Garden dream

Two things I appreciate most about Tuinzondernaam, the gardens of Frank Thuyls and his late partner Pierre van Kol: First, they show us that historic garden ideas are relevant to gardens today; second, they demonstrate that when we combine great design with what we love, we can create magical outdoor space.  Frank and Pierre’s gardens invite us to dream; to believe that anything is possible.

Through a dozen garden rooms, they have transformed their landscape into a series of distinct worlds; each one unique.  All within a half acre plot, their property feels ten times bigger.

On the summer day I set out to visit Frank, the weather was perfect.  The roughly 2 hour drive southeast of Amsterdam took me through Utrecht, the Dutch countryside, and finally into Liessel.

Tucked at the end of a small gravel lane in the middle of a corn field, the house would be easy to miss from the road were it not for a hand painted wood sign.  Today the house blends into the landscape and is full of windows that frame views of the garden.  Originally the site was used by the Germans for a World War II anti-aircraft battery. 

Over a wonderful cup of fresh European coffee, Frank shared the history of the garden.  He explained how Pierre first found the place and how their first attempt was to plant a woodland that never felt right. The idea for outdoor rooms came to them when they visited the garden of Dutch designer Ineke Greve.  By extending the lines of exterior and interior walls of the house, so that windows would frame a view from inside, they created the outlines of the new landscape.  One garden room led to another; each provided a sense of accomplishment that encouraged them to create more.

Expertly trimmed yew and hornbeam hedges define the spaces.  I love the one boundary that is a stone wall with a doorway and windows.  It serves both to frame the formal Taxus Garden and to create architectural interest. 

Pathways of slate, brick and woodchips connect the rooms; and focal points – like an urn, sundial, or statue - draw the eye out and serve as guides.  An oval opening in one hedge borrows the view of beautiful farmland beyond. Benches provide destinations and thoughtful details reflect their personalities.

Our tour passed through the Pink, Kitchen, and Yellow gardens.  The Burgundy Garden tucked into a corner was a real surprise.  And despite the formality, there is even space for a picturesque woodland. 

Many of the photos above are from the Rose Garden.  Frank explained that this was Pierre’s favorite.  A teak bench is backed by hornbeam and a pair of pleached sycamore.  The inscription on the bench reads, “Dear Pierre, for me you stay forever.”

Frank is generous in sharing advice from the philosophical to the practical.  Here are a few of my favorites:

"Start small":  Pick one space to work on and once you’ve got that down, you can create another.  Don’t take on too much at one time.

"Keep it simple": Stick to one color scheme per room in order to maximize the drama of moving from one room to the next. 

"Maintain one room at a time:  It is so satisfying because you always have the feeling that you finished something.  Tomorrow another one.”

"Consider the sun": When planning garden rooms with symmetrical plantings and tall hedges be sure to take the movements of the sun into account since often each side will get different light.

"Use composted manure:" When spreading manure, make sure that it is well composted and a little goes a long way.

"Make it personal and have fun": Most of all, he said that the garden should reflect what makes you happy.  Flame tipped topiary, colored glass reflecting balls, and gargoyles from antiquing trips are a few of the ways that Frank injects himself into the garden.   

I found it interesting that Frank and Pierre chose a humble name for their award-winning garden: “Tuinzondernaam” - the garden with no name.  But their garden is not humble.  It is a celebration of style, color, and personality.  At times soothing, at others exhilarating.

Just as Frank and Pierre were inspired by Ineke Greve’s work, I left Frank’s place full of ideas for my own garden.  Frank’s approach and coaching also gave me the confidence (and hope), that with hard work and patience, I too could create the garden of my dreams.

Visit Tuinzondernaam’s website to learn more about the garden and to inquire about a visit.  This is a must see on any visit to the Netherlands.  

Check out the one minute video below to get a bird's eye view of the garden.  Click here for more arts and crafts garden inspiration.

 

Frank Thuyls sharing his garden wisdom during one of many garden tours he hosts.  Source: w-rusch.de

Annual explosion

I have to admit that annuals don’t play a big role in my garden.  Sure; some of my containers have annuals, but I bring these inside for the winter so that they act more like perennials.  Annuals are labor intensive, needing to be planted each year.  Because they have to establish their root structures from scratch each season, they go through an awkward ‘teenage’ stage where they don’t seem to grow. I am afraid that I'd be constantly weeding to give them a fighting chance.

My recent visit to the Paine Art Center and Gardens in Oshkosh, Wisconsin reminded me that I might be missing out.  The front border of this English manor house in Wisconsin is planted with a mixture of ornamental and edible annuals that create an explosion of color and interest: a big welcome that draws visitors in and stops you in your tracks.

The front border as seen in June.

Canna, verbena, celosia, and cosmos were planted here in June after the risk of morning frost had passed.  Only a few weeks later, the amazing display seen here rewards patience.  I particularly love the way kale is used to both soften and highlight the ornamental flowers. The color scheme is warm and harmonious, drifts of individual plants increase their impact, and repeating patterns create a soothing rhythm that carries your eye along the border.

Jessie Kimberly-Paine and Nathan Paine.  Source: The Paine Art Center and Gardens.

