• 

Eye of the Day’s booth at the San Francisco Flower and Garden Show.

Eye of the Day is so excited to be sponsoring this highly respected show, especially since our containers are part of the entry area.

San Francisco, CA (PRWEB) March 20, 2014

Eye of the Day Garden Design Center was recently asked to sponsor the entry display at the San Francisco Flower Garden Show (SFFGS), held at the San Mateo Event Center from March 19 to March 23. Eye of the Day is also showcasing items from its first-ever Fermob U.S. “Shop in Shop” in their booth at the show, and is hosting consumer giveaways throughout the show.

The San Francisco Flower Garden Show is a mainstream event for florists, gardeners, landscape architects, and anyone else interested in exactly that – flowers and gardens – and draws in crowds with a wide variety of backgrounds. According to the event website, the gardens at the show use more than 1,200 cubic yards of sawdust and mulch, as well as 280,000 pounds of rock for the displays. Exhibits and vendors from all over the state compose juried garden displays, and the event also hosts seminars for educational purposes.

“Eye of the Day is so excited to be sponsoring this highly respected show, especially since our containers are part of the entry area,” said owner Brent Freitas. “We are welcoming attendees with displays showcasing our European clay and terracotta pottery, and we also have a booth on the main floor as well.”

Eye of the Day, which recently updated its website, works with top manufacturers and distributors from all over the world, collecting fine pottery from Italy, Greece, and France. Collections include those of the classic and colorful Gladding McBean, as well as Greek pithari, Mediterranean oil jars, and more. Eye of the Day works with the individual residential consumer, as well as with landscape architects for commercial use, such as Ralph Lauren and Tommy Bahama — both past clients.

“If you’re in the area,” said Freitas. “Drop by and say hello to us! We’ll also be giving away items, so there’s a chance you’ll be leaving with an unexpected gift or two. Also, come by and learn how to cultivate your garden with tips of the trade, like how to deal with the regional San Francisco weather.”

About Eye of the Day Garden Design Center

Eye of the Day Garden Design Center is a retail showroom that features more than an acre of high quality garden landscape products, including Italian terracotta pottery and fountains, Greek terracotta pottery, French Anduze pottery, and garden product manufacturers from America’s premier concrete garden pottery and decoration manufacturers. Eye of the Day is a leading importer and distributor of fine European garden pottery, and caters to private consumers, as well as landscape design and architecture firms from around the world.

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Nominees have been announced for the 10Best Readers’ Choice award for “Best Public Garden” and they include some of the most stunning green spaces across North America. Readers have until March 31 at noon to vote on their favorite garden; votes are allowed once per day, per category. Vote here, or visit 10best.com/awards/travel.

The 20 gardens vying for the 10Best Readers’ Choice award are:

Bloedel Reserve – Bainbridge Island, Wash.
Brooklyn Botanic Garden – Brooklyn, N.Y.
Butchart Gardens – Victoria, B.C.
Callaway Gardens – Pine Mountain, Ga.
Cheekwood Botanical Garden – Nashville
Chicago Botanic Garden – Chicago
Coastal Maine Botanical Gardens – Boothbay, Maine
Denver Botanic Gardens – Denver
Desert Botanical Garden – Phoenix
Fairchild Tropical Botanic Garden – Miami
Franklin Park Conservatory – Columbus, Ohio
Huntington Botanical Gardens – Los Angeles
Lewis Ginter Botanical Garden – Richmond, Va.
Longwood Gardens – Kennett Square, Pa.
Missouri Botanical Garden – St. Louis
National Tropical Botanical Garden – Hawaii
Portland Japanese Garden – Portland, Ore.
Ruth Bancroft Garden – Walnut Creek, Calif.
United States Botanic Garden – Washington, D.C.
Wave Hill – Bronx, N.Y.

The garden expert who selected the nominees for this category is author and acclaimed landscape designer Cindy Brockway, program director for cultural resources at The Trustees of Reservations (The Trustees), the nation’s oldest land trust, and one of the largest conservation organizations in Massachusetts. Brockway — a graduate of the University of Rhode Island with a BS in Plant Science — trained at Longwood Gardens and the Chicago Botanical Gardens before her 25-year award-winning career as a landscape designer.

