Today, all I have to share are these photographs of my sole hydrangea plant. This pinky charmer lives on our covered porch, surviving the heat, I guess, because of its deeply shaded existence.

It is 90 degrees outside as I write at 7:30 p.m. With adequate water, this hydrangea seems to cope with close-to-the-century-mark temperatures. But if it wasn’t protected by the overhanging roof, it would be miserable.

In contrast, hydrangeas in Seattle can handle a few days of excessive heat, here and there. But their blooms and leaves get crispy when subjected to sustained hot-and-sunny summer conditions. All the more reason why I cherish owning at least one non-crispy specimen here in Zone 10!

This hydrangea was a “housewarming” gift nearly 2 years ago, given by my husband’s boss on the occasion of our move to SoCal. To me, “Miss Hydrangea,” it seemed ironic to receive a no-name, hothouse variety in a 1-gallon pot, cloaked in that crinkly-metallic florist paper. It nearly toppled over because the few enormous mop-head blooms were wildly out of proportion to the size of the plant itself. In my former garden (seen at left and right), I was lucky to grow several cool Japanese hydrangeas that were gifted to me by friend Richie Steffen of the Miller Garden. These babies seemed to think they were still growing in their native soil because they exploded in size over the period of a few years - only to crowd out the nearby path. (Although, I must confess that the huge mophead hydrangea shown here was also a housewarming gift that arrived in a 1-gallon florist’s pot: It was given by our then-new neighbor David when we completed construction and threw ourselves a move-in party in 1998!).

Back to this pink hothouse hydrangea, which sat on my kitchen counter and seemed to be mocking me. If she could have spoken, she would have said: “You think you’re such a great gardener? Well, guess what? No one here cares that you grew a dozen stunning hydrangea shrubs, not to mention two climbing hydrangeas, in your old Seattle garden. Try keeping me alive here in Zone 10!” (more…)

When I toured the Dwell Outdoor section of the trade show at last weekend’s Dwell on Design 08-LA, the first things to catch my eye were some “flying” pots of bamboo. Suspended from the ceiling, resembling broomsticks owned by the Wicked Witch of the West, the potted bamboo plants seemed to be whooshing to and fro, by themselves.

Slightly twisted, this version of a well-behaved, dare I say “garden-variety,” plant display was the brainchild of a few folks at Monrovia. As one of the major sponsors of the Dwell conference, Monrovia was given the task of decorating the vast Dwell Outdoor area, which showcased modern living trends and hot new products.

Monrovia partnered with Sarah Graham, a principal of agps architecture, to create the “Flying Bamboo” theme. “We wanted to design a conceptual landscape for Dwell Outdoor and Monrovia, as a means for visitors to see landscape in a new way,” Graham explained in a Monrovia press release. ”As plants, particularly large plants, are usually gravity based, we reversed that normal condition, making it surreal. One cannot help but to notice, to question, and to laugh.”

Bamboo foliage nearly tickled the tops of our heads while I chatted with Judy Lynes, Monrovia’s publicist from The Phelps Group, a Santa Monica-based PR agency, and Pamela Wasson, Monrovia’s marketing VP. The women said Monrovia enjoyed creating something that guaranteed a reaction (I guess the only person not excited about the installation was the local Fire Marshall, who had concerns that plants would start dropping from the sky onto conference-goers).

But thanks to secure cables and lots of other precautions, the caper worked! When I walked into the giant shell of a convention hall, the flying plants soared above the displays and visually demanded my attention.

Plenty of lush, healthy Monrovia plants were closer to the ground, too, for easy viewing, including dramatic architectural plants, water-wise and easy-care varieties. By focusing on its selection of 42 custom-blended  soil mixes (using dozen different types of mycorrhiaze, a beneficial fungus), Monrovia educated consumers and landscape professionals about the importance of good soil.

“We work with so many landscape architects and designers, we thought this would be an ideal venue to showcase our plants and soils to those professionals,”  Wasson said.

ARCHITECTURE IN THE GARDEN

Shedista that I am, I was wowed by the many great examples of scaled-down style designed for escaping to the great outdoors. There were some of the wonderfully creative shed-like structures on display below Monrovia’s flying bamboo. I daresay each was a stylish hideaway, deserving of a starring role in the garden:

MODERN CABANA

The brochure copy reads like it’s straight out of the pages of Stylish Sheds and Elegant Hideaways, promising: “SPACE TO: Work, Play, Film, Paint, Meditate, Rest, Escape, Research, Read, Create.” Based in San Francisco, Modern Cabana offers pre-fabricated accessory structures made from clear cedar siding (all sorts of design upgrades are available). The clean, modern design comes in 10-by-10, 10-by-12, 10-by-14 and 10-by-16 foot configurations. Multiple units can be connected to create expanded floor plans. “The Cabana can be used as a guest cottage, urban penthouse, desert hideaway, fishing cabin, workshop, sound studio, yoga studio, kids’ playhouse, or exercise room.”

KITHAUS

I discovered Kithaus, a cool slat-sided shelter, at the CA-Boom 07 show in Santa Monica and invited the company to be part of our book. But the young shedmaker, which uses a lightweight anodized aluminum frame, Ipe decking and louvers, and a corrugated metal roof to make its nifty, freestanding room, didn’t have a completed and fully installed structure ready in time for our photo schedule. Now, Kithaus has been picked up by Design Within Reach, which is marketing and distributing the prefabricated units. “Wondering where you can use Kithaus? How about anywhere you need a fully insulated, pre-wired comfortable space.”

