From the first Garden Party in 1915, to holiday celebrations for staff, to events for the community, genuine hospitality has been a cornerstone of Longwood. Today, our commitment to providing an extraordinary experience for all is a guidepost for everything that we do in our Gardens. Whether it is a well-known performer, a student in our education programs, a daily garden guest, or a feathered friend who calls our natural lands home, we strive to make each and every visit memorable. In this issue, we take a look at our tradition of providing extraordinary hospitality … from our founder’s love of entertaining guests in his beloved Gardens to the recent launch of our new dedicated event space, there are many reasons that being a guest at Longwood is beyond compare.
6 A Place for Everyone Making our Gardens accessible is a continuing commitment. By Nicole
Krom
18
A Place to Entertain From intimate picnics to grand garden parties, gracious hospitality is a Longwood tradition. By Kelli Stewart
38 Grand Designs
Over the past three decades, the planning process has changed and improved Longwood in ways Pierre S. du Pont would never have imagined. By Colvin Randall
8 A Home Away from Home
A look at learning—and living—at Longwood. By Katie Testa
22
The Art of Hospitality Creating a culture where everyone is treated like a guest. By Lynn Schuessler
14
Beyond Compare The debut of The Fountain Room begins the next chapter in our hospitality story. By Jourdan Cole
28
In Our Nature
Our hospitality extends to our natural lands. By Kate Santos, Ph.D.
1915–1920 view of the du Ponts entertaining guests in the Gardens. Pictured from left to right are: P.S. du Pont, Alice Belin du Pont, Mrs. Charles Belin, Mr. Charles Belin, Mrs. Arthur Storrs, and Mr. Elias Ajuha.
A Place for Everyone
At Longwood, we envision a world where beauty is accessible to all. In that spirit, we partnered with Art-Reach, a Philadelphiabased organization that creates and advocates for accessible opportunities in the arts, to assess and evaluate our Gardens through the lens of those who require physical, neurodiverse, or financial accommodations. Our accessibility work began in 2016, and our ongoing commitment to ensuring our Gardens remain inviting and accessible continues. We have put a number of successful programs in place, and continue planning for further enhancements. These efforts resulted in Longwood receiving ArtReach’s 2024 Arts Partner Award.
“Being accessible takes many forms,” explains Vice President of Marketing and Communications Nick D’Addezio, who also co-chairs Longwood’s IDEA Committee. “It’s about offering opportunities for all who wish to visit to do so, and then working to ensure that their experience while in the Gardens meets their needs.”
The prevalence of disability in our region is eye opening. Philadelphia cites around 17% of its population with a disability, the largest percentage of any of the top 10 major cities in the US. Chester County cites 10% of its population.
“Without accessibility, arts and culture organizations are denying access to a critical part of the human experience,” shares Art-Reach Managing Director Dani Rose. “Participating in arts and culture develops one’s sense of beauty, creativity, imagination, and interconnectedness. A lack of access is denying folks the chance to seek within themselves, or express themselves, or see themselves reflected in the story of our humanity.”
In preparation for the re-opening of the Main Fountain Garden back in 2017, Longwood joined the ACCESS program,
which Art-Reach launched in 2014. The ACCESS program provides discounted admission to more than 80 cultural sites throughout Greater Philadelphia and Delaware for individuals receiving public assistance for food or medical benefits. We have seen a tremendous response to our participation in the ACCESS program; in 2023, combined with a similar Museums for All initiative, our Gardens welcomed more than 100,000 people through the program. Many of these individuals would not have been able to experience the beauty of the Gardens without the benefit of this program.
With the success of ACCESS and a continued commitment to making our Gardens accessible, we decided to embark on a full accessibility assessment. In 2023, we worked with Art-Reach to examine all guest-facing areas of the Gardens. Our goal was to determine challenges and opportunities, and to explore how we can continue to expand our accessibility initiatives. The assessment focused on four main areas: blind/low-vision, deaf/hard of hearing, ambulatory/mobility, and neurodiverse disabilities.
A cross-departmental task force formed to oversee the project. Over the next six months, the Art-Reach team evaluated the accessible programs we already had in place, as well as all areas of our Gardens and our programming, including concerts, education classes, dining areas, and more, based on the four focus areas. Staff and community members took part in interviews, focus groups, and other feedback opportunities focusing on potential solutions or adaptions to challenging areas. As part of the assessment, Art-Reach also surveyed guests needing accommodation or those visiting with guests who required accommodation. And, the Art-Reach team, who are ADA Coordinator certified and all
Making our Gardens accessible is a continuing commitment.
By Nicole Krom
identify as having a disability, evaluated through their own experiences. At the end, Art-Reach provided us with an Accessibility Strategic Plan outlining areas of strengths, opportunities, and milestones to reach in the next several years … many of which we are already actively working on via enhancements to upcoming materials, programs, and events.
In addition to the programs already in place, such as subsidized admission models, free school and youth education programs, a social guide to support the neurodiverse community, closed captioning our videos, the use of our Gardens as a training site for service animals, and a pay-what-you-wish model for our accessibility rentals, we have recently revised our Gardens map to ensure better contrast and easier readability. In the very near future, we are implementing an audio description program in the Conservatory District for those who are blind/low-vision, with more plans on the horizon.
In recognition of our efforts, Art-Reach named Longwood their 2024 Arts Partner— an honor we are proud of and motivated by. “For years, Art-Reach and Longwood have had a wonderful relationship, and Art-Reach has admired the commitment of the Longwood staff to create accessible experiences and advance independent engagement at the Gardens,” shares Rose. “We appreciated their honesty with the barriers that exist on their site and the incremental and constant ways they work to address those barriers. Longwood doubled down on that commitment by engaging in Strategic Accessibility Planning. Through learning, listening, and dedication, the Longwood team embraced strategic access work with enthusiasm.”
Our vision of a world where beauty is accessible to all is steadfast … and there is more progress to come.
Our mission of ensuring our Gardens bring joy and inspiration to everyone through the beauty of nature, conservation, and learning would not be possible without our supporters, whose generosity helps to sustain our ongoing commitment to accessibility. If you would like to learn more about the various ways you can join our community of supporters while enjoying behind-the-scenes access and exclusive events, please visit longwoodgardens.org/support or contact Director of Development Melissa Canoni at mcanoni@longwoodgardens.org or 610.388.5216.
