FRESH THOUGHTS A s a landscape designer, I generally enjoy the more glamorous side of gardening – meeting with clients, brainstorming ideas, choosing plants and overseeing the installation. But – and it’s a big but – that’s only where the story of a garden begins. Designers have the vision and will lay out the bones and structure of a garden, but it takes good maintenance – or good management as garden designer and writer John Richardson puts it – to grow the garden into that vision, a process which can take several months, or even years. Good garden management is in itself an art. Trees and hedges take time to develop and shape, shrubs and groundcovers need to knit together while climbers have to be helped along as they reach for the pergola tops. And all the while plants need nurturing, and there’s an inevitable process of trial and error to get the planting just right. So if you are in the process of starting or redoing a portion of your
CONTENTS
garden, bear in mind that there’s no such thing as a no-maintenance garden. Good garden management is crucial, especially as a garden matures, and it’s important to engage with your garden to understand its needs as it continues to grow and change. For some help on the subject, whether you manage your garden yourself or call in the professionals, see our feature on page 27. We’re also celebrating art and its role in adding life to a garden. We have a feature on sculpture – including Dylan Lewis’s sculpture garden – on page 16, and an interview with mosaic artist Lovell Friedman, whose vibrant creations add colour to so many public spaces in Cape Town, on page 32. There’s also another of my favourite subjects in this issue – the art of planting. Our feature ‘Putting plants first’ on page 12 looks at designers who create wonderful schemes just with interesting plant combinations. Plants really are the true medium through which we express emotion in a garden. Happy gardening.
ISSUE 14 . AUTUMN 2015
FREE PUBLICATION www.ldgm.co.za
DESIGN MATTERS Sculpture makes an impact Plants take centre stage
MAINTENANCE
The other half of the story
Cover: ‘Alice’ by Sheena Ridley stands in the grounds of Wildekrans Country House near Elgin. Picture by Jackie Mitchell.
Regulars
In Brief: Garden news and views Profile: Lovell Friedman tells stories in mosaics
6 34
DESIGN
The beauty of plant-driven schemes Making art part of the landscape
12 16
GARDENS
22 A simple, soothing palette for a long, narrow Claremont garden 24 The strong symmetry of the enchanting formal garden around an Oranjezicht landmark
KNOW HOW
The crucial role of regular maintenance Plant Palette: What to grow on a roof garden
27 32
EDITOR Cara Smith: info@ldgm.co.za MANAGING EDITOR Anne Duncan: anneduncan@mweb.co.za DESIGNER Tamzon Woodley: tamzon@twdesign.co.za
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IN BRIEF
London to plant a garden over the river When Transport for London asked for proposals to improve pedestrian links over the Thames, Thomas Heatherwick – the designer responsible for the London Olympic cauldron and the redesign of the city’s iconic doubledecker buses – and actress Joanna Lumley came up with a novel idea: a new pedestrian Garden Bridge that would link north and south banks with a park. Heatherwick Studio worked closely with structural engineering firm Arup and landscape designer Dan Pearson to give the ambitious concept form – and it was approved by the Mayor of London’s office last December. Construction is scheduled to start later this year, with the Garden Bridge due to open to the public in Summer 2018.
The new footbridge will span the Thames between Blackfriars and Waterloo bridges and will have 2 500 square metres dedicated to plants. The main challenge says Heatherwick was how to hold up 900 tons of soil complete with plant material, worms and rainwater without letting the bridge structure become visually more important than the garden. The solution was an hourglass-shaped bridge that widens and narrows across its span, with the weight distributed on two river columns. Plants near the entryways on either side will be wild common river varieties like birches and willows. As pedestrians proceed, stately oaks and manicured shrubs will dot the landscape, and the
An artist’s impression of the Garden Bridge proposed for the Thames.
centre of the bridge will have little vegetation to create better views of the river and skyline. “We will only be using plants which we feel will cope with the special challenges posed by a garden
in the middle of a river,” says Pearson, who also promises that there will be species that thrive in each season, giving residents and tourists something to look at no matter when they cross.
Milan gets a vertical forest
City boasts Another plant in the wall The Smeg showroom on the corner of Strand and Buitengracht Streets in central Cape Town went into summer looking very green, thanks to a new vertical wall added by James Fisk of The Pink Geranium nursery. 6
Bosco Verticale, two residential towers in Milan’s central Isola district, will be the world’s first vertical forest say architects Stefano Boeri, Gianandrea Barreca and Giovanni La Varra. Currently under construction, the towers will be covered in 730 trees, 5 000 shrubs and 11 000 plants. The architects spent two years working with botanists to determine which trees and plants would best suit their purpose and say the vegetation will equal a hectare of forest. “They will help to purify the city air, increase biodiversity and protect residents from the sun and noise pollution,” say the designers. Plans are for the forest to be watered mainly with grey water produced by residents.