“This award category — Best North American public garden — is a big category,” says Brockway, “with lots of potential candidates.” She explains that her selection process centered on gardens which included two elements: a great plant collection and the aesthetics of beautiful design. “Public gardens offer a chance for fun respite and learning” in a beautiful, diverse setting, Brockway says, and her nominee list is a mix of gardens and botanical gardens (which include a scientific element, with plants which are catalogued, researched, tested and reported upon to the larger industry), responsible for some of America’s favorite backyard plants.

Brockway’s work has been featured in Old House Journal, Victoria Magazine, Colonial Homes, Nineteenth Century and Accent, as well as numerous trade publications. He garden designs have been recognized by the American Society of Landscape Architects, the Garden Club of America, the State of New Jersey, Preservation League of New York State, the Massachusetts Historic Commission and other prestigious organizations. In her current role at The Trustees, she is responsible for eleven public gardens from the Berkshire Hills to Martha’s Vineyard, including Ashintully in Tyringham; Castle Hill on the Crane Estate in Ipswich; Naumkeag in Stockbridge; Long Hill in Beverly; the Bradley Estate in Canton; Stevens Coolidge Place in Andover; and MyToi on Martha’s Vineyard.

Brockway has authored two books: A Favorite Place of Resort for Strangers (Fort Ticonderoga, 2001), and Gardens of the New Republic (May 2004). She teaches short courses in landscape preservation at the National Preservation Institute, and is a popular lecturer.

Philip Nixon is a professional garden designer from rural England, just outside of London. He was born and raised in Ireland. Philip works from home but has a “great team of people in [his] office in London.” Some of his most recent garden design work has been as far as New York and Moscow.

“I feel really lucky to be running my own business and doing something that I love.”

When he’s not designing beautiful gardens or on Pinterest, Philip can be found lecturing and teaching, and spending time with his loved ones. Philip’s passion for gardening has earned him over 722K Pinterest followers.

When did you start using Pinterest and what inspired you to make an account?

I stumbled on Pinterest in the very early days when it was really new. I must have been one of the very first users.

Philip and his daughter youngest daughter Emilie

Why do you like Pinterest?

I use images a lot in my design work and Pinterest just seemed like a great way to build up and keep an image library of what was happening in the design world. Then it became addictive so I started using to it look at all sorts of things that interested me or inspired me. I am not a good self-editor so I have too many boards and too many ideas to keep up with myself.

Philip’s garden at home

You have gained over 722K followers! That’s very cool! What makes your Pinterest unique?

I honestly have no idea. I just pin what interests me and it seems to interest other people too. Maybe that’s the key. My Pinterest is honest and made up as it goes along… it has a life of its own.

Are you from London originally? What do you like about it there?

I grew up in Dublin, Ireland and moved to London in my late teens. London is a great city. I have travelled a lot over the years but London is still my favourite city. The people are great. Culturally it is so diverse and everybody gets on with each other.

What are your favorite places you’ve traveled to? When did you go?

I have been to New York so many times I have lost count and after London, it’s my favourite city. I love city life and London and New York are quite similar. London and New York City have a similar vibe to them.

Philip’s Pinterest has a variety of boards with 139

What are your favorite Pinterest boards to pin onto and why?

It changes all of the time. There are some boards I used to pin to all the time and now I don’t at all since I’ve moved on. My current slightly bizarre fascination is with the colour blue! I have no idea why. I now have a board devoted to all things blue.

Your Live in the sunshine, swim the sea, drink the wild air board is really beautiful! We also adore your Garden board. Tell us more about these boards and why you made them.

The “Live in the sunshine…” board is because I do live for sunshine and I grew up by the sea so it’s very important to me. I don’t cope well with rainy days so that board just reminds me that there is light at the end of the tunnel and that summer is coming. The garden board is there because that’s what I do and it’s what I am. I am a gardener! I love gardens and the act of planting and caring for plants. I could not be without it.

A garden Philip designed for a client in London.

What is your Pinterest style?

I am fascinated by how things are designed and made whether that be a garden or a camera, a boat or a skateboard, a painting or a motorbike. If I like the way something looks, if it inspires me and makes me feel good, then that ends up being what drives the style of the boards.