A Home Away from Home
A look at learning—and living—at Longwood.
By Katie Testa
“My favorite part about living on the grounds is that I feel like I am living in a paradise.”
Hall, Professional Horticulture Student, 2025
Yasir
Photos by Daniel Traub
“We had nearly constant access to the plants that we were studying and the resources to study them well .”
Kaylene Argot, former Professional Horticulture Program Student (2021) and current Conservatory Horticulturist
“I feel like I am living in a paradise.” That is how Yasir Hall (’25) describes living at Longwood during his two-year stint in the Professional Horticulture Program. Hall, who came to the program from Philadelphia, is one of hundreds of students who have called Longwood home during their educational experience in our Gardens. A living classroom … a likeminded community … and a place to call home surrounded by natural beauty are just a few ways to describe life at Longwood for students, interns, and professionals who not only work, but live on the grounds tuitionfree while growing their skills and exploring their passions.
Many of our students live on Red Lion Row, a residential area on the grounds originally built in the early 20th century by Pierre S. du Pont to house his employees and their families. Students from the Professional Horticulture, Intern, and International Programs live in six doubleunit, furnished houses on “the Row,” as it is affectionately known, that can accommodate a total of 40 students. Each student has a personal bedroom, but shares common areas with the other residents in each unit. The result is a lively setting perfect for residents to build a community, learn from each other, and immerse themselves in nature.
Perhaps none have been closer to our student community than Student Programs Associate Janet Bagnell and former Student Housing Coordinator and Senior Gardener Joyce Rondinella. From seeing the wide-eyed wonder of an international student on their
first trip to a vast US grocery store, to getting a 2 am call when someone is locked out of their house, to a trip to the urgent care, to showing confused students how to use household appliances, they have served as mentors, minders, and even substitute parental figures as needed. “Over the last 25 years, I have had the pleasure of getting to know many, many students,” reflects Bagnell. “It is always interesting and fun to see how they adapt to each other and become friends.”
Rondinella, who is a Professional Horticulture Program alumna (’04) and is now a Plant Information Field Specialist at Longwood, looks back on her 18 years as the Student Housing Coordinator fondly. “One of the things I loved the most was seeing things through the students’ eyes,” explains Rondinella. “From our changing seasons, to our plant palette, to life in the US, it gave me a renewed appreciation for so many things.”
One thing students readily appreciate about their experience at Longwood is the benefit of living so close to the wealth of plant knowledge the Gardens can offer. “We had nearly constant access to the plants that we were studying and the resources to study them well. If a question arose about a certain plant, it was never hard to find a plant expert with knowledge to share,” says Kaylene Argot, a Professional Horticulture Program alumna (’21) and current Conservatory Horticulturist at Longwood.
“Education is one of our core values here at Longwood … we understand the
importance of supporting, encouraging, and sharing knowledge with future horticulturists,” Rondinella says. With so many like-minded people coming together from all over the globe to participate in our programs, tight-knit and supportive communities naturally form on Red Lion Row. “For me, the best part of being on the Row was the chance to be surrounded by so many plant enthusiasts. We were all working toward a career in the field,” says Michael Strengari, a Professional Horticulture Program alumnus (’14) and current Senior Horticulturist at Mt. Cuba Center in Hockessin, Delaware. “Getting to know the international students and
“It’s nice to have a dedicated person who is checking up on us and making sure we are okay. I always felt so comfortable and supported.”
Karen Villalobos, Former Marketing and Communications Intern, 2023–24
trainees was a highlight. They brought cultural diversity … and opened my eyes to the cultural importance of many plants,” says Strengari.
Former Greenhouse Production Intern (’09–’10) and current Senior Horticulturist at Longwood Dean Dietrich reflects on the benefits of forming bonds with his fellow interns as they work across different divisions throughout the Gardens. “You constantly learn from each other and get a deeper understanding of public horticulture … I made lifelong connections with my fellow interns and have stayed in contact with them throughout my career,” says Dietrich.
Longwood staff is essential to creating a home away from home for residents, and Domestic & International Studies Manager Lauren Hill has joined Bagnell in this important role. “Lauren is always just a phone call away,” says recent Marketing and Communications Intern Karen Villalobos. “It’s nice to have a dedicated person who is checking up on us and making sure we are okay. I always felt so comfortable and supported.”
For the Engagement & Learning team at Longwood, creating a personalized experience for each program participant, and making them feel cared for and accommodated, is paramount. A favorite
… a lively setting perfect for residents to build a community, learn from each other, and immerse themselves in nature.
Clockwise from top left: A student waters the community garden maintained by residents of Red Lion Row; Aerial view of Longwood employee homes, dated 1946. Photo by F.L. Battan; A sign placed at an entrance to Red Lion Row. Photo by Britt Long; Red Lion Row cleanup in 2019. Photo by Janet Bagnell; 2024 Professional Horticulture Student Madison
Claydon in the Student Greenhouse. Photo by Carol Gross; Plant Information Field Specialist and former Student Housing Coordinator Joyce Rondinella stands beside the titan arum (Amorphophallus titanum) in the Tropical Terrace in 2014.
Photo by Duane Erdmann; Class of 2023 Professional Horticulture Students participate in a floral design class. Photo by Janet Bagnell.
“… I made lifelong connections with my fellow interns and have stayed in contact with them throughout my career.”
Former Greenhouse Production Intern (2009–10) and current Senior Horticulturist Dean Dietrich
tradition for Bagnell and Rondinella is ensuring students not returning home for the holiday would have a Thanksgiving dinner. Longwood provides the turkey, and the students prepare the side dishes, which often reflect their own cultures and tastes. “We understand the importance of building a community and how critical that can be for the students,” Bagnell explains.