Residential towers being built in central Milan.
LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
Exciting new landscape courses at CPUT The Horticultural Sciences Department at the Cape Peninsula University of Technology (CPUT) will be adjusting its curriculum in the next couple of years. A Diploma in Landscape Architecture will replace its National Diploma in Landscape Technology, a move that the university believes will better clarify the purpose of the qualification, and bring it more in line with the qualification and registration table of The South African Council for the Landscape Architectural Profession (SACLAP), the statutory body that accredits all tertiary academic qualifications in the Landscape Architecture, Landscape Construction Management and Horticultural streams nationally. “We also believe it will create more opportunities for people from all social and cultural groups to enter the landscaping profession,” says Head of Programme, Johan van Rooyen. “It
will be the only accredited diploma of its kind in the Western Cape and South Africa and will produce landscape graduates with the specialised plant knowledge required to practise in the Western Cape and meet the regional requirements of the South African Landscapers Institute (SALI).” Another new development is the introduction of an Advanced Diploma in Landscape Construction Management. “The need for this specialised new qualification is enormous,” says Johan, “as Landscape Construction Management has been identified as a scarce skill within the built environment of South Africa.” SACLAP has broadened its registration categories to include a landscape construction management stream and together with the Department of Public Works approached CPUT to develop and offer this new qualification. “The course will be unique in that it’s the only construction management
course that focuses on landscape structures and systems and not on architecture and buildings,” says Johan. “It’s distinguished from other construction management courses in that it concentrates on plant installation and management systems as well as bioengineering. Students will focus on the establishment and maintenance of greenery in urban landscapes to ensure environments that are safe, sustainable and aesthetically pleasing.” • www.cput.ac.za/academic/faculties/
Above: To facilitate experiential learning, CPUT runs two design and construction projects each year. This semester students have constructed green walls using eight different technologies. As well as encouraging innovation, the project will allow students to monitor the growth rates and sustainability of the different techniques and evaluate which is the most successful over the long term.
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LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
5 minutes with… Phindiwe Ngcongco Having recently completed her National Diploma in Landscape Technology at the Cape Peninsula University of Technology, Phindiwe Ngcongco is passionate about making a difference in Cape Town communities. What inspired you to study landscape design? I wanted to study something related to managing the environment. I knew nothing about landscape design until the head of the Landscape Technology programme explained the course to me. I’m glad he did – I loved the course. Why do you think landscape technology is an important field? It covers so many different aspects of how we can better manage our environment. It’s about using technology to improve our standard of living and develop more sustainable infrastructure. What was your favourite element of the course? I loved the site visits we did that taught us how to be more aware of
our surroundings. We’d examine the reason behind why things had been designed and built a certain way and question whether the material used was sustainable, safe and suited to climate conditions in the area. We were taught to ask questions. I also really enjoyed working on spatial development frameworks for a greener world. Has your diploma equipped you well for the working world? In theory, yes. But I do think the industry is not always open to the new technology and techniques we’ve learned. There is some disconnect between how the landscape industry traditionally does things and what we’ve been taught. I think there is room for better communication between industry and education institution.
What’s next for you? I’m currently freelancing and wanting to get involved with a variety of different organisations as I feel it’s too early to settle in one company. I’d particularly like to be involved in community development projects. I have a bucket list of the things that I want to achieve this year – and I’m still learning. Next year I’m planning to do my BTech in Landscape Technology which will give me more project management skills as well. As a black female I feel I’ve got to be well equipped to succeed in this male-dominated industry! I think there’s a need for more women in this industry and I want to be one of them. What kind of landscape projects would you like to work on? Social development projects: I want to
engage in teaching communities how to take care of the environment and how to take care of themselves by using environmental resources wisely. I want to be able to look back and say I’ve made a difference in my country and in other people’s lives. What do you think Cape Town still needs to focus on in terms of landscape design? I think sustainable spatial development still needs attention. I don’t see enough green – I see a lot of garbage and unsustainable infrastructure.