SHELTER SYSTEMS

Like a three-dimensional puzzle, the “Comeback Cube” by Culver City, Calif.-based artist-architect Gregg Fleishman, is undeniably part sculpture and part shelter. It is playful and interactive in its design. Yet, it is practical, and I can see it functioning as a contemporary summerhouse. According to press material, the design features: “a full-size single-cube module in 3/4 inch European Birch, measuring 9 ft by 9 ft by 9 ft, with 81 square feet of interior space and an 81 square foot rooftop deck. The single cube is permit exempt, making for a quick and elegant temporary structure, backyard studio, guesthouse, or children’s playroom.”

On his web site, Fleishman speaks further about his design decisions:

“In architecture today, the green movement focuses mostly on the origins of material and use of energy. This work proposes that there is another way to be green in architecture, a way that focuses on process in building going beyond the factory. It is in geometry, with its repeating similar forms, and smaller similar parts that we find the advantages we are looking for. These include greater structural efficiency, manufacturing economies, easier handling, less specialized work force, and lower start up costs. What distinguishes this geometry . . .  (are) the cube and the octagon, more specifically variations of a 3D checkerboard of cubes or ‘rhombicubes.’ When oriented in different ways, these cubes have provided for a veritable bouquet of new and different building types to sprout up using faceted geometrical faces that can provide a new and more natural look and feel to our buildings.”

THE NOMAD YURT

Ecoshack is an LA-based green design studio and manufacturer of architectural products such as the Nomad, a modern take on the traditional Mongolian yurt. I am fascinated by this fabric-cloaked shelter designed for use as a fully-enclosed guest room for 3 to 4, a poolside (or rooftop) lounge that seats 10 to 12, or a spa treatment room. “At night, light the interior to create a magical, private room.”

Designed by Ecoshack founder and CEO Stephanie Smith, The Nomad measures 14-ft. diameter, with an interior height just over 7 ft. Its materials include:

– Solid Core Bamboo, a renewable, flexible, strong and light material 50 times stronger than oak but lighter than steel;

– WeatherMAX FR, an advanced, exterior-grade, anti-flammable fabric that delivers “unsurpassed water repellency, mildew and oil resistance without relying on environmentally unfriendly coating compounds.”

Truly, “a yurt reinvented.”

My pals at Monrovia made sure to add me to the press list for dwell Magazine’s first-ever design symposium in Los Angeles (I think the two previous conferences were held in the San Francisco Bay Area).

Dwell on Design’s hip graphics and giant magazine covers filled the LA Convention Center. The addition of plants, provided by Monrovia, helped soften the ultra-modern flavor of the event and infuse the setting with something living and green.

The four-day conference included panel lectures, home tours and a trade show featuring the best contemporary and sustainable resources for the home and beyond. I missed Thursday’s panels, but met up with Nan Sterman to attend some of Friday’s panels and the trade show.

Having spent many hours of my professional life uncomfortably confined to stiff, industrial-grade chairs while listening to lectures, I was thrilled to see that conference sponsor Lounge22, a Los Angeles-based furniture company, provided v-e-r-y cushy sofas for those of us smart enough to show up on time and get a place near the front of the room. Sleek, low-profile sofas, upholstered in white or black leather, made sitting still an easy (and luxurious) endeavor. Very classy, folks.

Stylish attendees reclining on sleek Lounge22 sofas - it beats a folding chair!

First off, a panel of leading hotel and restaurant designers convened “Home and Away: the nexus of hospitality and domestic design.” Moderated by dwell editor Sam Grawe, the panel featured Cass Calder Smith, principal of CCS Architecture (San Francisco-based), Peg O’Brien, founder/principal of O’Brien Design, and Theresa Fatino, Chief Creative Officer, SBE Entertainment Group.

I asked myself, why do I care about hotel and restaurant design? I haven’t written about the hospitality biz since I was a reporter covering the hotel beat for Puget Sound Business Journal back in the late 80s-early 90s. But I remembered that my experiences reporting on hotel and restaurant trends strongly influenced and shaped my design sensibilities - and helped train my eye to look for creative design influences everywhere around me. I’m pleased to say, it was worth my time to slouch into the white leather sofa, stretch my legs and listen to the presentation.

Of the three panelists, it was Theresa Fatino who blew me away. She has been described as having a sixth-sense for observing cultural tastes and trends. Fatino is a passionate keeper of the faith for her current project, SLS Hotels. As a project of SBE Entertainment Group, the first SLS Hotel is slated to open later this year in Beverly Hills (Las Vegas and South Beach, Florida, properties are also in the works). 

You may ask yourself: What does SLS mean? I finally found a clever reference to the acronym on the company’s web site: Some Little Secrets. The hotel is pursuing a high-touch, but understated niche in the crowded hospitality market.

Fatino is the organization’s key collaborator with master designer Philippe Starck on its hotel, restaurant and lounge concepts. In addition to SLS Hotels, these include the Katsuya restaurant brand, recently-opened S Bar and a yet-to-be-named upscale supper club on the Sunset Strip. She has an impressive resume that includes a fine arts degree from Syracuse University, followed by design positions with Ralph Lauren, Pottery Barn and the W Hotel.