“Shortly after the program began, I experienced a sudden and tragic loss … my teachers were very understanding and sympathetic, prioritizing my
emotional health,” shares Hall. Residents’ safety is always the priority, but during unprecedented events, extra measures are often in order. During the COVID-19 pandemic, Argot and her fellow students had to continue classes from off-site locations temporarily. “Key staff members and instructors dedicated time and energy to checking in on us and creating virtual plant walks so that we could continue our education and stay connected to the Gardens even while being away for a time,” says Argot. As our Gardens grow and evolve—and with the realization of Longwood Reimagined:
A New Garden Experience—so too do our opportunities for young professionals to expand their knowledge, build leadership skills, forge connections with like-minded plant-lovers, and experience a living, growing classroom all around them.
“Meeting each student and learning about their interests, passions, career goals, and more—this has been the best part of my job,” Bagnell shares. But perhaps Strengari sums it up best: “Longwood takes care of their students in many ways. For allowing us such access to the grounds, staff, and a beautiful living situation, I am forever grateful.”
“ Longwood takes care of their students in many ways. For allowing us such access to the grounds, staff, and a beautiful living situation, I am forever grateful.”
Michael Strengari, Professional Horticulture Program Alumnus, 2014
Beyond Compare
Carved into the topography facing the Main Fountain Garden sits a union of past and present … a realization of stewardship and innovation … and a remarkable space designed to delight and entertain. The Fountain Room—our new dedicated event space—is a vision, marrying a Europeaninspired masterpiece with an airy, inviting venue designed for the finest entertaining. From its stunning green roof, to its interior elements that echo the design of the Main Fountain Garden, every detail of this space is thoughtful, beautiful, and waiting to be discovered—and enjoyed—as the next chapter of Longwood’s storied legacy of hospitality and excellence.
For many years, Longwood has hosted social events, performances, lectures, and symposia in our grand Ballroom.
Constructed in 1929, the Ballroom was originally designed by E. William Martin for entertaining and to house The Longwood Organ. The elaborate room literally features notable architectural details from floor to ceiling, including an exquisite ceiling comprised of 1,104 panes of rose-colored etched glass and a parquet floor made from surplus World War 1 gunstock blocks. With Longwood Reimagined, we sought to preserve this historic space as a venue for concerts and create a new space for other events that would provide a memorable setting for milestone occasions.
“The Ballroom is a beautiful and historic space, and we want to preserve it as the venue for concerts and performances, as it was intended,” explains President and CEO
Paul B. Redman. “Adding a new event space enables us to save the Ballroom from additional wear-and-tear and gave us the opportunity to design a space that could be used in multiple ways, for multiple capacities, with the necessary technical infrastructure and back-of-house amenities.”
Longwood founder Pierre S. du Pont envisioned the garden as grand theater, and nowhere is that better exemplified than in the Main Fountain Garden. It was a concept we embraced when selecting the location for the new event space. One of Mr. du Pont’s engineering marvels, the Main Fountain Garden has been an integral part of the Longwood experience since it debuted in 1931, and garnered even more popularity after completing a revitalization in 2017. By placing the new event space adjacent to the stunning European-inspired architecture and captivating fountain performances of our Main Fountain Garden, we capture the ambiance and exquisite beauty Longwood is known for. It also influenced the name of the new space—The Fountain Room—and its design.
The design of The Fountain Room reflects our commitment to both preservation and innovation. To create this new venue, we excavated below the existing Conservatory Terrace, creating space for both The Fountain Room and a new, expanded 1906 restaurant. The Fountain Room spans an impressive 5,184 square feet, accommodating 200 to 300 seated guests or up to 500 for a receptionstyle event. This versatile space was designed to host a range of events, from intimate
Opposite, clockwise from upper left: The replica datestone denoting the Conservatory’s original construction; Associate Director, Floral Design Steven Cox who oversees event floral design; A striking centerpiece created by Cox; Senior Horticulturist Alex Correia reviews ingredient options with Pastry Chef Cecilia Gaudioso; an enticing appetizer created by our 1906 chefs; the ceiling of
The Fountain Room and 1906 evokes the basketweave fountain pattern found in the Main Fountain Garden; the new Conservatory Overlook is in fact a green roof for The Fountain Room and 1906; Outdoor Landscapes Manager
The debut of The Fountain Room begins the next chapter in our hospitality story.
By Jourdan Cole
receptions to professional conferences and lectures, to sophisticated galas.
A number of interesting features highlight the Weiss/Manfredi design. The Conservatory Overlook serves as the green roof not only for The Fountain Room, but also the new 1906. An allée of 28 American yellowwoods (Cladrastis kentuckea), in four feet of soil, span the roof. The green roof required a carefully engineered interior ceiling that could flex with the changing weight of the soil above. That interior ceiling also connects to the Main Fountain Garden design by featuring the basketweave fountain pattern used in the upper and lower fountain canals, which guests will readily see through the large windows that line the space. The exterior façade that houses those windows was created with 15,000-pound precast panels, including a replica datestone that pays homage to the Conservatory’s original 1921 construction.
As we prepare to host events in the new space in November, we have assembled a team of talented floral and culinary artisans who will transform every event into a bespoke experience. From our longstanding partnership with Restaurant Associates for culinary expertise to the creation of a dedicated floral design team for events, our shared commitment to extraordinary hospitality will be evident, with Longwood’s signature style infused into each event.
The Fountain Room opens a new chapter in Longwood’s hospitality history … one that embraces the future while honoring tradition.
Anton Ginella reviews the crops planned for the Ornamental Kitchen Garden with Executive Chef Will Brown, Fountain Room Executive Chef Stephen Aleckna, and 1906 Executive Chef George Murkowicz.
Florence Noyes Dancers at the June 12, 1915 Garden Party at Longwood. Photo by Frances Benjamin Johnston.
A Place to Entertain
From intimate picnics to grand garden parties, gracious hospitality
is a
Longwood tradition.
By Kelli Stewart
When Pierre S. du Pont purchased the farm at Longwood in 1906, he famously wrote that despite his prior misgivings about the purchase of real estate, he anticipated “a good deal of enjoyment in … making it a place where I can entertain my friends.” He wasted no time: by October of that same year, he had hosted his first picnic at Longwood for 26 guests, and a second followed ten days later. Penciled in Pierre’s spare script, lists of picnic guests are jotted on his monogrammed note paper, forming some of the earliest archival records of Longwood entertainments. From those first humble outdoor suppers with family and friends, the enduring Longwood traditions of thoughtful hospitality and warm welcome emerged.