Tell us more about your passion for the beach and any hobbies you’re passionate about.

I love being outside and being by the sea is what I like best. I love to cycle and I love to travel, ideally avoiding planes and all that goes with it. So my dream has always been to get in a car and drive, get on a bike and ride, or get on a boat and sail away. I seem to have a fascination with things that facilitate travel: cars, bikes, boats, and so on.

What are your plans and hopes for the future?

I hope to travel more, cycle more, walk more, buy a sailing boat, draw, write, and create and keep on doing it.

Connect with Philip!

Pinterest – Philip Nixon Design

Philip ‘on holiday’ in France

This article originally appeared on HelloSociety and has been republished with permission.

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_{A sophisticated garden}

It was fellow Italian Arabella Lennox-Boyd, one of the UK’s leading garden
designers, who offered him his next job. “I was a bit snobbish at first
about the idea of working on private gardens, but in fact with Arabella I
found my vocation. I worked for her for 10 years on many different projects
in many different countries, and it was brilliant. She taught me a great
deal, especially about plants.”

_{Watch Paul and Tommaso discuss their plans for the Telegraph garden}

By contrast, Paul, 49, was an enthusiastic horticulturist from a young age. “I
was very precocious, telling everyone when I was 10 that I was going to be
an orchidologist.” A German-speaking American, with a grandmother who was a
passionate vegetable grower, he was brought up in Brooklyn and Long Island,
where he entered all the local produce shows “And won!”

Torn between studying art or horticulture, he decided to combine the two and
read landscape architecture. “For part of the course I came to Europe, which
was a second home to me, studying in Denmark, and coming over to England to
look at the gardens.”

After working for a spell in Manhattan, he moved to London, where he was also
employed on big commercial schemes first by Clouston and then Gillespies. He
knew Tommaso socially, and a chance encounter with him on Portobello Road
while he was job-hunting resulted in an offer to join Lennox-Boyd’s
practice. Two years later, in 2000, he and Tommaso decided to set up their
own studio.

“We knew we would work well together,” Paul tells me. “It wasn’t so much that
our strengths dovetailed, but that we had a mutual love of the same things –
a similar aesthetic.”

_{A modern town garden in Blackheath designed by the pair}

“There is a bit of the German-Italian thing going on,” adds Tommaso. “Paul is
very methodical and thorough. I am more bish, bash, bosh – less interested
in the engineering and fine detail.”

They don’t impose a particular style on all their gardens, they told me, but
there are certain motifs. “We like a strong, simple, logical structure with
clean lines,” explains Tommaso. “Nothing too fussy. And with plants
softening the lines.” Layouts are often formal, and their planting veers
more to the traditional than the new-wave naturalistic. “What we love is to
take historic elements, like pleached trees and woven basket beds, and put
them into a contemporary context.”

I wondered how the work was divided. “In the early days, when we were building
things up, we shared all the jobs and talked through everything together,”
says Tommaso. “We still show each other our work and are always aware of
what the other is doing, but mostly we do our own separate projects.” A team
of six works in the office with them.

They have worked on an impressive array of gardens, ranging from Mick Jagger’s
former home in Berkshire and Ronnie Barker’s former home in the Cotswolds –
which sported a red telephone kiosk and much other quirky architectural
salvage assembled by Barker – to a massive chateau in the south of France
with a maze of formal compartments. The Bamford family, owners of JCB and
Daylesford Organic, have been clients for a number of years, and Tommaso has
been advising on the landscape around their home in Barbados, originally set
out by Sir Geoffrey Jellicoe, which boasts pleached tropical fig trees and a
pergola cloaked in jade vine.

It was Lady Bamford who invited Tommaso and Paul to create their first and
only previous Chelsea garden in 2008 – though Tommaso had worked with
Lennox-Boyd on some of her Chelsea designs. The garden featured a modern
kitchen, wheat fields, and vegetables grown in wicker baskets, and earned a
Silver-Gilt medal.