Fatino described the intricate development of SLS Hotels’ ”brand” management message, summed up by a list of “emotional touch points.” I might be missing a few of them, but here are the themes I quickly jotted down during her lecture:

Conscience

No Compromise

Internal Reward

New Functionality

Semi-public

pre-Googling

Curated Consumption

Customization

Customer-made

Out-Experience-In

Niche Growth

Online Oxygen

Planned Spontaneity

Buy Now

To me, these ideas are symbolic of broader consumer trends. Far-reaching, such ideas aren’t limited to the hospitality industry. They serve a kind of marketer’s shorthand to describe and highlight the present mood of popular culture, media (and media consumption), technology, product design and art.

Fatino illustrated a few of the ideas:

pre-Googling: This refers to our reliance on the Internet as a “preparation” tool. For example, how many of us “Google” someone in advance of a planned meeting (this could be a work-related contact or even someone you might encounter at a dinner party)? We’re addicted to Google as a verb!

Curated Consumption: As a design writer, I find this one fascinating. Certain arbiters of taste are given the “power” to curate our artistic and aesthetic choices. Fatino describes Pottery Barn as the “curator of casual living,” Williams Sonoma as the “curator of the kitchen,” Oprah as the “curator of the books we read,” and Martha as the “curator of flowers.” “We are following and obeying the new curators of taste and style,” she explains.

Online-oxygen: “How many of us wake up in the morning and before we do anything else, we reach for our Blackberry?” she asked. This habit equates our need to breathe oxygen with our need to constantly access our online lives; it is shaping design decisions made for the new hotel. She illustrated this concept with a slide of a man seated in a Zen garden, using his laptop. Hmmm.

Internal reward: There is a need to balance our “wired” lifestyle with an “unplugged” response. “We need to rejuvenate, nourish the mind, replenish, engage in spiritual activities,” Fatino suggested (at this point in her lecture, I leaned over to Nan and whispered: We all need a Stylish Shed - that will provide ample internal reward, the antidote to everyday insanity!)

After identifying these emotional touch points, Fatino cited a list she called the ”catalog of experiences” the new hotel will offer. I suspected her list would be geared to customers willing and able to pay for this level of luxury. But surprisingly, many of them are emotional experiences rather than tangibles. And in a way, that’s what’s so appealing about these ideas. These experiences seem to require an attention to detail rather than a big budget. Here they are:

Elegant

Timeless

Intelligence

Community

Authentic

Human-Spirited

Organic

Respect

Reliable

Humanity

Inspiration

Discovery

Soul

The challenge, said Fatino, is to “translate the ‘experience’ into a physical product,” but to do it with sincerity and integrity (people can easily spot a “copy job,” she says).  

For example, the hotelier has decided to eliminate little plastic bottles of shampoo and lotion and replaced them with high-quality, natural body products in large, glass, refillable bottles. Not only is this environmentally smart, it is a small gesture that communicates the desired guest experience. Some are tangible, such as warm, fuzzy-feeling Egyptian cotton towels or “bronze-tinted” lighting flattering to the face. Others are intangible, such as how guests’ children and pets are treated. “We know when to create a surprise and when to whisper,” Fantino explained.

HOW WILL HEARING THIS NEW INFORMATION CHANGE THE WAY I OPERATE?

I think I will come up with my own “emotional touchpoints” and “catalog of experiences” to describe how I want to live, conduct my life, work, relationships and immediate surroundings. I’ll be tracking SLS Hotels as they open and begin to execute Fatino’s vision.

NEXT UP. . .

I have two more reports to post, but this is already too long. The next one will highlight Dwell Outdoor, the exhibit area featuring landscape and garden design ideas and products. That will be followed by a report on a Sustainable Interiors panel.

Thanks to a connection made by my Seattle-based PR whiz-friend Cindy Combs, I was invited to be a guest on “Living Today,” the daily afternoon show on Martha Stewart Living Radio. The segment originally aired on April 28th, the day before Stylish Sheds and Elegant Hideaways was published.

I had a delightful 25-minute conversation with gregarious host Mario Bosquez.  We discussed the ideas and inspiration for one of my very favorite subjects: Creating Your Dream Shed.

The “Living Today” team (from left to right): associate producer Lauren Gould, producer Naomi Gabay, host Mario Bosquez, and engineer Chris Hauselt [MSL Radio photo]

The interview was completely enjoyable, enhanced by Mario’s enthusiasm and constant affirmation, which gave the impression that talking about ”elegant hideaways” was to him the most exciting topic on earth!

Obtaining an audio copy of the interview was nothing short of a miracle, however. It involved (a), signing up for a free 3-day subscription to Sirius Radio; (b) setting up my crappy little cassette recorder next to the computer so I could tape the show as it streamed live on the net; and (c) racing into the other room to do the interview by phone with Mario.

Once my segment of the show was finished, I returned to my office and rewound the recording of the interview. Not only was it kind of scratchy and there were all sorts of pinging sounds from my computer (probably some kind of AOL affectation that lets you know if a new message has arrived), I also discovered that the tape ran out before the interview was over. I begged my publisher to try and obtain a professional recording from some kind of media monitoring service, but that request went nowhere.