Within three years of his first picnic, Mr. du Pont and his small staff had restored the house and gardens to a state suitable for a lawn party, which was held for 300 guests on a June evening in 1909. The early summer fête quickly became an established tradition: by 1912, there was a set of standard procedures for the party in a household staff manual, comprising menu (favorites included chicken salad, croquettes, and mayonnaise salmon), expectations for musical performance (First Regiment Band and Orchestra of Philadelphia), and contingency preparations for rain (using the barn for music and dancing). Other items were covered as well, including dinner arrangements for the guests’ chauffeurs and transportation plans for the visiting musicians. Written in great detail, the household staff manual outlined his plan for his guests’ enjoyment and ease.
As the garden plantings expanded in the following decades, so did the garden parties: by 1940, Mr. du Pont wrote to his caterer to expect 1,200 dinner guests. Archival boxes full of invitation lists and hand-written thank you notes attest to years of shared beauty and joyous evenings. Fireworks parties became a tradition, and Christmas parties for staff
Mr. and Mrs. du Pont seem to have impressed upon their staff that same importance of welcoming anyone who came through the gates as a valued guest.
were celebrated each year with great pomp and delight. Each event was laid out with the thoughtful attention to detail that Pierre and Alice brought to all their endeavors. Specific gifts, menus, and even car valet procedures were planned far in advance and carefully reviewed for future improvements.
Outside of such annual gatherings, a memo of scheduled entertainments at Longwood in June and July of 1947 hints at the broad range of guests who were welcomed to the Gardens. Sprinkled throughout the calendar was an assortment of community groups who were expected: on June 8, the Boy Scout Camporee was scheduled for an evening fountain show; on July 2, 30 students from Ball State Teachers College of Muncie, Indiana, intended to view the fountains during the day. In May, the Maryland Home Economics Association came to tour the Gardens, as did the New York Botanical Society. During that same month, a day was set aside for the “Wilmington Old Folks,” a group of elderly shut-ins who also enjoyed annual Christmas parties in the Conservatory, hosted by Mr. and Mrs. du Pont.
Another source of regularly welcomed visitors was the University of Delaware student population. Decades after the event, guest Leon Tabb recalled a Conservatory luncheon that he attended in 1946 with his wife Muriel Rogasky, then a graduating senior. He described the menu (“chicken salad on a croissant roll”) and the smart suit that du Pont wore as he greeted each guest personally and conversationally. But more than anything else, Tabb described the welcome that he and his wife felt from their host, a sense that “he was sharing Longwood with us, as if we were part of the family.”
Mr. and Mrs. du Pont seem to have impressed upon their staff that same importance of welcoming anyone who came through the gates as a valued guest.
Sister M. Imelda of Southern Pines visited Longwood with the American Society of X-ray Technicians in June 1951, and later that summer she wrote to express her “most grateful appreciation to [Mr. du Pont] and [his] staff for a most enjoyable and memorable visit.” In May 1928, a group of teachers from The Shipley School of Bryn Mawr visited, and afterward Co-head of School Alice Howland sent a long thank-you note that called out the staff specifically. “I was especially interested,” she writes, “in your employees and their proud and loving ownership of their treasures. They were so courteous to us.”
In addition to horticultural and farm duties, Longwood’s work force regularly helped with the logistics of various evening events, ensuring that guests had a smooth and pleasant visit to the place the staff tended so carefully. Including their employees in the practice of hospitality, Mr. and Mrs. du Pont made sure that staff, too, were recipients of that welcome. For the various performances that Pierre and Alice hosted in the Open Air Theatre, memos were circulated ahead of time among staff managers, requesting head counts for complimentary employee tickets to the shows, and many attended the musicals, concerts, and dance performances over the years.
The records of Pierre and Alice’s years at Longwood contain folders full of invitations, thank-you notes, catering menus and musical programs, bearing witness to the tremendous tradition of hospitality that grew alongside the legendary plant life at Longwood Gardens. From youngest nieces and nephews to elderly members of the community, Pierre and Alice welcomed their guests to Longwood with horticultural beauty and personal warmth, setting the high standard that we aim to achieve for our guests each day, today.
THE ART of HOSPITALITY
Creating a culture where everyone is treated like a guest.
By Lynn Schuessler
Below: Conservatory Docent Jerry Malfara engages with inquisitive guests in the Orchid House. Photo by Steve Fenton.
Above: Director of Guest Admissions Operations Maggie Santoski presents our culture of hospitality during the Rooted in Excellence new employee orientation. Photo by Richard Donham.
Opposite: East Garden Docent Ed Mackel points out areas of the Gardens not to miss to a guest during his visit. Photo by Daniel Traub.
Left: Docent Gil Mitchell helps guests remember their visit by capturing a photo. Photo by Daniel Traub.
Below: Guest Services
Associates Mary Rittenhouse, Michelle Oakes, and Sue Koeffler greet guests for an event in the Exhibition Hall.
Photo by William Hill.
Guest Services Associate Peggy Richards answers a guest’s questions in the Conservatory.
Photo by Daniel Traub.
Above: Guest Services
Associate Hyeon-Hye Norikane welcomes guests to the Gardens.
Opposite: Guest Services
Associates Pat Sieber and Kathryn Friez explain how Longwood constructs hanging baskets to an admiring guest.
“Our guests are often taken by surprise, because true kindness extended generously has become a rarity.”
Guest Engagement Manager
Dawn Herztler
Hospitality is small moments and grand gestures. It’s the engagement ring fished out of a fountain, the sweater offered to warm up a baby, the dropped wallet driven to the airport. But more often it’s the welcoming smile and heartfelt hello, the door graciously held open, and staff sharing their love and knowledge of Longwood. “Our guests are often taken by surprise,” explains Guest Engagement Manager Dawn Hertzler, “because true kindness extended generously has become a rarity.”
Genuine hospitality is not rare at Longwood, it is our mindset, our mission, and our history—our way of doing business. It’s what sets us apart as a world-class public garden. For our guests, it starts before they even step foot in our Visitor Center. For our staff, it begins long before their first day on the job. It is who we are—people with a passion, ready to share it.