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LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
NEW BOOKS Burning Table Mountain: An Environmental History of Fire on the Cape Peninsula by Simon Pooley (UCT Press) The fires that held Cape Town’s southern peninsula residents in dread in March, Capetonian Simon Pooley (a Junior Research Fellow in Conservation Science at Imperial College London) would argue, are devastating to those who lost their homes, but were a godsend for the regeneration of fynbos. That fire is necessary and has been part of the ecology of this region for thousands of years is not in dispute – the frequency of the fires as a ratio to regeneration is, however, hotly debated. Besides, it’s not fire that breathes life to the plants, it’s the smoke. As dense
as it is, this environmental history will fascinate, enthral – and even sometimes enrage – readers as Pooley travels meticulously across this relevant topic. – Evelyn John Holtzhausen
Dylan Lewis: An Untamed Force (Fernwood Press, R350) Anyone who loves the towering sculptures of this acclaimed local artist will appreciate this beautiful photographic record of his work. It’s filled with dramatic images by celebrated photographer Gerda Genis, who has not only captured the raw energy of Lewis’s monumental pieces, but has also recorded the artist at work in his studio. These striking pictures sit alongside preliminary sketches and quotes from the artist detailing his creative process. Doctor, Jungian psychologist, author and wilderness guide Ian McCallum has written the introductory text, which tells the story of Lewis from his boyhood to the present, and traces his
artistic progression from ‘the cat years’ through his mythical human forms to his current fascination with huge, animal-human fragments.
Orchids of South Africa: A Field Guide by Steve Johnson and Benny Btyebier, photography by Herbert Stärker (Struik Nature, R350) Two University of KwaZulu-Natal botanists have compiled this complete field guide to local orchids, which covers over 450 species. Each variety is beautifully illustrated with photographs by Stärker who, together with his wife Helga, has traversed the country since 2006, driving some 370 000 kilometres to capture these flowers in their natural habitat. Distribution maps and flowering time-bars accompany descriptions and an introduction discusses orchid structure, ecology and conservation status. LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
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Putting plants first Gardens where planting is the focus of the design, creating a tapestry of texture, colour and form that delights the eye and connects us emotionally with the landscape, are taking centre stage. By Anne Duncan
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LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
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LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
DESIGN
Photographs: Roomtogrow, Jackie Mitchell
and design need to go hand in hand in a process they label “honouring plant, place and spirit”. “By exploring and nurturing fortunate marriages between plants and sites, gardeners develop compositions both radiant with natural beauty and expressive of the unique vitality of a region,” they explain. Establishing the horticultural potential of a site is key in plant-driven design, but it’s a philosophy that goes far beyond just choosing the right plants. It speaks to taking into account each plant’s unique qualities and how people might best enjoy them. It’s about placing plants so that they create a tapestry of pattern and movement: using grasses to animate a space as they sway in the wind, letting flowers and the changing hues of foliage create surprising colour combinations, and contrasting textures to create a vivid scene when soft morning or evening light plays over their features. Celebrating the seasons Designing like this requires a strong grasp of horticulture and of ecology. For Danie, looking to the surrounding veld is a valuable resource. The Ogdens also believe that plant communities in the wild are an important source of inspiration – whether creating a naturalistic or a more formal or modern design. Nature provides “models of placement, pattern and process,” and shows us how plants change with the seasons. For another key element of plant-driven design is “working with the dynamic nature of seasonal planting,” says Danie. Part of the magic, and challenges, of this type of design is that plants are affected by nature’s rhythms – and it celebrates this rather than looking only for extended blooms and evergreen foliage. It’s perhaps why herbaceous perennials form a key element – many ‘die well’, displaying attractive spent flowers and seedpods that add texture and interest. Grasses, too, are popular choices, adding important texture that allows a garden to continue looking beautiful even when seasonal floral colour has faded. Celebrating such rhythms is all part of the exuberance and abundance of the natural world. As the Ogdens say in their book, “In a plant-driven garden, we rediscover our connection with plants and nature, and feel our place in the universe.” harmony of fORM and texture “Plants have always been a central component to our design,” says Brett Chilcott of Roomtogrow, who designed the garden for Rustic House in Higgovale, which won him a SALI Gold Award in 2014. “I envision a design in terms of the form, shape and texture of the fully grown plants. Here the brief was for an Asian feel – the client has spent time in the Far East – and for a garden that satisfied and was interesting all year round. We also had to consider the need for screening and privacy. My job was to understand these practical considerations and then use plants to create an aesthetic solution.”
LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
Queen Elizabeth Olympic Park, London
an exuberance of grasses and herbaceous perennials At the forefront of a zeitgeist for plant-driven haul. Self-seeders are minimised and perennials are schemes is Dutch designer and master plantsman chosen for their ability to endure without the need Piet Oudolf. When he created his garden at for regular division. He also believes in using plants Hummelo in The Netherlands in the 1980s, he that have an “afterlife” and are good once they are says he missed spontaneity and wanted to create a over, which in turn makes the garden better for “dream landscape” through combining plants more ecology and insect life. naturalistically. His gardens have since become a One of his most famous public works is the byword for exuberant mass plantings of ornamental 2.8km-long planting on the High Line in New York, grasses and bold, flowering perennials. where a series of moods captures open woodland, In his book, Planting: A New Perspective prairie and meadow. He’s also been involved in the (Timber Press), he describes his planting as design of the flower-filled meadows that now grace “a complicated layering of seasonality, energy, the area below London’s 2012 Olympic stadium in endurance and reward – both before, during and the new Queen Elizabeth Olympic Park. after flowering”. He chooses plants that are happy He says much of his work is about expressing a in each other’s company, are well adapted to their feeling, which is perhaps why it has so captured the environment and have the ability to go the long imagination of people around the world.
Rustic House, Higgovale
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DESIGN
Photograph ‘Male Transfigure III’: © Dylan Lewis & Gerda Genis
F
or the past six years Dylan Lewis has been involved in what he describes as one of the biggest creative processes of his career. No, it’s not one of the monumental sculptures for which this acclaimed South African artist has become world renowned – those are the work of months, not years. It’s a garden. More specifically a sculpture garden, crafted out of the landscape below the Helderberg mountains and home to his oversized, mythical creations. “It’s taken on a life of its own and is continuously growing and changing,” says Dylan of the reflective space he’s created at Mulberry Farm, in Paradyskloof outside Stellenbosch. The garden appears as an effortless extension of the wild slopes of the Helderberg that rise above it, but it’s an artificial – though artful – landscape. Dylan has dug out a dam, channelling a small mountain stream to fill it, and used the excavated earth to mould soft, curving mounds that serve us platforms for his towering sculptures. These rounded hills, adorned with indigenous planting in mauves and lilacs, he says, serve as a feminine juxtaposition to the craggy masculinity of the linear cliffs of the mountain. He admits to a strong Japanese influence too, in the use of curved lines that draw in the surrounding wilderness. The whole is a series of different rooms and spaces, moving from enclosed to open and back to enclosed along some four kilometres of paths that curve around the space to take in every aspect of the landscape and offer differing perspectives on his work, all of which has been carefully positioned in relation to its dramatic surrounds. The artist admits there has been “an element of madness” in his ambitious project to “sculpt the land”, but now that the garden is almost complete, the landscape seems but an extension of his towering bronze forms – and the largerthan-life forms merely an extension of the landscape. Given that the sculptures set out to explore what Lewis calls “the wilderness within” and man’s essential need for a connection with nature, their setting is but a larger part of Dylan’s creative expression. LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
Opposite: Dylan Lewis has placed his ‘Male Trans-Figure I’ in such a way that, when viewed across the lake in his Stellenbosch sculpture garden, its energy and forms appear to echo some of the shapes of the mountains behind. Top: ‘Male Trans-Figure III’ sits on the edge of the lake where it catches the sunlight and reflects in the water. Above: ‘Monumental Striding Fragment I’, a fragment of the torso of a leopard, strides across the top of the garden. 17
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LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
A short distance down the R44 from Dylan’s sculpture garden is Cavalli Wine and Stud Farm, where managing director Lauren Smith echoes the idea of both garden and sculpture as works of art. “Our landscape was conceived of as art and as such integrates quite beautifully with other forms of art,” she says. “The evolving tapestry of the garden, with its seasonal colour and texture, is the ideal canvas against which to display sculpture.” Art is very much part of the ethos at the estate, where one of the landmark pieces is ‘Naledi’, a large bronze sculpture by Egon Tania. “She was initially part of a temporary installation but her seated pose gazing off towards the ocean made her feel like she belonged here permanently,” says Lauren, who believes design has the ability to elevate the human condition. “I constantly seek opportunities to inspire people through an integration of design disciplines, be it architecture, landscaping or art. Utilising our space as a platform for showcasing the works of talented emerging artists and designers seemed to me to be a natural extension of what we’ve created here,” she adds. The owners of Wildekrans Country House, home to a large contemporary sculpture collection, express a similar sentiment about the uplifting effect of art. “We believe that spending time with significant works of art can enhance your spirit,” says Alison Green, who together with her husband and business partner Barry Gould has collected South African art for the past 25 years. Their country hotel near Elgin has five hectares of gardens centred around the historical 1811 homestead, and Alison says their art works add a meditative aspect to the outdoor space. “Wildekrans Country House is a place to bring only yourself. We attempt in no way to match the city lifestyle and offerings. The presence of our art collection endorses this. People have a ‘spiritual’ time here. They feel better for having been here.” With the Houw Hoek mountains providing an “almost overwhelming backdrop”, Alison and Barry have chosen strong works that stand on their own. Some are permanent installations – like the peaceful ‘Sheep are safely grazing’ ceramic flock by Wilma Cruise and the striking ‘Barry se brug’ by Strijdom van der Merwe, which provides both a practical crossing and a visual statement over a small stream. Other works form part of an annual summer exhibition that launches with Elgin Open Gardens in November and continues until after Easter. LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
Above: ‘Barry se brug’ at Wildekrans Country House is by Strijdom van der Merwe. Built from balau wood, steel and Eskom poles, the rail moves from ordered vertical uprights to a more haphazard criss-cross shape to signify the move from the formal to the natural garden. Below: ‘Naledi’, a larger than life bronze by Egon Tania, stares out to sea from the Cavalli sculpture garden.