So, finally, thanks to my wonderful collaborator Bill Wright, who figured out how to convert a cassette recording into a digital file (and who, I’m sure, devoted many hours to clean up the poor quality sound captured by my amateurish recording), we have a reasonable facsimile of the interview. Thanks, too, to Bob Meador, aka the web guru, for further enhancing and editing the file, filtering out background noises where possible, and posting the audio to my web site.

Thanks to the support of my friends, I actually have the interview to share, albeit more than a month after it originally aired. Click here to listen: Debra on MSL Radio.

I thought my big foray into the glossy, over-sized, luxury magazine market here in LA would be exciting. Instead, it kind of left me underwhelmed.

The assignment, by way of a referral from an editor friend whose work I really admire and who handed me off to write for his design deputy, was to report and write three 150-word pieces for Angeleno magazine’s “Living Large” section in its March 08 issue. Measuring 10-by-12 inches, the 300-page issue arrived in my mailbox today. Wow, Ryan Philippe is on the cover looking broodingly handsome.

Quickly, I flipped through the first two hundred or so pages, past full-page ads featuring the beautiful people wearing clothing by Armani, Banana Republic, Dolce & Gabbana and Chanel. Where was my big story?

FINALLY. I found the six-page article, chock-full of mini-stories (and I mean mini - you really could call them “sentence stories”) about everything big in architecture, furnishings, interiors, oh, and even plants. Yes, my dazzling prose was boiled down to a caption-length block of text. Only two of the three items I wrote made the “cut,” so to speak. They really don’t resemble anything I composed.

if you look veeeerry closely, you can see my byline, circled above

But the good news is that I can publish my original pieces here, thanks to the freedom of blogging. I think you’ll like reading them. One is about super-sized cactuses and succulents; the next one is about how to grow an instant-gratification hedge; and the final one - my favorite - is about Berylwood Tree Farm, a magical nursery owned by Rolla Wilhite, a man who has been growing trees for 40 years. This is the one short story that Angeleno cut. And you know, I’m actually relieved, because Mr. Wilhite is a visionary - and he deserves a HUGE story of his own in a publication that will give him his due. And I intend to write it myself.

Read on for a revealing comparison between how the stories began and how they ended up in print:

STORY ONE (the original):

Looking Sharp: Emulate Lotusland’s exotic century plants and tree-sized aloes or recreate Huntington Botanical Garden’s otherworldly desert displays for your own enjoyment. Stunning as a piece of living sculpture, a prickly tower calls for special care in transporting and planting, says cactus-grower Molly Thongthiraj of California Cactus Center in Pasadena.

“It usually involves some kind of big equipment like a forklift or a crane,” she deadpans. “We sold a saguaro cactus that had to be delivered by helicopter.”

The scale and size of estate gardens call for big impact, which you can achieve with a pair of 4-by-4-foot variegated century plants (Agave americana ‘Variegata’) displayed in large urns. With cream-and-blue-green streaked blades forming a perfectly symmetrical (but wicked-to-the-touch) rosette, you can expect to spend $300 to $600 per plant.

Wish for something even rarer? Thongthiraj suggests a South African giant tree aloe (Aloe bainesii), with a price tag of $30,000 (12-foot) to $60,000 (20-foot). Location: 216 South Rosemead Blvd., Pasadena, CA; 626-795-2788 or www.cactuscenter.com.

How STORY ONE looks in print:

STORY TWO (the original):

Fortress mentality: When Suzanne Rheinstein, interior designer and owner of Hollyhock, the West Hollywood design and antique store, wanted to double the size of her Hancock Park backyard for her daughter’s wedding, she removed a wood fence and ripped out an old eugenia hedge in order to “borrow” her neighbor’s yard for the event (that’s a nice neighbor!).

“When (the wedding) was over, we knew we had to put a hedge back, but I didn’t want to use eugenia again,” Rheinstein explains. “Instead, I found espaliered podocarpus trees that were eight feet high and wide, with wonderful dark green foliage.”

If you plant it in a straight line, just about anything - from tree ferns and ficus to holly and bamboo - can be considered a hedge. People want hedges for privacy, enclosure, and to screen objectionable views. Euphemistically called a “living fence,” there’s something kinder about erecting a green hedge rather than a solid wall between you and the neighbors.

“A green hedge benefits the environment more than a block wall,” notes Los Alamitos-based landscape architect Graham Stanley. (It’s also more economical: hedging costs about $20-per-linear-foot versus $100-per-linear-foot for a constructed wall, Stanley estimates.)

Evergreen shrubs with dark-green leaves make for the best hedges. “They set off the garden as a backdrop to the lime and bronze foliage of other plants,” Stanley says. Good choices: Waxleaf privet (Ligustrum japonica ‘Texanum’, 8-10 ft.); myrtle (Myrtus communis ‘Compacta’, 8 ft.); and fern pine (Podocarpus gracilior, 20-40 ft.). Stanley’s current favorite is Japanese blueberry tree (Elaeocarpus decipiens, to 10-15 ft.), “a nice hedging plant with dark green leaves.”

Source: Valley Crest Tree Co., 818-223-8500 or www.vctree.com (to the trade).