When that first day arrives, it begins with Rooted in Excellence, an orientation program created by our Human Resources and Culture team. New employees learn all the facets of Longwood, including brand, organizational culture, and hospitality, “that make us a vastly different and wonderful place to work,” says Hertzler, who admits that hospitality is
in her DNA—as is true for so many of our staff.
In fact, Director of Guest Admissions Operations Maggie Santoski reminds each new hire that they are here because they possess not only the skills, but also the characteristics—like authenticity, empathy, and respect—to deliver an excellent experience to every ticket buyer and staff member, student and volunteer, delivery person and contractor ... to every person, every day, in every office, tree, and garden.
And though welcoming people to our Gardens is rooted in our legacy (and DNA), it wasn’t until Longwood created a dedicated Guest Services Department in October 2007, under the new leadership of President and CEO Paul B. Redman, that hospitality gained institutional structure and philosophical vision, with the goal of “delivering a positive guest experience, one guest at a time.”
Under its first Department Head Connie McCaw, the Guest Services team identified critical aspects of a guest-centric mindset and launched The Guest Experience Academy to teach staff—as well as other gardens and museums—how we do hospitality at Longwood. The Academy has since evolved to our day one Rooted in
Excellence program. And Longwood itself continues to transform as our most ambitious project in a century, Longwood Reimagined, fully opens on November 22, 2024.
“What better time than now to reimagine and redefine what our guest experience means,” says Chief Experience and Brand Officer Marnie Conley. “Our guest of today deserves—and often demands—an extraordinary level of service excellence, meaningful engagement, and increased value. This goes for our staff as well. We are all here to be of service to one another,” Conley says.
“The value of a structured hospitality program lies in guidance and accountability,” Santoski explains. “We can model what hospitality looks like. And we can deconstruct and reflect upon our experiences—at all staffing levels—to see what could be handled differently next time. Is there a good way to blend the needs of the guest with the needs of the Gardens?”
When faced with challenging situations and behaviors, we can practice charitable assumption and assume that people’s stumbles are honest mistakes. Climbing
trees or walking through flowers might bring back memories of a visit to a favorite park, so the “please refrain” message must be delivered with empathy and options, and a concern for safety.
We can also respect people’s varied backgrounds and past experiences by elevating the Golden Rule to Platinum: Treat others the way they want to be treated. By listening to people’s requests and concerns, by reading every survey, we honor their voices. Hospitality gives guests a seat at the Longwood table and opens a dialogue through which the institution gains perspective.
Genuine hospitality is a critical part of the job and can’t be scripted. Staff need to know they’re backed 100% when they spot an opportunity and act on it in a generous spirit. Hospitality is a Longwood choice, with buy-in at every level, practiced not only with guests but also with each other.
“Effective leadership is the cornerstone of our thriving culture of hospitality,” explains Director of Learning and Development Veronica Chase, who helped design, implement, and deliver the Rooted in Excellence day-one orientation for new
employees. “By fostering an environment of trust, encouragement, and continuous improvement, our leaders set a powerful example, inspiring their teams to take pride in their roles and go above and beyond in creating exceptional experiences for every guest and one another.”
We do hospitality the way we do horticulture—with a focus on excellence. The art of hospitality starts with what is already a skilled service—a floral display, a fountain show, a class or performance— and delivers it to you as if it were a gift, thoughtful and somehow unexpected, creating a moment that is personal, memorable, and extraordinary.
Founder Pierre S. du Pont’s goal was “to do everything that is attempted in a first-class way.” Or in a “world-class” way, as Redman likes to say now. To that end, our philosophy of genuine hospitality nurtures the hope—no, the promise—that we will see you again. That you will return for yet another fabulous fountain show … or a stroll through the Gardens’ every season. If horticulture is what we do, and genuine hospitality is how we do it, then legacy and loyalty are why we do it. So that our “world apart” becomes a part of your world.
Left: Performance Manager Dwight Weaver meets with staff as they prepare to welcome guests for a performance in the Exhibition Hall.
Photo by Daniel Traub.
We do hospitality the way we do horticulture—with a focus on excellence.
Left and below: Guest Engagement Supervisor Dave Moughalian warmly greets guests and directs them to the Open Air Theatre for a recent performance. Photos by Daniel Traub.
OUR NATURE IN
Below: Virginia sweetspire bends the cooling shade of its leaves over the water while its fragrant flowers attract tiny native bees— and a bullfrog, too.
Opposite: More graceful in water than on land, the eastern painted turtle’s broad feet are a clue to its skill as a swimmer.
Our fresh ponds with soft bottoms, aquatic plants, and plenty of basking logs like this one make the perfect home for these turtles.
Below: We offer pollinators like this red-spotted admiral butterfly a buffet of nectar-filled flowers from spring to fall—but we don’t turn them away in winter. From the hollow stems of meadow grasses to the deep leaf litter of our forests, we offer accommodation to a wild array of overwintering insects.
and
spots—while
Our hospitality extends to our natural lands.
By Kate Santos, Ph.D.
Special Acknowledgements:
Lea Johnson, Ph.D.; Ryan Pardue; and Tabitha Petri
Our Meadow Garden, which is marking the 10th anniversary of its 2014 expansion, is an iconic visage of the Brandywine Valley region, and like many of our natural areas, offers those who wander its undulating paths an opportunity to discover something unexpected around every turn. The richness of species diversity found in our natural areas is intentional and the result of our work to ensure a healthy and thriving ecosystem that weaves together plants, fungi, insects, birds, amphibians, and mammals into a beautiful tapestry that is constantly changing and intrinsically linked to one another.
Plants are central drivers of the diversity that is found here, with each type of plant serving as a unique beacon for insects, birds, amphibians, and mammals. Our role, as stewards, is focused on doing our part to ensure that this rich tapestry and refuge thrives for generations to come—by conserving the plants that call this place home. In the pages to follow, meet a few of the residents that call our natural lands home.
Photos by Hank Davis
Above: Yellow warblers spend the warm breeding season in thickets along streams like the one that flows through the Meadow Garden. We have planted willows, dogwoods, hollies, and other bird-friendly shrubs along this stream to provide berries
nesting
cooling the stream with shrubby shade.