_{A quirky backyard space, typical of del Buono Gazerwitz}

For the Telegraph this year, they are creating what they describe as a
“contemporary Italian garden”. It will be a green garden, “reinterpreting
traditional Italian elements” says Tommaso, “with a strong axis line,
controlled shapes, pots, roof-trained trees, and a modern version of a
grotto in the form of a water wall.”

At their own homes in London, Paul has a small garden and Tommaso has a
terrace, but for the past five years they have been time-sharing a cottage
in Suffolk together, alternating weekends and surprising each other with new
plants. It is an unusual but rather appealing way to run a garden – given
two people with such similar tastes. However, Paul is reluctant to show me
any photos. “It is a work in progress,” he laughs. Like Chelsea.

A preview of the Telegraph garden 2014

The 2014 Telegraph garden combines some of the guiding principles of Italy’s
great horticultural tradition but reinterpreted for a 21st-century design.
Inspiration for the garden has come from revisiting the components
traditionally found in celebrated historical Italian gardens, to create a
bold and uncompromising modern garden.

All the plants in the garden are both appropriate and suitable for the
conditions typically found in the north of Italy, a climate very similar to
Britain. The garden will be enclosed on two sides by a bay hedge (Laurus
nobilis) and shaded at both ends by the canopy of 12 roof-trained lime
trees. The sunken lawn at the heart of the garden will be punctuated by domes
of clipped box and Osmanthus x burkwoodii. The formality is softened by a
range of herbaceous plants in deep blues and lime green with a touch of deep
pink. Modernist touches include stylish outdoor furniture and a dramatic,
glittering wall of water at one end of the garden, to calm the hubbub of the
show.

The Alexander Craig House garden at Colonial Williamsburg.
(Sangjib Min / Daily Press / January 5, 2006)

WILLIAMSBURG — Just 18 days after forming Colonial Williamsburg Inc. and the Williamsburg Holding Corporation on Feb. 27, 1928, preservation pioneer W.A.R Goodwin made one of his most important hires.

Over the following 13 years, landscape architect Arthur A. Shurcliff would not only help define the look and feel of the emerging Historic Area but also make Colonial Revival garden design a nationally influential force in shaping the 20th-century American landscape aesthetic.

“From the very beginning, Williamsburg’s restorers appreciated the importance of reconstructing the gardens and greens as well as the houses and shops,” write M. Kent Brinkley and Gordon W. Chappell in “The Gardens of Colonial Williamsburg.”

Arthur Shurcliff was the original and principal architect behind the Colonial Revival gardens that helped make Colonial Williamsburg’s landscape design world-famous.
(Lombardi; Barbara Temple / February 4, 2009)

And the “clear, simple, direct, energetic and, personally, very charming” Shurcliff — as he was described by his colleague and lead restoration architect William Graves Perry — served not only as the original and principal architect of the Historic Area’s world-renowned landscape but also — as Brinkley and Chappell note — “a pivotal figure in the development of the discipline of landscape architecture in America.”

Educated in engineering at the Massachusetts Institute of Technology and in art history, design and horticulture at Harvard University, Shurcliff began his career in 1896 working in the famed Brookline, Mass. office of Frederick Law Olmsted — the father of landscape architecture in America.

In 1904, he set up his own practice in Boston, where he drew national attention for his work on the layout of Old Sturbridge Village and the Charles River Esplanade in Boston, among many other projects. He also was influential in the early development of the American Society of Landscape Architects, where he served two terms as president (1928–1932).

Shurcliff had more than 30 years experience, in fact, when he began developing designs for Colonial Williamsburg on March 17, 1928, and he was well known for an academic style marked by its fondness for symmetry and geometric features.

But long before such distinctive elements began to show up in the Historic Area, he conducted an intensive investigation of nearly 40 surviving colonial-era gardens in the Virginia Tidewater, measuring and photographing plans that reflected the period’s conservative fondness for the formal Anglo-Dutch tradition born nearly a century earlier.

He also made an exhaustive study of the detailed garden maps and sketches left by French cartographer Claude Joseph Sauthier in 1769 after studying towns in northeastern North Carolina.

Shurcliff traveled to historic Charleston, South Carolina, too, in addition to exploring surviving period gardens in England. He then combined these critical sources with the physical evidence being unearthed by Colonial Williamsburg archaeologists as they explored the Historic Area.