How STORY TWO looks in print:

STORY THREE (the original piece which was dropped from Angeleno’s roundup of all things big):

Trees are the answer:There’s nothing like a 20-foot-tall (or larger) shade tree to give the impression of largess. Use one as a focal point or group several trees to form a bosque or grove - and your landscape will feel instantly established. For mega-specimens, landscape architects and designers here and beyond call Rolla Wilhite, tree purveyor extraordinaire and owner of Somis-based Berylwood Tree Farm.

A UCLA-trained landscape architect and horticultural pioneer who 40 years ago began planting saplings at his 25-acre nursery, Wilhite supplied trees for the Bellagio, Getty Center, Getty Villa and the Smithsonian. While he won’t reveal his most-famous clients, Wilhite slyly hints at the marquee names who have shopped among his verdant rows of stately redwoods, graceful magnolias and tufted blue atlas cedars trained into espaliered forms (Hint: just last month he helped a certain pregnant Oscar-winner choose mature live oaks for “one of her houses.”)

Known as the Rodeo Drive of trees, Berylwood is open only to architects and contractors. Wholesale trees have three- to five-figure price tags. You can’t access an online list of his 8,000 trees (Wilhite keeps that inventory in his head), but staff will email photos of specific varieties upon request.

Then there’s the waiting: After you select a mature, field-grown tree, it may take six months to two years for it to be pruned, dug and boxed for delivery so as to avoid transplant shock. “These trees are my children,” Wilhite confides.

Source: Berylwood Tree Farm, 805-485-7601 or btfnurs@aol.com (to the trade).

It’s back to the world of full-length stories for me. I think my Hollywood journalism days are over.

Snowfall frosts the mountaintop, seen from our neighborhood, January 2008

Southern California has received more than seven inches of rain since the start of the New Year. Apparently, this means our area has been blessed with more precipitation in one month of 2008 than we had in all of 2007!

There is something quite delightful about rain when it arrives. Of course, since this happens ALL THE TIME during Seattle winters, we were once desensitized to the cleansing, refreshing spirit of raindrops, sprinkles, showers, softly-falling mists…whatever you want to call it. Now, though, after living here in SoCal nearly 18 months, we do our little “happy dance” when it rains.

Capturing rain is a top priority for cities in the LA area. That’s because the dense network of urban freeways, streets, sidewalks and patios has created an impermeable surface that repels rainfall, washing it down driveways, curbs, and gutters and dumping it into the street drains. On the way, the water picks up pollutants — motor oil, auto fuel, antifreeze — any number of toxins that cling to the concrete and asphalt. So the relatively clean water falling from the sky becomes a chemical cocktail that eventually pours into drainage systems and dumps into the Pacific Ocean.

Several municipalities have established incentives to help homeowners (and their landscape designers) to capture and retain water falling on their property. One creative solution is to sink an infiltration system into the yard. As precipitation gushes along rooftops, into gutters and downspouts, and across the driveway, it is directed to this underground vessel that holds hundreds of gallons of water. Then the H20 slowly filters into the ground, replenishing the water-table instead of spilling into the street.

A cross-section of an underground infiltration system, designed by Gaudet Design Group

I took a crash course in Rain Management 101 a few weeks ago when the Los Angeles Times asked me to write a story about creative ways to capture excess rainwater.  I met Peter Jensen of Gaudet Design Group in Santa Monica, a landscape designer who specializes in sustainable solutions. Here is a link to the January 17th article called: “Imagine: Rain, Rain, Stored Away.”

Peter makes something completely functional look very appealing. Here is some of his work:

Echeveria “Afterglow”

A Santa Monica front yard: In a space once occupied by thirsty turf, an attractive palette of drought-tolerant plants captures rainwater

On top of the “hidden” in-ground infiltration system, the river-rock is interspersed with Agave americana ‘Varietgata’ and ‘Icee Blue’ spreading juniper (Juniperus horizontalis ‘Icee Blue’)

Between “pads” of poured concrete steps, clumps of fescue and dymondia (Dymondia margaretae) encourage rainwater to seep into the ground

Dymondia margaretae cushions the spaces between pieces of broken concrete

To passers-by, it looks like a dry creek-bed; but this river-rock entry garden is installed above an in-ground infiltration system

Once a two-car driveway that shed rainwater into city streets, this re-designed drive uses a patchwork of ground-covers and broken concrete to allow rainwater to slowly seep into the ground.

Eat Your Vegetables: Garden to Table [Cindy Combs photograph]

The minute the calendar page turns to the New Year gardeners don’t read: “January.” They read: “Spring.” It’s silly when so many places are still buried in snow, have sub-freezing temperatures, or even worry (as I am) about occasional frost. But we are busy planning our planting schedules.

Until the soil warms up, however, we can take solace in the piles of seed catalogs that fill our mailboxes. To speed up spring’s arrival, we buy tickets to the pre-season extravaganzas: Flower and garden shows. I liken these green celebrations to the “annual meeting” for plant lovers — especially plant lovers who push the envelope when it comes to defining our gardening season.

I’m deep into planning my February and March travel itineraries for taking in the Northwest Flower & Garden Show (February 20-24) and San Francisco Flower & Garden Show (March 12-16), respectively. I’m excited to gain new inspiration for hot plants, cool designs and inspiring lessons from the show gardens. Here’s where I can revel in horticultural happiness with like-minded souls, because seeing friends, of course, is a huge part of the fun.

