Archive for the ‘Gardens’ Category

Sculpture | Here, There and Somewhere In Between

Friday, March 22nd, 2013

Here, There and Somewhere In Between
The Royal Academy at Hatfield House
Hatfield, UK
30th March – 29th September, 2013

Figurative and abstract art can be as distant from one another as points at the opposite ends of a wide horizon, which doesn’t mean that what goes on in the middle ground is any less individual or less interesting. And, as with art exhibited in galleries, context and juxtaposition are just as important considerations for art shown in the open air, where, depending on the light, the materials, the structure and form, relative scale and surroundings, a sculpture can appear near, far off, or just a stroll away.

While the overall context of Here, There and Somewhere In Between, the forthcoming enigmatically titled sculpture exhibition at Hatfield House, was fixed, it fell on curator Bill Woodrow to establish an intuitive flow between the diverse works, all by fellow Royal Academicians and sited in a variety of locations within the neo-Jacobean formal gardens and in the woodland areas, that would feel right to the visitor.

The concept of showing art in the environs of grand country estates isn’t new – Chatsworth and the Yorkshire Sculpture Park are notable precedents – and in fact this is only the latest in a series of sculptural exhibitions at the 17th century house, but this event is significant in that it marks the first time works by Academicians have been exhibited en masse beyond the four walls and courtyard of the Royal Academy, itself founded in 1768.

The work of the selected artists: Ann Christopher, Michael Craig-Martin, Richard Deacon, Gary Hume, Alison Wilding and Bill Woodrow, ranges from figurative to abstract, while some of it occupies a position somewhere in between.

Images from top
Michael Craig Martin RA
Hammer (purple), 2011
Powder coated steel
Image ©the artist. Courtesy New Art Centre, Roche Court Sculpture Park
and Gagosian Gallery

Hatfield House
Image courtesy of Hatfield House

Richard Deacon RA
Congregate, 2011
Stainless steel
Image courtesy of the Lisson Gallery and the artist

Bill Woodrow RA
Endeavour [Cannon Dredged from the First Wreck of the Ship of Fools], 1994
Bronze
Image courtesy of the artist


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The Blog is about art, architecture, gardens, books, design and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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Books | Tree House Architecture

Friday, August 3rd, 2012
Tree Houses. Fairy Tale Castles in the Air
By Philip Jodidio,
Taschen, September 2012

The Baron in the Trees (Il Barone Rampante) by the Italian author, Italo Calvino was published in 1957. Set in 18th century Liguria, it has been described as a philosophical fiction and a metaphor for independence. It relates the adventures of twelve-year-old Cosimo Piovasco di Rondò who, in a rebellious fit, after refusing to eat a dinner of snails prepared by his sadistic sister, climbs up a tree and decides never to set foot on the ground again. I don’t have the book any more but having read it six years or so ago, seem to remember that the baron never got around to building a treehouse. ‘The idea of climbing a tree for shelter, or just to see the earth from another perspective, is probably as old as humanity,’ the Taschen blurb for Tree Houses. Fairy Tale Castles in the Air tells us, describing the phenomena as, ‘Childhood fantasy meets grown-up savoir faire’.

At Disneyland in California, where nothing is philosophical and everything fiction, you can take a tour of Tarzan’s Treehouse set high in an 80-foot-tall (24.4m) artificial Disneydendron semperflorens grandis, or Large Ever-blooming Disney Tree to you and me, on which we are told 450 – presumably, also artificial – branches and over 6,000 leaves grow – fake too, I would have thought. Hideouts like Tarzan’s jungle abode and Peter Pan’s Hangman’s Tree may come to mind when we think of treehouses but there’s a lot more to them than all the make believe.

Tree houses have a long and rich history in the real world and, as described in internationally-renowned author Philip Jodido’s forthcoming publication, building and designing them is still as popular as ever. Jodido, who studied art history and economics at Harvard has a long and rich history himself, especially with Taschen, for which his books include the Architecture Now! series and monographs on a list of prominent contemporary architects, among them, Tadao Ando, Norman Foster and Zaha Hadid.

The book offers a tour of the best tree houses around the globe covering all styles – a
lthough all the images released for press purposes are modern, contemporary – from romantic to modern, some designed by architects, others the work of anonymous craftsmen. Rather than relying  just on good photographs, each house is accompanied by one of new, young, LA-based illustrator Patrick Hruby’s charmingly primitive representations.