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This past summer, it was Belgian-South African artist Herman van Nazareth who was invited to show his iconic protest sculptures. “We chose his works for their visual strength and South African relevance,” explains Alison. “Our guests spend a great deal of time with these magnificent pieces.” Art has also recently found its way into the gardens at Stellenberg, where Andrew and Sandy Ovenstone have spent 30 years creating a series of magnificent garden ‘rooms’ around their historical Kenilworth home. Here the contemporary sculpture is intended to create points of interest in the landscape, and the pieces chosen have a deep personal significance for the owners. “We are not sculpture collectors but have sought out unusual pieces with a symbolic meaning in places where they now find themselves,” says Andrew. For example, ‘Balance’ by Michael Speller was commissioned to stand on the site where one of the oldest English oaks on the property had to be felled. “Sandy and I decided that, rather than looking back to when the oak tree was in its prime, we should try to create something symbolic of hope for the future,” explains Andrew. The latest addition has a similar provenance. “We celebrated our Golden Wedding Anniversary in 2014 and felt that, if anything worthwhile had been created at Stellenberg during our tenure, it had been a joint effort,” says Andrew. “We decided that our gift to each other should symbolise ‘strength’. That resulted in our commissioning Wim Botha to create ‘Wings’, otherwise know as ‘Intaka’, the Xhosa name for ‘bird’, to Stellenberg’s gardening team.” The bronze sculpture nestles in a quiet glade in the garden, where it’s glimpsed from various directions but is never too obvious – its role to enhance but not dominate its surrounds. It’s a harmony that is in keeping with the spirit of the landscape – and a fitting tribute one might say to the creative talent that has been expressed through the medium of the garden. Above left: ‘On the move’ by Herman van Nazareth forms part of an exhibition of the sculptor’s work, on until the end of May at Wildekrans Country House outside Elgin. Above right: ‘Intaka’ by Wim Botha stands as a symbol of strength in a quiet glade at Stellenberg. Left: ‘Balance’ by Michael Speller was commissioned by Andrew and Sandy Ovenstone to stand on the site where one of the oldest oaks on their Kenilworth property had to be felled. 20
LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
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Clockwise from far left: Grasses soften hard lines and are low maintenance; a river indigo tree adds height outside the laundry; rectangular cement pavers direct visitors to the front door; Royal Marine heliotropes bring a splash of colour to the green, white and cream palette chosen for its calming effect; the rectangular garden is broken into squares visually by alternating lawn with gravel.
bypass it. The rest of the bed is filled with Royal Marine heliotropes counterpointed by Carex buchananii Red Rooster and Carex comans Amazon Mist. Leatherleaf ferns (Rumohra adiantiformis) and white Japanese anemones take care of the shady bed beside the house, while an indigenous river indigo tree (Indigofera jucunda) adds height and produces dainty, pinkish flowers with a sweet scent in summer. “They’re not well known but are ideal for small gardens,” says Cara. A few basic herbs such as basil are planted outside the laundry door for easy picking when cooking. A central, gravel square off the small patio breaks the big rectangle into smaller squares visually and a long balau bench provides a focus for the eye to rest on. The owners found it in a local garden and décor shop and liked the softness of the weathered wood. “We use the bench a lot. Sitting out here, it’s very restful and the LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
grasses give the place a holiday feel,” says the owner. A flowering climber, Chilean jasmine (Mandevilla laxa) frames the braai patio and the high boundary wall on the west is softened with star jasmine (Trachelospermum jasminoides), bordered with low clipped hedges of gardenia, viburnum and dune crowberry (Rhus crenata, now Searsia crenata), and offset by an abundance of butter-yellow daylilies (Hemerocallis ‘Joan Senior’) on either side of the bench. Steel dividers keep the gravel separate from the grass and also stop the Berea grass from invading the beds. The back garden was even more challenging. It was little more than a shady corridor with a fish pond beneath an ugly clinker brick wall. Cara advised bagging the wall with cement instead of plastering it, and covered it with an attractive Boston ivy (Parthenocissus tricuspidata) to further soften it. The
fish pond outside the folding doors of the lounge was filled in, providing a raised bed for Dutch irises fringed with sweet violets (Viola odorata). The focal point is a large basket-weave metal urn, one of the few items the owners brought with them from their previous garden. Lit by a single light inside at night, it is an attractive, maintenance-free feature that visually extends the living area into the lush greenery. Just 18 months down the line, the garden is a green jewel of joy in a built-up urban environment and very easy to maintain. “Cara’s been very clever with this design and choice of plants. I can get away with just a few hours of personal time a week, with the help of my gardener,” says the owner. • C ape Contours Landscape Solutions 021 788 1202, www.capecontours.co.za 23
Clockwise from far left: The imposing majesty of Port Fairy from the bottom of the terraced garden; verdant tickey creeper, which carpets the walls and staircase, is one of the garden’s star features; the stunning veranda view of Lion’s Head; the perfect symmetry of the garden is best appreciated from the roof-top terrace.