Previous spread: Each spring, young foxes emerge from meadow dens to pounce, wrestle, and grow. After just a few months they will hunt and forage on their own.
variety of
different
like
different
Above: American robins are found from the Alaskan wilderness to the mountains of Mexico. They make use of a wide
habitats
the woods, streams, and meadows shown on this map of the Meadow Garden. Robins eat
foods at
times of day— the early bird gets the worm in the morning, and has fruit in the afternoon.
Above: The only hummingbird to breed in eastern North America, this tiny jewel shines red and green in the sun. To attract hummingbirds, you can plant tubular flowers. Look closely and you’ll see what this bird knows: that this thistle flower head is actually made up of hundreds of single, tiny, tubular purple flowers—each offering a sip of nectar.
Below: Look for the pouch-like nest of an orchard oriole high in a tree. These nectar-drinking birds enjoy our flowers in summer while raising their young, then return to the tropics in winter.
Below: A dedicated volunteer team builds, maintains, and checks more than 200 nest boxes across Longwood. These boxes help birds that have historically nested in holes in trees—like eastern bluebirds, chickadees, wrens, and these tree swallows—to thrive in a landscape where big old trees with holes are rarer than they used to be.
Below: The slaty skimmer dragonfly prefers ponds near woodlands, like the Hourglass Lake where this one rests in between acrobatic flights. Dragonflies are superb aerial hunters of tiny flies like mosquitoes.
Above: We see dragonflies in their adult form—agile fliers darting over ponds and fields. If we’re lucky, we may get a longer look at their colorful bodies and patterned wings when they rest on a twig like this common whitetail. But dragonflies spend much of their life underwater! They are part of a group of insects called benthic macroinvertebrates—creatures that live on and in the bottoms of streams. These communities of “benthos”—tiny herbivores, predators, and garbageeaters—are sensitive indicators of water quality that scientists all over the world use to understand the health of streams. Very early each spring, we turn over stones in Longwood’s streams to observe who is there and how they’re doing.
Overleaf: Fireflies love long grass, forest edges, and ponds—making the Meadow Garden a perfect home for them. During the day, fireflies spend most of their time hidden near the base of tall grasses. At night, they climb to the top of the grasses and fly up to send messages of light to potential mates.
Opposite: This unique fountain urn is one of two that grace the oval pool just inside the East Conservatory. The 250-pound bronze sculpture was designed by Tres Fromme and cast by ART Research Enterprises, Lancaster, PA, who also provided sculpture, railings, and gates for the Children’s Garden. Photo by Judy Czeiner.
Grand Designs
Over the past three decades, the planning process has changed and improved Longwood in ways Pierre S. du Pont would never have imagined.
By Colvin Randall
During his first decade, Fred Roberts, Longwood’s third director, brought new management techniques, business practices, and computer technologies into all levels of the Longwood organization. Full attention then turned towards long-range planning with the formation in 1993 of The Planning Group, eight staff who gathered concerns, strategies, and ideas from a wide array of focus groups. Concurrently, in 1993 W. Gary Smith, a landscape architect teaching at the University of Delaware, was retained to help design Peirce’s Woods. In 1996, Smith became Longwood’s Planning Coordinator during a year-long sabbatical from the university. Joining him as Planning Assistant was Tres Fromme, who received a bachelor’s degree in plant science from the University of Delaware in 1993 and a master’s in landscape architecture from the University of Georgia in 1996. When Smith’s sabbatical was over in 1997, Fromme assumed the leadership role not only for planning but also as lead designer for some major garden projects. These were group efforts overseen by then-floriculturist Sharon Loving in the Horticulture Department along with Robert Underwood, Longwood project engineer since 1991 who became Maintenance Department Head in 1999. They drove the process from conceptual design through
construction, planting, and completion. A cross-section of Longwood personnel from all departments was intensively involved, along with consulting architects, engineers, and construction companies, all under the watchful eye of Fred Roberts.
The pending reconstruction of the East Conservatory led to a flurry of greenhouse swapping. In 1998, the staff proposed expanding the existing indoor Children’s Garden into the neighboring nectarine and bonsai houses, but those displays would have to move elsewhere. The espaliered nectarine and grape displays were transferred to the newly named Estate Fruit House which opened in 2002. This three-section garden was designed by Tres Fromme with assistance from fruit grower Mary Allinson, who developed the plant list and became the managing gardener in what had been an original 1920 greenhouse. The 140-foot by 27-foot Fruit House was envisioned as a sculpture garden of changing patterns of light and shadow within the bold structure of formally trained nectarine trees, grape vines, and melon plants, along with lemons, pomegranates, figs, and other fruits and vegetables. Historical photos and interpretive text told of Pierre du Pont’s passion for growing fresh produce under glass. Fruit was produced at least a month ahead of the
Above: Transforming a 1920 greenhouse into the Estate Fruit House, May 2001. The original foundation walls were too short, so concrete underpins were needed and excavations extended down 17 feet to reach suitable subsoil into which the new foundation could be anchored. Subsequently, a new tunnel, utilities, and floor were installed. The redesigned house opened in 2002.
Above: Tres Fromme (left) and W. Gary Smith in 1996.
Above left to right: Nectarines bloomed in March 2004 on elegant stainless-steel trellises crafted by Longwood artisans Jack Carrigan and Dave Beck. The fruit was ready for picking in July. Photos by Larry Albee.
Above and below: The Grapery in 2020, producing bacchanalian rewards in the late summer and fall.
Photo (above) by Becca Mathias.
Photo (below) by Larry Albee.
Below: Pineapples and melons were among the treasures grown in the third compartment of the Estate Fruit House in 2003.
Photos by Larry Albee
outdoor season by controlling heating and ventilation. A mature nectarine tree could yield about 200 nectarines every year, and each vine produced about 12 bunches of grapes.
In 2002 the new Bonsai House also opened in an equally old greenhouse. Bonsai caretaker Mary Allinson led its conversion to a display area with removable glass panels that permitted the plants to be seen but kept cold and dormant during the winter. Allinson with architect Cee Jay Frederick designed the display benches to showcase as many as 15 of Longwood’s then-40 bonsai at any one time.