The story of this garden begins with Jessie and Nathan Paine.  Jessie Kimberly-Paine was the daughter of the founder of Kimberly-Clark, today the maker of Huggies and Kleenex products.  Nathan Paine was president of the Paine Lumber company, the largest door and sash producer in the country at the time. 

In 1925 the Paines decided to build a home inspired by their English heritage.  To realize their dream they turned to architect Bryant Fleming who had studied horticulture, architecture, architectural history, and art.  Fleming built their house in the Tudor style; the grounds were laid out to provide a woodland setting. 

Unfortunately, the Paines never lived in the house.  The Paine Lumber Company had a history of poor labor relations that would spoil their chance to realize their dream.   In 1898 local woodworkers went on strike to protest the lack of follow-through on wage increases and the use of women and child labor.  The strike lasted 14 weeks and turned violent with one death resulting.  Nathan’s father had the union leaders tried for conspiracy and won the case; but worker resentment remained strong.

Headline from the Milwaukee Sentinel, 1898.  Source: Wisconsin Historical Society

In 1929 the Paine Lumber Company was the largest producer of wood doors in the country.  Source: Jamie Helf.

As the house neared completion in the 1930’s, the great depression was also in full swing.  Workers were expected to share the burden as they had in previous economic downturns.  Oshkosh was already a low wage manufacturing area, so additional cuts must have been particularly difficult.  Meanwhile construction of the mansion continued on schedule.  Disgruntled employees that had been laid off threatened to bomb the house if they ever moved in.  The Paines decided to leave town.

After almost 15 years, the Paines returned to create the non-profit organization that became an art museum and garden open to the public in 1948.  Jessie Kimberly-Paine continued to be involved until her death at the age of 100.

The museum has a wonderful permanent collection that displays pieces as they would appear in the residence, and the attached art gallery hosts wonderful traveling exhibits.  Don’t miss the current Downton Abbey costume collection on display through September 20th.  Most of all don't miss the every changing garden.

 

Architect Bryant Fleming. Source: The Cultural Landscape Foundation

The wilderness at Hidcote

“The only way in which a variety of aspect was deliberately chosen was in the way of thinning out the natural growths… to clear away all but one, or in some cases two kinds of trees…  Even in this the intention was to secure simplicity rather than variety, so that in moving about the ground there should be one thing at a time to see and enjoy. “  Gertrude Jekyll, Color Schemes for the Flower Garden, 1914

Gertrude Jekyll was a major force behind the arts and crafts garden.  She reached millions of gardeners through her writings in Country Life, William Robinson’s The Garden, and more than a dozen garden books. 

Though we cannot know for sure, it is likely that Lawrence Johnston was influenced by her work.  On a recent visit to his world famous garden Hidcote in the English countryside, it was an area called “The Wilderness” that reminded me most of Jekyll.   

At first, "the wilderness" seems like an apt description.  An idyllic wooded section that only nature could have created; it could be a grove in any nature preserve.  But this wilderness is man-made.  Johnston features a few tree species, most notably birch, that are thinned in order to let light in.  Mown grass paths meander through the garden the way a curving stream might cut the space; a real contrast to the linear lines in the rest of the garden. 

On the mid-summer day I visited I was struck by the restraint: stands of trees underplanted with drifts of daisies. The simplicity gives the space cohesiveness. Instead of being boring, it invited me to appreciate these few plants more deeply, to take in the overall composition.  This garden is nature made better through editing.

Gardener Frank Adams with Lawrence Johnston, 1927.  Source: National Trust.

It was hard to believe that Hidcote began as a windswept plot with poor soil.  It took Lawrence Johnston over 40 years, starting in 1907, to create what we see today: axes, garden rooms, and borrowed views from the countryside beyond.  In 1922 he engaged Frank Adams as head gardener to help him realize his vision.  The garden is now so established that it looks like it has always been this way. 

With names like "The Old Garden", "The Red Borders", "The Pillar Garden", "The Long Walk", each outdoor room represents a unique, self-standing space with lessons that can be adapted to smaller areas.

While many designers share their approach to garden-making through writing, Johnston poured his unique combination of artistry and plant knowledge into his garden.  He let his garden speak for itself.  Hidcote expert Fred Whitsey writes, “The only picture it is possible to build is one of a man who shunned the limelight and public knowledge, and was secretive to the point that even now, many years after his death, he is as elusive as thistledown.”  I am disappointed that Johnston did not leave notes behind that would have allowed us to get to know him better.  The clues to who he was remain in his garden work.

The February 22, 1930 issue of Country Life that featured Hidcote. Source: rostronandedwards.com

Just as Johnston sought inspiration from others, he serves as an inspiration for us today.  His garden was featured in several Country Life 1930 articles and designer Russell Page’s 1934 radio program.  There are clear similarities between Hidcote and the later work of Vita Sackville-West and Harold Nicolson at their garden at Sissinghurst.

In 1948, Hidcote became the first property to join the National Trust exclusively for its garden; a significant achievement since the property had no endownment. 

Today over 150,000 people visit Hidcote each year.  Hidcote is in the Cotswolds, about 2.5 hours outside of London.