shade, wind and calm. “We had to choose plants that could cope with both of these,” Kobus explains The star of the show is undoubtedly Ficus pumila, the verdant tickey creeper that carpets the lower walls of the house and the staircase walls and pillars. “The idea was to lose the bottom part of the house,” says Kobus. It’s an element that enthrals Mike, too. “It’s amazing … it can’t be more than eight years old.” Wandering through the garden with Mike, he points out that the plantings include protected species, indigenous trees and shrubs. There are at least eight assegai trees (Curtisia dentata), then there’s also bladdernut (Diospyros whyteana), olive, waterberry (Syzygium cordatum) and tree fuchsia (Halleria lucida). And let’s not forget the 160 white agapanthus making their presence felt next to the creeping foxglove (Asystasia gangetica). Matching the glamour of the four-bedroomed house is the deck – an extension of the entertainment area abutting the kitchen – with its Jacuzzi and circular LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
pool that play on the shape of circular veranda. On this side of the garden, defining greenery is provided by a handsome clipped yellowwood hedge. Along the veranda 22 egg-shaped planters stand sentry. They’re filled with honeysuckle which, Mike concedes, “are a bit disappointing in winter when they can get shabby”. When they bloom, they provide the only red in the garden. While Mike has mostly stuck to the original allwhite theme, he has added a splash of blue in the form of heliotrope and plectranthus. “I have changed some things. For example, the white sage drove me mad so I took it out – in any case, it was past its first bloom. I also trimmed back a lot of things when I first moved in, and took out some trees which were originally planted for temporary screening until more beautiful trees reached a decent size.” Alan Dawson, who won an South African Landscapers Institute (SALI) award for this garden, says it was “very challenging but extremely rewarding”. “It
was incredible to see Kobus’ vision realised,” he explains. The garden underwent a radical change and there were many obstacles to overcome. “Soil preparation was key, and there was also very careful consideration given to plant choices. It’s been astonishing to see how the garden has matured over the years.” Mike tends the high-maintenance garden with the help of his gardener, who comes three times a week. “We replace plants when necessary. We also do a big feed in June, and composting of the beds and roses.” For Mike, the garden is a cherished space and very much a work in progress. He still has plans for it, he says, but he’s in no rush. “I have learnt not to rush a garden … that way you make mistakes. You have to see it through the seasons”. • K obus Meiring Landscape Architects 082 453 3654, kobus.la@gmail.com • A lan Dawson Gardens 021 712 1826, www.alandawsongardens.co.za 25
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LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
PLANT PALETTE The roof garden on the Aurecon office building in Century City.
Green in the sky Roof gardens create an opportunity for outdoor living and greenery when there is no space for it on the ground. Plus they add valuable softness to an increasingly hard urban landscape. Marijke Honig talks you through the challenge of finding plants that are able to survive up high.
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ooftops are generally very harsh environments, exposed to full sun and wind, although there may be some areas that are more sheltered or even shaded by neighbouring buildings. Even in Cape Town, where the winds are notoriously fierce, roof gardens are popping up in a number of places. Mostly plants are grown in containers, with a collection of trees or shrubs, not unlike an entertainment deck or terrace garden. I think much more could be made of our wonderful coastal thicket palette – multi-stemmed shrubs such as the dune crowberry (Searsia crenata =Rhus crenata) and wild camphor (Tarchonanthus camphoratus), which can survive the toughest conditions and are often naturally pruned into sculptural shapes by the wind. Rather than planting trees in pots (with the unintended effect of lollipops in the sky), one could have beautiful textural masses, sheared by the wind. Imagine an organic version of a Henry Moore sculpture on the skyline! 32
The other type of roof garden that is waiting to be explored is the so-called ‘extensive’ green roof: low planting in a thin layer of soil (<15cm), rather like a green carpet. In the northern hemisphere these would typically be planted with a variety of sedums and other alpine species, which can grow in shallow soil and survive harsh conditions. Here in South Africa we have an extraordinary variety of succulents and bulbs that thrive under similar conditions – either in the harsh Karoo or in mountainous, cliffside habitats. With careful plant selection one can create a green roof that is truly ‘green’ – requiring no irrigation and minimal maintenance. By contrast, so-called ‘intensive’ green roofs are more like gardens on the ground, with a greater soil depth (30 to 150cm) and more detailed plantings, including shrubs and trees. These are much heavier than extensive roofs (with a load-bearing implication) and generally require irrigation and more maintenance.