Images from top
Iwan Baan’s Go Hasegawa
Pilotis in a Forest
Kita-Karuizawa, Gunma, Japan
©Iwan Baan

Andreas Wenning of
Baumraum’s
Jungle House
©Baumraum/Andreas Wenning

Tom Chudleigh’s
Free Spirit Spheres
Qualicum Bay, British Columbia,
Canada
©Tom Chudleigh

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Look out for The Blog’s posts on art, architecture, gardens, books, design
and anything else that interests me and I think might interest you

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Photography | Cressing Temple Barns

Friday, January 20th, 2012


Cressing Temple, Essex, UK

New Photographs from Pedro Silmon Garden Photography

Steeped in history, the 13th century barns, at Cressing Temple, built by the Knights Templar – warrior monks who farmed for profit and spent their earnings on expeditions to protect pilgrims and fight in the crusades – are reputed to be the finest examples of their type in Europe.

Within the large precinct they occupy and dominate, is a Tudor walled garden, renovated between 1994 and 1995. The present garden is the result of painstaking research and archaeological excavation, with planting based as far as possible, on the types of medicinal plants, herbs, and flowers that would have been grown in the original garden. The reason behind our first visit was to photograph the garden but the barns are so beautiful and compelling, it was impossible to ignore them, besides, the Wheat Barn (39m long, 13.4m wide) though not as old as the Barley Barn is so omnipresent as a backdrop to the garden that it appears, from one angle or another, in almost every view. The 18th century manor house fell into disrepair and was demolished. There remain, however, 9 historical buildings on the site, including an Elizabethan granary, a farmhouse, wheelwright shop, well house and cart lodge.

The winter images above represent only a fraction of the material we produced on numerous visits throughout the the course of 2011.

Images from top:
Green Man Spout, one of four representing the four rivers of paradise, on the brick fountain in the Walled Garden
A section of the Walled Garden, planted with herbs
Herringbone paving in the Walled Garden
A section of the Knot Garden, showing part of the wooden viewing platform
The Wheat Barn
The pond behind the Cart Lodge, right
Berries of Cotoneaster lacteus
The Barley Barn with contemporary planting
The Well House, foreground, Garage and Wheat Barn, rear

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Look out for The Blog’s posts on art, architecture, gardens, books, design and anything else that interests me and I think might interest you

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Photography | A very good year

Thursday, December 22nd, 2011


Season’s Greetings

Most of you who subscribe to The Blog will know me as a writer and critic on a variety of arts-related subjects, from design and architecture to books, fine art auctions and photography shows. I am also a photographer, specialising in gardens and plants. As you might expect however, of a person with diverse interests, my company extends its photographic activities to a wide range of subjects including: still life, interiors, architecture, travel and sometimes people. You can see varied selections of our photographic work on the following sites:

Pedro Silmon Garden Photography
http://www.pedrosilmon.com/gardenphotography/#

The Garden Collection
http://www.garden-collection.com/

Arcaid Images
http://tinyurl.com/cfao6gl

Plainpicture
http://tinyurl.com/d34wrru

Readymade Images
http://www.readymade-images.com/

In 2012, our aim is to expand this list and to place many more images on all the existing sites.

In January 2011 the pedrosilmon.com site had only 525 unique visitors per month. By November that figure grew to 3,461; the year total is certain to be at least 2,100. During the same period, the figure for the number of pages viewed grew from just 3,590 per month to a year total of around 91,000. Last January there were 9,765 hits on the site; December’s total will be close to 55,000, taking the year’s total hits to at least 276,000. So, thank you. We’re very grateful for your interest.

Our tweets cover similar subject areas as those in The Blog but the pace is faster. Interest in our Twitter account, @PedroSilmon, set up this summer, we’re pleased to say is growing steadily too.

We’re looking forward to 2012 and send you our best wishes for a Very Happy New Year.

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Look out for The Blog’s posts on art, architecture, gardens, books, design and anything else that interests me and I think might interest you

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Design | Sitting on a Mid-century Butterfly

Thursday, August 4th, 2011

The Hardoy Chair
Jorge Ferrari-Hardoy, 1947

The seat I like to sit on – or, in this case, in – when the sun is shining and it’s hot outside, is one I bought at Crate & Barrel in New York for about $35 in the late 90s.