The major effort of Longwood’s tenth decade was the redesign of the 1973 East Conservatory, which was plagued by poor ventilation and a leaky roof. Few Longwood projects have had a longer gestation. In 1985, when the issue was first raised, Roberto Burle Marx (1909-1994) gave his opinions on the interior landscape possibilities. He had lectured about his work in October to 278 guests in the Ballroom, including landscape architects, architects, and design students. The next day, he and Philadelphia collaborator Conrad Hamerman (1922–2014) met with Longwood’s Advisory Committee and Landscape Subcommittee to present their thoughts on the East. Roberto asked
Architecture Magazine
Olin
Partnership), and Ron Lutsko (Mediterranean Garden designer) juried 60 student design entries from Cornell University, University of Georgia, Rhode Island School of Design, and the University of Virginia (which had the three winning entries).
whether a modern garden would have a place at Longwood and noted that “I don’t have strict rules, only principles … I don’t imitate nature, that’s for botanical gardens … it’s important to establish a relationship to our times.” He thought a larger volume of plant material was needed, moveable walls would allow for change, and artful lighting could treat the garden like a theatrical stage so it would not remain static. Despite Burle Marx’s assurance that working long distance would not be a problem, Longwood decided two weeks later that there would be too many complications with using him as primary designer. (But Burle Marx was then asked in 1988 to design the Cascade Garden, which opened in 1992.)
Ventilation in the East Conservatory was improved somewhat in 1987, but the roof still leaked. In 1989, consulting landscape architect Sir Peter Shepheard (1913–2002) and structural engineer Nicholas Gianopulos (1924–2018) proposed a new single-span roof design with a tall center peak. This metamorphosed a half dozen times until in 1997 a ridge-and-furrow roof (akin to the original 1928 roof but having a central monitor like Longwood’s Orangery) with nine pairs of interior columns was chosen. A defining moment was when Fred Roberts noticed in an airline flight
magazine a photo of the historic Glasgow Central Railway Station in Scotland whose interior structure then inspired Shepheard and Gianopulos to design the supporting column/truss junction system for the East Conservatory.
For the landscape, a 1995 design competition with 60 entries from four design schools opened Longwood’s eyes to all possibilities, although the winning design was not implemented.
Next, in 1996 a “design charette” was organized to bring together brand-name designers—Laurie Olin with Dennis McGlade; Warren Byrd; and Darrel Morrison—to see how they would brainstorm in a one-day session. The process was illustrated in detail as an 11-page educational cover story in the February 1997 issue of Landscape Architecture Magazine. But Longwood did not commit to any of the resulting designs.
In 1997, Olin, Isabelle Greene, and Ron Lutsko were asked to submit additional designs, and Lutsko was retained to develop his further until 2000. Olin was then brought on to continue his own concept, but that, too, led nowhere. The increasing frustration with admittedly complicated parameters— bridging traditionalism with modernism while accommodating Longwood’s advanced horticultural requirements—resulted in a
Left: The repurposed Bonsai House. Photo by Ron Peirson.
Right, left to right: Gary Smith, Isabelle Greene (Silver Garden designer), Michael Leccesse (Landscape
), Laurie
(Olin
The major effort of Longwood’s tenth decade was the redesign of the 1973 East Conservatory … for the landscape, a 1995 design competition with 60 entries from four design schools opened Longwood’s eyes to all possibilities, although the winning design was not implemented.
Above: Longwood’s Trustee Advisory Committee joined staff on May 20, 2003, to study details of a large-scale East Conservatory working model. From left to right:
Eileen Maroney, Ann Rose, Susan Hendrix, Nicole Limbocker, Jerry Stites, Peggy Weymouth, Nancy Cooch, Fred Roberts, Peg Stabler, Sharon Loving,
Tres Fromme, Rob Underwood, and JR Myers. This was the most extensive in-house design project ever attempted at Longwood. Photo by Ron Peirson.
Right: This view from late 2003 shows the underground tunnels and mechanical rooms built below some of the yet-to-be-constructed main floor slabs. This work was done under the weather protection of the original lamella-arch roof. Photo by Ron Peirson.
Above: Removing the lamella-arch roof, spring 2004.
Right: The new roof over the new hardscape, July 2005, prior to planting.
Construction began in 2003 and the $24 million project opened on October 29, 2005. The half-acre garden under a 52-foot-high roof is a grand landscape that unfolds in a series of unique spaces recalling French, Modernist, and Moorish influences.
This page, top to bottom: The East Conservatory’s 2005 debut displays in October (photo by Rodney Eason) and December (photo by Larry Albee).
decision to do the design in-house. Tres Fromme was named Lead Designer, with Sharon Loving and Robert Underwood continuing as Project Leaders, assisted by key staff from across the Gardens and guided by Longwood Director Fred Roberts. Four international consultants were invited to critique the resulting design in 2001, and Fromme toured Portugal and Spain in September of that year to observe Moorish influence on those gardens. The final overall design was approved in October 2001.
Construction began in 2003 and the $24 million project opened on October 29, 2005. The half-acre garden under a 52-foot-high roof is a grand landscape that unfolds in a series of unique spaces recalling French, Modernist, and Moorish influences. Shifting views, exquisite forms and textures, and subtle fragrances engage the senses. Mediterranean and subtropical flora complement large displays of seasonal blooming plants. Water in streams, flat sheets, falls, and jets adds motion, reflection, and sound. A Court of Palms, Patio of Oranges, and Court of Bamboo provide places to pause and linger.
Concurrently, the Music Room and Ballroom were closed 2001–2005 for
massive reconstruction under Sharon Loving’s leadership to replace leaky roofs and outdated utilities, expand service areas, install an organ exhibit, and restore the exquisite interior decoration. The Music Room ceiling reclaimed its original luster, the Ballroom received a new walnut parquet floor, and the walls of both rooms were hung with freshly loomed rose-colored damask. Details of the 1997–2013 organ renovation are in the 2023 book Garden of Music
Fred Roberts retired in 2006 after 22 years of service. He was succeeded the next day by Paul B. Redman, who was born in Texas, raised on an Oklahoma ranch, and received bachelor’s and master’s degrees in horticulture from Oklahoma State University. He then worked at Hawaii’s National Tropical Botanical Garden before moving to the Franklin Park Conservatory in Columbus, Ohio, as Horticulture Director in 1995 and, ultimately, as Executive Director in 1997. After 10 years at Longwood, Redman’s title was changed in 2016 from Director to President and CEO.