In addition to environmental conditions, other important plant selection criteria are plant life-span and growth form. Compact, slowly spreading plants are preferable to rampant sprawlers. While it may be tempting to plant pioneer plants such as sour fig on a roof, they tend to create a thick, unattractive mat after a few years, especially when irrigated. In general there is a tendency to overwater roof gardens, which creates a dependence on irrigation and increases the amount of maintenance. While plants do require a well-drained soil medium, it is helpful to create ‘moisture pockets’ within the soil profile – with plastic dimple sheeting or a layer of coir, to increase the amount of moisture available in the soil. Conceptually one can think of roof plants as having their toes (roots) in a plastic cup or layer of coir which has remained moist long after the rest of the soil medium has drained. This is a worthwhile ‘insurance’ against long dry spells or irrigation failure. LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
SCULPTURAL MASSES
Salvia africana-lutea (dune salvia, bruinsalie):
Coleonema album (aasbossie): A soft shrub to 1m
Searsia crenata=Rhus crenata (dune crowberry):
A shrub to 1.5m with grey aromatic leaves and
with sweetly aromatic leaves, used by fishermen
A large spreading shrub to 3m (probably 2m on
striking orange flowers in winter and spring that
to combat the smell of red bait (Afrikaans: ‘aas’),
a roof) with pretty glossy, serrated leaves, and red
attract sunbirds.
hence its name. Grows naturally among rocks in
berries loved by birds.
exposed windy places along the coast and Table Mountain – the perfect roof garden plant.
GREEN CARPETS
Aptenia cordifolia (brakvygie): A spreading
Main photograph: Claire Bunkell. Plant photographs: Marijke Honig
groundcover with fleshy leaves and red or cerise flowers. Creates a lush effect with virtually no water.
Portulacaria afra (spekboom): A groundcover
Delosperma lydenburgense (klipvygie): A mat-
version of the spekboom with small green or
forming vygie with spectacular purple flowers
lime-coloured leaves that has all the attributes of
that shimmer in the sun – truly! Does become a
Crassula spathulata: A spreading groundcover with
the perfect roof plant – medium growth rate, long-
bit scraggly after a few years and needs to be
small, round succulent leaves and white flowers in
lived and drought resistant. And as a bonus, the
replanted, but very easy to grow from cuttings.
late summer. Great for areas that receive sun and
leaves are edible – they’re delicious in salads!
shade. LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
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PROFILE
Artful storyteller A knack for working with communities to portray their stories in bright mosaics has made Lovell Friedman one of the most prolific creators of art in public spaces in Cape Town. By Marion Whitehead
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eramicist and sculptor Lovell Friedman’s colourful mosaics brighten up places as diverse as the MyCiti bus stop outside Gardens Shopping Centre, the Mitchell’s Plain Hospital, UNISA’s campus in Parow and smart parks across the Cape Flats. After graduating with a fine arts degree from the University of Cape Town, Lovell gained valuable skills in the 15 years she spent teaching community arts projects. In between she did a Masters in Ceramic Sculpture at the Michaelis School of Fine Art, taught art and design at the Cape Peninsula University of Technology and exhibited locally and in New York and Toronto. Her travels took her to Spain where she was inspired by the work of Gaudi, the famous Spanish architect who often incorporated ceramics and mosaics into his buildings and parks. Lovell’s talents have been recognised by the City of Cape Town, which has commissioned much of her public art. How did you get into mosaics? I started doing mosaics for myself, decorating tables and sculptures at home. Then architect Carin Smuts asked me to train local people from Langa to incorporate mosaics into a mural for the Gugu Stebe Art and Culture Centre. Fifteen years later, some of these artists are still collaborating with me. It all mushroomed from there. I like to include handmade ceramics in my mosaics, too. From where do you get inspiration? By observation and enjoying the challenge of the creative process. I like the idea of making art in public places. Different commissions generally involve a different collaborative process – they may include narrative, figurative or the decorative. I often try to include the freshness of children’s art from classes with local schools. How do you go about translating a community’s story into mosaics? Sometimes I research the history of the community, for instance, the history of sport on Green Point