For months I’ve been hearing from my Seattle garden friends about the flurry of activity surrounding the Northwest Horticultural Society’s display that will (I think) be the educational organization’s largest ever at the Northwest Flower & Garden Show. As a former NHS board member and past editor of the organization’s newsletter, ”Garden Notes,” I have a special place in my heart for its people and programs. Through NHS and its members and speakers, I have gained so much knowledge and inspiration over the years.

NHS has sponsored inspiring art- and plant-filled displays in past years. For 2008, NHS president Nita-Jo Rountree tells me the focus will be on edibles. “Eat Your Vegetables! Garden to Table,” promises to be centered around a tasty and inspiring display garden. Actually, THREE edible gardens. When it opens on February 20th, the installation will be a centerpiece of the Washington State Convention Center’s south lobby entrance.  The goal is to demonstrate to showgoers that edible plants are easy to raise, attractive when mixed with ornamentals in the landscape and, with a few simple preparations, ready to go from the garden to the dinner table.

The 1,200-square-foot display will highlight two huge lifestyle trends — growing vegetables and cooking “fresh,” says Nita-Jo. I called her recently to get the inside scoop on how the garden plans are coming together. The design will feature an chef demonstration stage, plus a trio of edible landscapes: A formal French potager, designed by Robyn Cannon (featuring material and ideas from Lucca Statuary and Lakeview Stone); a contemporary container garden, suitable for balcony and rooftop, created by award-winning designer Wendy Welch; and the ideal patio kitchen garden with a “to-die-for” Aqua Quip kitchen and furnishings supplied by Gillian Mathews and Ravenna Gardens.

“Vegetables, fruits and herbs are the rage in gardening right now,” Nita-Jo says. Interest in growing one’s own food is a response to healthy lifestyle trends — a philosophy that excites and inspires novice and experienced gardeners alike, she points out.

“We’ll have organic cooking demonstrations surrounded by ideas for vegetable gardening and seed starting,” Nita-Jo adds. From Ciscoe Morris’s favorite Brussels sprouts to the recipeses of famed chef Jerry Traunfeld, formerly of The Herb Farm, cooking with seasonal and local ingredients will be presented.

Good design is an important element of appealing edible gardens. “We’re going to have a very cool circular stone patio that Lakeview Stone is installing,” Nita-Jo explains. “It will be surrounded by a tapestry of lettuces and strawberries.” Robyn recently shared with me her exploits in procuring 150 “perfect” dwarf boxwoods, which will knit together the intricate parterre for her potager design. All around, this is an ambitious - and delicious - undertaking.

To think that hundreds of tiny plants are needed to create the perfect edible garden is mind-boggling. A review of the list of vegetable seeds started and forced indoors weeks ago reveals the ambitious scale of this endeavor: Lettuces with names like ‘Outredgeous’, ‘Merlot’, ‘Oak Leaf’, ‘Italian Misticanza’, ‘Yugoslavian red butterhead’ and ‘Black Seeded Simpson’; ‘Bright Lights’ and ‘Golden Sunrise’ chard; ‘Grafitti’ cauliflower; ‘Russian Red’ kale; and ‘Ruby’ cabbage. The bounty of the greenhouse also includes aforementioned Brussels Sprouts, plus onions, leeks, rhubarb, chives, parsley, cilantro, sugar pod snap peas, strawberries, rosemary, a bay tree, fig trees, tomatoes, peppers, beets, spinach, and 10 espaliered apple trees!

Creating a Flower Show display garden is nothing short of a labor of love - one that is created to share with thousands of fellow garden-aficionados. For those of us who desire an edible garden, one that feeds and nourishes our bodies and souls, the NHS display will be even more meaningful. Best of luck building your gardens, NHS!

There’s something magical about a plant that keeps growing even after you think it’s a goner. I love seeing new leaves sprout from my just-pruned apple tree branches (I used to stick both ends of the saplings into the soil around the perimeter of my vegetable beds to create low scalloped fencing each spring).

If harvested while its branches are bare, willow (Salix sp.) performs its magic, too. My textile background and my love for any material that can be woven like fabric, combined with my penchant for gardening, has drawn me to supple ingredients like willow. So it’s no surprise that I enjoyed building my own “willow goose” in 2002.

Jacky Barber teaching willow techniques

On a pleasant June evening, I was invited to join members of the Woodinville Garden Club to gather for a willow workshop in Carol Ager’s garden in Woodinville, Wash. This special class was led by two British willow-weavers, Pat Hutchinson and Jacky Barber. Known as “The Willow Weavers,” the duo’s artistic efforts in 2001 won them the coveted Gold Medal at the famed Chelsea Flower Show. The women were in town to teach at the annual Hardy Plant Study Weekend, hosted by the Northwest Perennial Alliance. It was a rare opportunity for about 20 Seattle area gardeners to play with willow, learning Jacky and Pat’s techniques for creating willow animals. Since I wasn’t a garden club member, I considered myself lucky to participate.

Using a “Twisler” tool to tie and secure bent willow

We used fresh willow twigs from Judy Zugish of Marysville’s Bouquet Banque nursery (which also operates a basketry school called FishSticks). Cut in the dormant season, the 5-foot and 7-foot lengths of Salix alba ‘Polish Purple’ branches were soaked in water for five days to make them workable. Jacky and Pat recommended wrapping the branches in damp cloths or plastic sheets to keep them moist while working with them (especially in hot weather).