Despite the transition, projects underway continued seamlessly, aided by Redman’s added insight. The indoor Garden Path along the southern edge of the East Conservatory
reopened in early 2007, followed in October by the adjoining $18 million Children’s Garden, which had been originally designed in 1987 and remade in 1990. In 1997, Tres Fromme and Mary Allinson visited other children’s gardens, zoos, and museums and worked with youngsters to define how the newest Longwood version could impart the joys of a pleasure garden as one proceeds along a choreographed journey. Fromme created a Central Cove, Secret Room, Ramp, Grotto Cave, and Bamboo Maze embellished by whimsical sculptures, jewel-like mosaics, and leaping, drooling, and misty fountains. The artistic richness is staggering, with Fromme’s imaginative designs turned into objets d’art, made from bronze and stone, not plastic or fiberglass, to offer young visitors a genuine tactile experience. Claro Creative Studios from California managed their production, sculpted by Ramon Velazco and Valerie Edwards, among others. Longwood staff handcrafted a painted mural, mosaics, and teak pieces, and the plumbers and electricians developed the water features, a favorite element for young visitors—even the tiniest jets are irresistible, much to both the delight and chagrin of parents. In all, 31 firms contributed to the construction of
Left: Construction of the indoor Children’s Garden by Tim O’Connell & Sons, 2007.
The artistic richness is staggering, with Fromme’s imaginative designs turned into objets d’art, made from bronze and stone … to offer young visitors a genuine tactile experience.
Below: Some plants and sculptures had to be brought in through the windows or roof. A sculptural dragon head being lifted into place. Photo by Tim O’Connell & Sons.
Above: Kids exploring the Drooling Dragon in the Children’s Garden, created by Dixon Studios, 2007. Photo by Deborah Webb.
Above: The Children’s Garden after 15 years, November 2022.
Photo by Scott Hummel.
In 2007 British landscape architect Kim Wilkie was engaged to come up with a crisp, bold landform reminiscent of the sweeping grass terraces of such 18th-century English landscapes as Claremont and Studley Royal, or Middleton Place in South Carolina.
Above: This 2017 drone shot of the East Conservatory Plaza illustrates the integration of the architecture and the scuptural landform by noted landscape architect Kim Wilkie.
Photo by Duane Erdmann.
one of Longwood’s most popular offerings. Another major Conservatory milestone was the completion of the outdoor East Conservatory Plaza. In 2007 British landscape architect Kim Wilkie was engaged to come up with a crisp, bold landform reminiscent of the sweeping grass terraces of such 18th-century English landscapes as Claremont and Studley Royal, or Middleton Place in South Carolina. The curved turf steps are backed by a hill to the north to mask a long but narrow glass-roofed spine housing 17 domed, naturally lit lavatories hidden within. The central corridor, which connects to the East Conservatory, is walled on both sides with a 3,590-square-foot vertical garden with 25 species of mostly ferns, totaling 47,000 plants, at the time the largest Green Wall in North America. Construction began in the fall of 2009, and the $11.4 million project officially opened in October 2010.
Mention should also be made of the 1999 opening of a 30,000-square-foot Production Greenhouse Facility sited north of the Waterlily Display, and the 2020 opening of a $27 million, 81,000-square-foot Nursery
Production Greenhouse on Longwood property south of Route 1. The latter has 17 distinct growing zones using the latest Belgian and Dutch roof technology to accommodate both expanded production and research needs.
Paul Redman has continued visionary master planning instituted by his predecessor, but with a different focus. Internationally recognized designers have been engaged, including West 8 and Weiss/ Manfredi, award-winning urban design, landscape, and architectural firms that developed a 40-year Site Landscape Master Plan for Longwood in 2010–2011. The three most striking results of that process to date are the reconstruction of the Main Fountain Garden finished in 2017, the new Nursery Production Greenhouse in 2020, and the unveiling of Longwood Reimagined: A New Garden Experience beginning this year. It truly has been an amazing Century of Floral Sun Parlors!
This concludes our 10-part series on the history of Longwood’s Conservatory.
Left: The Green Wall in 2022. Photo by Scott Hummel.
Above, left and right: The Nursery Production Greenhouse in 2021. Photos courtesy of Don Pearse Photographers.
No. 309 Summer 2024
Front and Back Cover
A collection of Longwood garden party invitations and related invoices and ephemera from the Hagley Museum & Library Archives.
Inside Front and Back Cover Garden Party seating in the Open Air Theatre, 1915.
Editorial Board
Jourdan Cole
Nick D’Addezio
Patricia Evans
Steve Fenton
Julie Landgrebe
Katie Mobley
Colvin Randall
Kate Santos, Ph.D.
Kelli Stewart
James S. Sutton
Contributors This Issue
Longwood Staff and Volunteer Contributors
Kristina Aguilar
Plant Records Manager
Richard Donham
Volunteer Photographer
Hank Davis
Volunteer Photographer
William Hill
Volunteer Photographer
Nicole Krom
Marketing and Outreach Manager
Lea Johnson, Ph.D.
Associate Director, Land Stewardship and Ecology
Ryan Pardue
Sr. Land Stewardship Technician
Tabitha Petri
Sr. Land Stewardship Technician
Katie Testa
Communications Associate
Other Contributors
Lynn Schuessler
Copyeditor
Daniel Traub
Photographer
Distribution
Longwood Chimes is mailed to Longwood Gardens Staff, Retirees, Volunteers, Gardens Preferred and Premium Level Members, and Innovators and is available electronically to all Longwood Gardens Members via longwoodgardens.org.
Longwood Chimes is produced twice annually by and for Longwood Gardens, Inc.
Contact
As we went to print, every effort was made to ensure the accuracy of all information contained within this publication. Contact us at chimes@longwoodgardens.org.