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Common. Then I try to make it accessible and give meaning and colour to their history. In Nantes Park in Athlone, researcher Carohn Cornell spent months recording the people’s stories. For me the process was literally putting together the fragments and creating something whole and new. Tell us more about Nantes Park? There was a lot of history there. But over time it had become neglected and the City Council decided to upgrade it into a smart park. People spoke about how they used to come to this area to picnic and hold concerts and dances. It was a safe place with willow trees and a river. This was also where they liked to come and listen to the popular Springbok radio serial, Die Geheim van Nantes, so the park ended up being named after that programme. I’ve incorporated some of the people’s quotes in the big mural at the entrance gates, like the one from the woman who said she had her first kiss under the willows beside the river. The blue-and-white pottery shards from the dump in the park were a real find and I incorporated them into the mosaic murals, also some old bottles and dolls. They are all shards of the past. You’ve worked on more smart parks? The one at Gugulethu was launched just over a month ago and the kids love it. I did a workshop with children at the Siyazingisa Primary School and used their handprints to make the peace doves, and included some of their drawings and comments. We’ve just finished Mandela Park in Khayelitsha and there I used some of his sayings in the mosaics.
ward courtyard incorporates checker boards and other board games that the children can play with.
What has been your most challenging project to date? All projects have different challenges. Mitchell’s Plain Hospital, because of its scale and time constraints, was a biggie. I had one year to do it all, including train people from the community to work on the many large outdoor and indoor murals, which also double as wayfinders. Many of the courtyards included benches with colourful mosaics. The one in the paediatric
What are the highs and lows? My strength is in design and bringing it to fruition. It is a labour of love and I am deeply indebted to a very skilled team of mosaic artists. A lot of preplanning is required before mosaic workshops and the process is time consuming, but they empower people with new skills. I find the collaborative process both stimulating and challenging. I love creating positive places out of barren spaces – that’s what gives me great joy.
From top: Lovell in front of the mural she created at the entrance to Nantes Park in Athlone; a bench at Gugulethu Smart Park featuring peace doves modelled on hand prints; a bench at Nantes Park.
LANDSCAPE DESIGN & GARDEN – AUTUMN 2015
ARABELLA – COUNTRY ESTATE LIVING AT ITS FINEST On the shores of the Bot River Lagoon, with panoramic views of the Palmiet mountain range, Arabella Country Estate is renowned for tranquil estate living in the magnificent surroundings of a World Heritage nature reserve. No longer the exclusive reserve of those in their golden years, Arabella Country Estate is an appealing alternative for younger families seeking to escape the growing stresses and congestion of city life. Located just 110km from Cape Town, commuting is a viable option, and the increasing trend towards mobile home-offices is seeing more and more families opting for a slower pace of living. Identified by UNESCO’s World Heritage Committee as a biodiversity “hotspot”, the area is home to more than 1600 fynbos species and abundant bird and animal life. With 236 spacious freehold properties and plenty of open spaces set on 113 hectares of pristine land, and with 1.6km of lagoon frontage, Arabella encourages an organic style of architecture using natural materials, slate roofs and subdued earth colours in harmony with the surroundings. High standards of architectural and environmental quality are maintained, with an emphasis on environmentally sensitive design and energy efficiency.
by Peter Matkovich, the golf course has been enjoyed by celebrities such as Samuel L. Jackson and professional golfers like Ernie Els and Gary Player. Arabella residents can also enjoy the 5-star Arabella Hotel & Spa, which offers guests and residents stylish and opulent tranquility, fine dining, and pampering within the superb natural surrounds of the Estate. Quality education need not be sacrificed when making the move to Arabella, and nearby Hermanus offers a number of schooling options, both public and private, including Waldorf and Montessori. The Curro Hermanus Private School, which offers parallel-medium (English and Afrikaans) schooling from nursery school right through to Grade 10, has gained an excellent reputation over the years. Arabella is an ideal base from which to explore the beautiful Overstrand region, which offers countless activities and diversions to suit young and old all year round. From gentle strolls to challenging mountain trails, sandy white beaches to rugged, rocky coastlines, from surfing and fishing to adrenalin-fueled shark-cage diving, those looking to experience the wonders of nature need look no further. For more info please visit www.arabellacountryestate.co.za and follow us on Facebook and Twitter.
The Estate is home to one of the top ranked golf courses in South Africa, with pristine grass, tricky sand traps and challenging water hazards. Designed
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