With gardens and open green spaces making up nearly 30 percent of this 300-acre expanse, the impact of Shurcliff’s synthesis was felt almost immediately in a design vocabulary characterized by brickbat, marl and oyster-shell paving; evergreen and flower plantings; and symmetrical geometric patterns laid out in fence-enclosed spaces.

So great was the influence of the resulting gardens that Colonial Williamsburg has been cited as one of the Top Ten gardening sites in the world, Brinkley and Chappell note.

Though some critics later complained that Shurcliff’s designs did not reflect the colonial era as accurately as originally believed, they still rank among the most influential and widely recognized examples of the American Colonial Revival style that grew out of Colonial Williamsburg’s efforts.

In 2006, five of the Historic Area’s most scenic formal gardens — including those at the Orlando Jones House  and the Custis Tenement — were endowed by donors to insure the preservation of Shurcliff’s legacy.

“(He) has by extensive investigation and rare imagination recaptured the form and beauty of the colonial gardens,” Godwin wrote, “and created vistas of loveliness to intrigue the thought and vision of visitors to recapture a vanished past.”

— Mark St. John Erickson

 

 

 

Pioneering landscape architect Arthur A. Shurcliff designed the renowned Orlando Jones House garden in 1939.
(Courtesy of Colonial Williamsburg / April 23, 2004)

Kent was a virtuoso designer of interiors and, as the exhibition shows, able
to turn his hand to anything from dog kennels to state barges to pier
glasses to silverware to uniforms. As a “total designer”, perhaps the
nearest equivalent to Kent today is not any garden designer but a figure
like Thomas Heatherwick, the architect-designer who cheerfully turns his
attention to a wide range of design challenges, from his signature bridges
to furniture, buildings, graphics – and not forgetting the Olympic torch.

But range is not everything; Kent’s abilities as a painter were limited and
most experts agree that his legacy as a furniture designer is founded on his
appropriation of styles encountered in Italy (all that gilding!). It could
be argued (see 4, below) that Kent’s interior work was, in effect, a
training area for the greater wonders he was able to work outdoors. Kent’s
training as a painter helped, of course, but this underestimates the impact
of literature on landscape gardening, and also in Kent’s case the importance
of spatial felicities. He was a master at manipulating outdoor space to
create intense and distinctive garden episodes, as well as an underlying
rhythm that links them together. One has a strong sense of this at Rousham,
his greatest surviving work.

Here are four reasons why William Kent might be considered first as a great
landscape designer:

_{Portrait of William Kent}

1 In the 1730s and ’40s, Kent perfected the English landscape garden
with boldness and imagination, developing the work begun by designer Charles
Bridgeman, poet Alexander Pope and others. Rousham is his surviving
masterpiece, and perhaps the greatest and best-preserved garden of the era
(it is still in the hands of the same family, and open every day of the
year). The 18th-century aesthete Horace Walpole stated that Kent was
“painter enough to taste the charms of landscape… He leapt the fence, and
saw that all nature was a garden. He felt the delicious contrast of hill and
valley changing imperceptibly into each other, tasted the beauty of the
gentle swell, or concave scoop, and remarked how loose groves crowned an
easy eminence with happy ornament.”

These are innovations generally ascribed to Capability Brown, but Kent was
able to call in distant prospects or conversely to create intense episodic
atmospheres as his will dictated. Kent was the first true artist of the
landscape garden, which was itself England’s greatest contribution to the
visual arts.

_{A William Kent sketch for the Chinoiserie garden temple}

2 Kent was a consummate professional, who rose from humble origins in
time-honoured British fashion. A lad from Bridlington in Yorkshire, he
started as an apprentice coach-painter, was talent-spotted in London by
painter William Talman and then catapulted over to Italy in 1709 for a
decade in company with a wide range of so-called “milordi”: young gents off
on the Grand Tour of Europe. With little money and less social standing,
Kent’s role in Rome developed as a kind of artistic adviser, “teacheroni”
and procurer of objets d’art. He flourished as a result of his manifest
talents and friendly, pragmatic nature. Unaffiliated politically, he got
along well with a wide range of patrons of all political persuasions – in a
fractious period – including the snootiest and most intellectually demanding
of them all: Lord Burlington of Chiswick House. He also worked for the royal
family, notably for Queen Caroline at Richmond, for whom he designed a suite
of notoriously avant-garde buildings including a hermitage and “Merlin’s
Cave”.