I’d first seen this type of chair, some years earlier in Cara Greenberg’s book, Mid-Century Modern, which included sketchy details of its origins. Sometimes called the Butterfly, the Sling, the BFK, the BKR, the Hardoy Chair by Knoll, who in 1947 acquired US production rights, is accredited to Jorge Ferrari-Hardoy (1914-1977), as it is in Moma|The Collection. Knoll’s museum website does explain, however, that it was developed in 1938 by a team of three Argentinian architects, including Ferrari-Hardoy – he had worked in Paris with Le Corbusier – who based their idea on a 19th century, folding, wooden, British officers’ chair. A rash of inferior copies prompted legal action by Knoll in 1950 and, in 1951, after losing their claim of copyright infringement, the company dropped the Hardoy chair from its line. According to Greenberg, the design had by then been knocked off to the tune of about 5 million copies, thus making it the signature modernist chair of the latter 20th century.

The Knoll version, with its luxurious leather-slung seat and non-folding but exceedingly elegant frame, is a very different animal to the worn canvas-slung folding version with its rusting, spindly frame that I carry out into the garden. None-the-less, I’ve had mine for over 20 years and when it gives up the ghost and drops to pieces, I’ll certainly go back for another one.

Have you got the Knoll version?

Please leave a comment and look out tomorrow for the 5th instalment of This is For You, my new on-line novel, serialised this summer only on The Blog.

To see more of my garden images, please go to Pedro Silmon Garden Photography

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Garden | The Other Garden at Giverny

Sunday, July 17th, 2011

The garden at the Musée des Impressionnismes
Giverny, France. Planted by Mark Rudkin

Whenever I visit a gallery, unless it’s on an opening night when one is there to see and socialise rather than to look very closely at the work, I take care to go when it’s unlikely to be busy. The same is true of the gardens I go to see and to photograph – see examples of my work at Pedro Silmon Garden Photography www.pedrosilmon.com. As a garden photographer, I often have the pleasure of seeing gardens without people, which is a great priviledge.

Having made no special arrangement beforehand and going as an ordinary visitor to Claude Monet’s garden at Giverny, I found it difficult to form any real – if you’ll excuse the pun – impression of it. Mostly, the roses weren’t in bloom and the clematis were over so perhaps it wasn’t the best time to go. The numbers of visitors that had been allowed in, to file along the narrow pathways between the crowded beds and to queue to be photographed on the Japanese bridge over a section of the lily pond, in my opinion, was too many. Robbed of its tranquility – the garden, established by Monet, who created it for himself as inspiration and for his family and occasional guests to enjoy – it was reduced to just another tourist attraction. For fear of being poked from behind by a Japanese parasol or knocking the lens hood of someone else’s oversized camera, had the roses been in flower, there would have been precious little opportunity to stop and smell them.

There is, however, another garden, just along the street, in Giverny at the Musée des Impressionnismes Giverny. Far more open in plan than its neighbour, conceived in 1991 by architects Reichen and Robert and planted by the landscape artist Mark Rudkin, who redeveloped the Palais-Royale Gardens in Paris, this contemporary garden, opened in 2009, is made up of a series of colour-themed rooms in blue, white, yellow, purple and pink, laid out on an elongated grid. Each room is informally planted, each separated from the next by tall beech or emerald thuja (Thuja occidentalis ‘Smaragd’) hedges, and linked together by a single, wide, straight path. Nodding to Monet’s garden – like my images above, in which I try to capture the mood, rather than the individual plants – the garden has wistaria-covered pergolas and to the rear of the discreet, limestone-clad, single-storey museum building – the galleries are below ground level – a wildflower meadow.

Have you visited the gardens at Giverny?

How do you think the two gardens compare?

Please leave a comment

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Garden | Vertically Challenging

Wednesday, May 4th, 2011


Michael Hellgren: vertical gardener

Blending its traditional naturalism with modernism produced the familiar humanistic product design and architecture we have grown to expect from Scandinavia. Michael Hellgren takes the concept to another level: literally. Vertical Garden Design, the company he set up after studying in Uppsala, Sweden and École d’architecture et de paysage de Bordeaux, France, is growing – if you’ll pardon the corny pun – and now has offices in Stockholm, Lisbon and Barcelona. This year has already seen completion – in collaboration with Dublin-based, Studio M architects – of the indoor wall of vegetation the company designed and installed at a cultural centre in Dubai. Earlier projects include the interior of a new concepts store for the clothing retailer, Replay, in Florence and an interior wall garden with waterfall, for Lisbon’s Natura Towers Hotel.