As we worked in teams to create a larger-than-lifesized goose, heron or swan, the women showed us how to manipulate the willow branches and form animal shapes using tools and wire fasteners. The nifty trick is to use 4-6 inch “wire ties” with a loop at each end. The wire is used in the UK to seal sacks of potatoes and in the US for securing rebar. You can find them at home improvement centers. To join pieces of willow, we used a hand-held tool called the “Twisler” or “Twister.” It hooks into the two loops that have been wrapped around willow bundles. When the tool is pulled, it twists and secures the wire (this tool is available from Stanley Tools). The other useful willow-working tools include pruners for cutting and trimming branches, wire cutters for removing excess wire, string to hold willow sections in shape before they are wired, and measuring tape.

After making the various animal parts — head, neck, body and legs — we used more wire ties to connect them. Playful and perfect for the flowerbed, my completed willow goose stood around 5 feet tall. I stuck the twig “legs” a few inches into the soil and enjoyed watching how the garden began to grow in and around its body.

Inevitably, willow creations are short-lived. Subject to exposure, elemental extremes and the vagaries of time, there is a temporal nature to anything fabricated from twigs and stems. That’s why I was blown away when I saw Patrick Dougherty’s woven twig sculptures.

“Toad Hall,” by Patrick Dougherty

Resembling a whimsical, storybook abode (perhaps an ambitious version of the first Little Pig’s house of sticks?) the large-scale, temporary sculpture Dougherty created for Santa Barbara Botanic Garden in 2005 was a joy to behold. Named “Toad Hall,” it stood in a distant field, beckoning us to come. We were able to touch the twisted branches that formed walls more than 4-inches thick. We walked inside the rounded structures, peered out of the windows to notice the landscape beyond, gazed at the fanciful turret-shaped roof-line against the blue September sky. That I visited the garden and Toad Hall more than a year after Dougherty had created it was a testament to the durability of his creations. That the willow had begun to sprout leaves added a spontaneous twist to the installation.

The building began to “grow” in place, long after the original branches were cut from willow trees

Patrick Dougherty is based in Chapel Hill, North Carolina, but he has a worldwide reputation for creating on-site twig sculptures. Commissions have taken him to Japan, England, Denmark, and countless American cities. Some of his projects look like pieces of tornado-blown tumbleweed, slightly askew, slightly tilted as if they survived the “big one.” Others take advantage of permanent architecture, climbing up the face of a building or weaving in and out of columns. In a book titled “Where there’s a Willow, there’s a Way,” which I picked up at the Santa Barbara Botanic Garden, there are construction process photographs depicting two-story high scaffolding on which he must stand to work at this scale.

“Childhood Dreams,” by Patrick Dougherty - made from willow and creosote, measuring 47-feet high x 12-feet wide x 29-feet deep

Just before Christmas I had an unexpected surprise when I stopped by the Desert Botanical Garden in Phoenix. I was on a two-day visit to see my folks and sneaked away for a sunny Sunday afternoon visit to the garden, a favorite place of mine. As I walked the loop through the grounds, I could see a willow creation emerge at the edge of my periphery. WOW! Of course, it was another Patrick Dougherty installation, created last year. Called “Childhood Dreams,” the playful project is a series of interconnecting spherical rooms.

You can see a slide show of the 17-day design and installation process featuring Patrick Dougherty on the garden’s web site. It was fascinating to learn that the design was inspired by the rounded forms of golden barrel cactus that grow throughout the botanical garden. Circular “windows” in the rooms are aligned to capture important desert views.

One curator had this to say about Dougherty’s willow sculptures:

“Dougherty’s works allude to nests, cocoons, hives, and lairs built by animals, as well as the man-made forms of huts, haystacks, and baskets, created by interweaving branches and twigs together. Many of his works look ‘found’ rather than made, as if they were created by the natural force of a tornado sweeping across the landscape. He intentionally tries for this effortless effect, as if his creations just fell or grew up naturally in their settings.”

It’s so easy to be drawn into a Patrick Dougherty sculpture because it is, in so many ways, a living, organic expression. Quite humbling, in fact, to see how something so simple, so ordinary (otherwise destined for the compost heap) can be reinterpreted as architecture.

Yesterday, on the first day of the year, my 10-year-old son, Alexander, asked me to tell him my New Year’s resolution. That he posed this question at about 8 a.m. while I was trying to grab a few more moments of a midwinter’s nap after a festive “eve” the night before was only slightly bothersome. His innocence and optimism in the power of a simple turn of the calendar’s page to a new month (and year) was endearing nonetheless.

I didn’t hesitate, but immediately told Alex: my resolution this year is to grow a garden.

It has been 16 months since we’ve been uprooted from our beloved Seattle garden (and home) and suddenly transplanted to Zone 10, Ventura County. We’re living not far off of a freeway exit, half-way between Los Angeles and Santa Barbara. Like the results of a 4-inch perennial that’s been quickly planted in unprepped soil, we’ve experienced some “transplant shock,” so to speak.