3 Kent was bold and brave enough to design the most explicitly
political landscape ever conceived: the Elysian Fields at Stowe. In the
1730s and ’40s, landowners habitually expressed their political and dynastic
affiliations through the ornamentation of their estates. Lord Cobham of
Stowe was sacked from the Whig power base by prime minister Robert Walpole
when he publicly attacked his plans for an Excise Bill, which would
introduce new taxes on freeborn Englishmen. Cobham was so enraged by his
treatment that with Kent’s help (and Alexander Pope’s) he turned the heart
of his landscape garden into a searing critique of what he viewed as the
debased, nepotistic and corrupt Whig government. The Temple of British
Worthies is a curved wall adorned with statue busts of “true Whig” heroes
such as John Locke, Isaac Newton, King Alfred and John Hampden, while the
Temple of Ancient Virtue facing it is a perfect temple peopled by heroes of
the classical past. Adjacent to this he built the sarcastically named Temple
of Modern Virtue: a ruin presided over by a statue that was identifiable as
Walpole himself.

_{The Temple of British Worthies at Stowe (ALAMY)}

4 Kent deployed many of the design ideas he honed in house interiors to
greater effect outdoors. A key Kentian principle is “stacking” elements of
ornamentation one on top of the other – the way chairs, sofas or beds lead
on and up to gilded mirrors and picture frames, to doorcases, ceiling
paintings and chandeliers. (Kent inherited the habit of drawing “elevations”
of his furniture designs from his first master, Talman.) He used this idea
of verticality in his exterior design, too, so that at Rousham, for example,
one has a sense that statues, lawns, groves of trees, buildings, seats and
more distant elements are piled one on top of the other, with the view
foreshortened. In the same way he used the interior idea of the enfilade – a
succession of connecting rooms – in garden spaces, creating visual links
horizontally between them while also manipulating the visitor’s sense of
rhythm. In these and other ways, Kent brought a new level of sophistication to
landscape design.

*Designing Georgian Britain, March 22-July 13, Victoria Albert Museum,
London SW7 (020 7942 2000; vam.ac.uk)

ARLINGTON — Those who missed the debut of the new Arlington gardening group on Feb. 22 will have another chance to catch up with the club on Saturday, March 22, from 10 a.m. to noon in the Stillaguamish Conference Room of the Arlington Utility Office Building, located at 154 Cox Ave.

“We’re meeting monthly, and we aim to benefit those who may not be available on weekdays, but can meet on Saturdays,” said Master Gardener Bea Randall, who has access to free materials and low-cost handouts from the Snohomish County Master Gardener Foundation, in addition to her knowledge about gardening in the Pacific Northwest. “Our first four meetings will serve as opportunities for folks who would like to know more about the art of gardening to ask questions about the upcoming planting season.”

Randall herself will be leading the next session. While the Feb. 22 program focused on landscaping your yard, with an eye toward incorporating local plants, Randall’s class on March 22 will cover various aspects of sustainable garden design.

“We’ll offer tips, tricks and hints on saving money, all while getting the same results and making gardening easier,” Randall said. “The general public is welcome to attend this meeting, whether they’re just looking for a one-time information-gathering deal, or are maybe interested in eventually joining the club.”

The cost of admission is $4 for the first meeting attended, and $1 for each meeting thereafter, with all the money going to the group’s future treasury, when it officially becomes a club.

“Even though I’ll be leading the discussion and I’m a Master Gardener, I’d encourage participants to bring their own tips for easier gardening, that they could share with the rest of the class,” Randall said.

The next scheduled Saturday meetings of the Arlington gardening group after March 22 will address natural lawn care on April 26, and cool bugs and surface water management on May 24. These meetings will also run from 10 a.m. to noon in the Stillaguamish Conference Room.

For more information, contact Randall by phone at 360-435-3892, or via email at kinzu@aol.com.