Vertical gardens as a concept are, of course, not new and Michael freely admits to being influenced by the ideas and techniques developed by the highly-acclaimed Frenchman, Patrick Blanc, who has designed and installed gardens from Tasmania (MONA, Hobart) to London (Athenaeum Hotel, Piccadilly). Now in his late fifties – and still sought after– Blanc is currently working with Herzog & de Meuron on the Miami Art Museum, due for completion in 2012, which includes a series of slender, vertical columns of dense vegetation.

What’s new and interesting about Hellgren’s Vertical Garden Design, as opposed to Vertical Garden Patrick Blanc – the company names are easily confused – is that while in much of his later work, Blanc has gone for arranging plants in patterns, uneven stripes in different textures and colours, making his wall schemes appear artificial/designed, Hellgren leans far more toward the natural, allowing the plants to make their own statement. But, it’s more than that. Perhaps there’s a cultural difference at play here; one somehow knows instinctively that nouvelle cuisine could not have been invented in Sweden, however the Swedes have no Jean-Paul Gaultier. While Hellgren’s company is by comparison with Blanc’s still relatively small, likewise it’s projects, just comparing the two firms websites, gives a clear insight into their different approaches: Blanc’s – designed by SMOL, built by Seegne – playful and almost comically kitsch, the pictures crude; Hellgren’s simple, minimal, fresh – designed by New York City and Paris-based, Area 17 – with beautiful, high quality images (See inspirational images and projects above and below). These images are what first drew me to investigate Vertical Garden Design further and to discover that Michael Hellgren is also the talented plant and landscape photographer, responsible for taking them.


What do you think of the Vertical Garden Design website?
And, Michael Hellgren’s Photography?

Please leave a comment

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Dada’s Cubist Garden

Monday, May 2nd, 2011

Hyères 2011. 26th International Festival of Fashion & Photography
Festival ends today. Exhibitions continue to 29th May,
(NB Villa Noailles closed from Tuesday 3rd to Thursday May 5th included)
Villa Noailles, Hyères, Var, France.


Erwin Blumenfeld, Powder box,
study for an advertisement, circa 1944
© The Estate of Erwin Blumenfeld

Daniel Sannwald, 032c, 2010

The journey had taken almost two hours. I had driven there on a whim from Nice, where I was staying, but the Villa Noailles was closed to visitors that day. Despite all my best efforts, I was unable to blag my way in. I would have liked to have seen the shows. It was totally my fault and, let’s be honest, unprofessional of me not to have contacted the Villa’s press people beforehand. I should at least have checked the opening times. I had gone there, however – it was outside the area of my itenerary – not specifically to see the exhibitions. Having arrived I had wanted to look around the early modernist house, built by architect Robert Mallet-Stevens for art patrons Arthur Anne Marie Charles, Vicomte de Noailles and his wife, Marie-Laure Bischoffsheim, between 1923 and 1925. But the real reason behind my visit was to see the triangular cubist garden designed by Turkish-born Gabriel Guevrekian, its Turkish designer who had worked with Joseph Hoffman in Vienna and was later to work with Le Corbusier

A selection of images by pioneer of creative photography between the wars, Erwin Blumenfeld’s work forms part of the this year’s festival exhibitions at the villa. Born in Berlin, Blumenfeld was a participator in the Dadaist movement and was to become an ardent denouncer of the Nazis. After having begun working for French Vogue in 1940, he was imprisoned in several concentration camps before escaping to the US in 1941, where his collaboration with Harper’s Bazaar – where Alexei Brodovitch was art director – which had started in 1939, continued until 1944. He subsequently worked for US Vogue and was, at the time, reputed to be the most highly-paid photographer in the world. Fashion Photography: Erwin Blumenfeld was published in January 2011 by Phaidon.

