by designers for designers, The Designer is looking for talented members like you to share your stories, teach new techniques, and inspire with your designs.

calling all writers

All submissions from APLD members are considered, but The Designer is particularly interested in articles that fit the issue’s editorial theme or are appropriate for one of the magazine’s recurring features, such as “Pro Plant Picks,” or regular columns spotlighting technology or business strategies.

Learn more about the submissions process and view the 2015 editorial calendar here.

Not sure if your story is a good fit? Editor in Chief Susan Morrison is happy to discuss your idea with you. Reach her at editor@apld.org. apld.org

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EXPLORING BELGIUM 62

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DESIGN BY COLIN MIL L ER

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