A more contemporary contributer, also born in Germany – in 1979 – and producing experimental fashion and beauty photography, Daniel Sannwald’s work is sometimes hauntingly surrealistic and at other times, vividly expressionistic. Sannwald works with numerous numerous magazines, amongst them: Dazed & Confused, i-D, L’Officiel Paris,Vogue Hommes Japan, and V magazine. He has photographed projects for Louis Vuitton, Nike, Loewe, Adidas, Replay, and Shiseido. His book, Pluto and Charon was published in February 2011 by LuDIoN Editions.

… I had struggled to get the car to climb the steep hill to the villa, perched high above medieval Hyères, and was pleased that my journey had not been wasted. Neither the garden – though a little scruffy – nor the exterior of the villa – rather unsympathetically extended – disappoint. My pictures, below, appeared in Germany’s prestigious architecture and living magazine Architektur & Wohnen; some of these also formed part of a major feature, illustrated exclusively with my photographs of the gardens of the Cote d’Azure, which appeared in the UK edition of Condé Nast Traveller.

Have you visited the Villa Noailles?
What did you think of it?

Please leave a comment

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Spring is sprung

Friday, February 18th, 2011

Easton Walled Garden: Snowdrops

Spring is creeping through what remains of last year’s autumn leaves – that winter covered in deep snow and transformed into sodden mulch – manifesting itself in shows of pure white snowdrops, yellow aconite and purple crocus. Easton Walled Garden, just off the A1, in Lincolnshire, where we broke the return journey south, having made an impromptu visit to the North East England, has a wonderful display of spring flowers. My image, above, will be available shortly via The Garden Collection, where you can see many more of my garden photographs.

Do Snowdrops do it for you? Please leave a comment

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Roses Grew on Me

Monday, February 22nd, 2010

The Garden of the Rose
Weekdays 9am – 5pm. Members of The Royal National Rose Society only

I’m not sure what might have triggered it off – it seemed to come out of the blue – but I remember once, when I was in my mid-twenties, long before I had a garden, telling a colleague that I hated roses. Clearly puzzled, he screwed up his eyes and looked at me strangely, not quite knowing how to respond.

Prior to my impassioned outburst, I suppose my only experience of roses had been those I’d seen on chocolate boxes and the massed ranks of Hybrid Teas grown in the middle of roundabouts in dull, British seaside resorts or in municipal parks. I probably could have named a couple of other flowers – daffodils and pansies – but, on the whole, felt pretty ambivalent about them.

Shortly after my odd declaration, I was put in charge of the design of the Lifespan pages at The Sunday Times Magazine, which, among subjects such as food and travel, included, for my sins, gardening. The gardening editor at that time was the late, and appropriately-named, Graham Rose – who, at first struck me as a stubborn sort of man with a deep, rasping voice that the more he smoked got deeper and more rasping. His fingers may, in an earlier life, have been green but nicotine had turned them the colour of polished oak. While I tried hard to temper evidence of my own northern roots, Graham spoke with a raucous, music-hall Geordie accent which, whenever he came near my desk rose in decibel-rating and frankly embarrassed me. Possibly out of what he imagined as kindred spirit – both of us were displaced Geordies – Graham took a shine to me and in no time, I found myself – a non- and fervently anti–smoker – dragged off in a smoke-filled car, in the rain, to some nursery in, I think it was, deepest Berkshire to look at a few canes with sodden, limp string stretched between them that had been stuck into a muddy corner of a field. This ensemble apparently represented the plan of The Sunday Times competition garden, which would be installed at that year’s Chelsea Flower Show. I was unimpressed and unconvinced. But, little by little and with a lot of cajoling and witty remarks from Graham  – it had dawned on me he had a very dry but hilarious sense of humour – and his encouragement, over the next couple of months, my own fingers, at first reluctant, took on a distinctly green-ish hue and by the time Chelsea came around, wild roses wouldn’t have kept me away. Graham kindly got me a ticket for press day and, that summer, even came around to my and my wife’s first house to give us a few tips on how to sort out the garden, including where to position the climbing rose he’d recommended; it was raining so we even let him smoke indoors.

About twenty years later, on a blisteringly hot day, last summer, I visited The Garden of the Rose at the The Royal National Rose Society, in Hertfordshire, where, in the course of 8 hours, totally engrossed and in my element, I photographed 73 different varieties. A dozen beautiful red ones, including Rosa ‘The Jubilee Rose’, pictured above, are now blooming on Pedro Silmon.com.

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