Now is the time to begin transitioning from newcomers to neighbors. The change has begun, from discovering the local farmer’s market (thanks to my kind and generous neighbor, Alisa), to attending monthly Southern California Horticultural Society meetings where fellow plant-lovers welcome and include me, to hitting the road touring gardens, nurseries and other horticultural destinations with my Garden Writer pals like Nan, Joan and Paula. There is much here to admire, learn, embrace and even emulate in our suburban backyard.

So the process is underway. It requires a resolution of faith and optimism in order to put aside the “cherished familiar” and begin to look intentionally at the unfamiliar as my own new canvas. It begins with learning how plants grow and survive here in Southern California. Already our yard has begun its return to health because we cancelled the mow-and-blow-and-fertilize service the day we moved in. New layers of organic compost are continuing the process.

Lathyrus odoratus, Early Multiflora Blend and Bouquet Blend

I’m waiting for sweet peas that I planted six weeks ago to bloom and share their perfume (the seedlings are about 8-inches tall and promise to perform once the temperatures warm up).  I’ve ordered way too many seeds and started to lay out the planting beds. 

New Year, New Garden. It’s a hopeful time.

Wow, I’m honored to report that Arthur Lee Jacobson, the tree guru himself, has paid a very high compliment to the late Stephanie Feeney and me for the Northwest Gardeners’ Resource Directory (9th ed.). This book is the “yellow pages” for gardeners in Oregon, Washington and British Columbia that Stephanie started in the 1990s and grew as a self-published reference through eight wonderful editions. We lost Stephanie in 2000, a premature death due to cancer at age 52. Before she died, Stephanie and her husband Larry Feeney sold NWGRD to Seattle-based Sasquatch Books. And thanks to some gentle nudging from Stephanie, Sasquatch editorial director Gary Luke asked me to revised and edit the ninth edition. This was my “first” chance at writing and editing a garden book, published in 2002. I am eternally grateful to my friend Stephanie for believing in me.

Arthur Lee’s periodic newsletters are always filled with useful information about his many writing and consulting projects, including his books, Trees of Seattle 2nd edition (2006) and Wild Plants of Greater Seattle (2001), two amazing references for anyone wishing to learn more about the Emerald City’s flora, native and exotic alike. His latest newsletter, out in late November 2007, included this wonderful entry:

“The top dozen from my library of some 325 PLANT book titles, that I would keep if forced to reduce from 30 feet of shelf space to about 2 feet 8 inches . . . assuming copies of books written by myself could be kept” –

Listed among venerable titles like Hortus Third, American Horticultural Society A-Z Encyclopedia of Garden Plants, Sunset Western Garden Book  and Hillier Manual of Trees and Shrubs, Arthur Lee has included our directory as a must-have book on his library shelf:

“Northwest Gardeners’ Resource Directory: All Northwest gardeners will find this helpful, though a new edition would be better.”

I agree! It would be ideal to update the reference book that Stephanie spent more than a decade developing and I spent the better part of a year working on, as I updated tens of thousands of entries. But lots has happened since 2002.

First of all, the Internet has made it easier to find nursery and plant sources, public gardens, horticultural organizations, garden tours, retail emporiums and more. Second, because of the Internet, it seems like a directory like ours would be ideally suited for an online database. So how will that happen? I’m open to ideas. For now, Sasquatch Books isn’t particularly inclined to publish an online directory, as it is still rooted in the world of printed books. My thought is to find someone (or a group of someones) interested in creating a new model - and find a way for that group to run the directory as a nonprofit or for-profit web site.

In the meantime, people wishing to send me updates about changes in the Northwest gardening world are invited to fill out a form on my web site. I try to post these changes, including the opening of new nurseries or other changes, on that section of www.debraprinzing.com.

Stephanie Feeney and Debra in Stephanie’s garden on Lake Whatcom, Bellingham, Wash. [Gary Luke photograph]

It puts a smile on my face (and I know Stephanie is smiling up there, too) to know that our friend Arthur Lee still uses his five-year-old version of the Northwest Gardener’s Resource Directory. If his copy is anything like the one on my desk, it is a bit dog-eared, with post-it notes sticking every which way from important pages, and my notations in the margins about special discoveries while traveling the Northwest’s horticultural highways.

Now that I am trying to learn and discover new sources for plants, gardens and tours, I sure could use a directory like ours in Southern California!

P.S. It isn’t fair to end this post without giving you the complete list of Arthur Lee’s “essential” books. His encyclopedic mind is unparalleled. This list will explain in part why I’m so tickled to see our little local directory included:

1. The Standard Cyclopedia of Horticulture,  6 vol. (1914-1917); New York: MacMillan, by Liberty Hyde Bailey.  “The greatest horticultural title ever produced in America. It utterly shames modern works such as the RHS Dictionary of Gardening. Its completeness, erudition, illustration and layout are all superb.
2. Hortus Third (1976); New York: MacMillan, by Liberty Hyde Bailey, revised by L.H. Hortorium Staff. “A scholarly, concise, enumeration of horticultural plants grown in North America, and their myriad names.”
3. Trees and Shrubs Hardy in the British Isles,  8th ed. (1970-1980), 4 vols; London: John Murray; D. L. Clarke, chief ed. “Comprehensive, learned account of cultivated temperate-zone woody plants. Weak in U.S. cultivars.”
4. American Horticultural Society A-Z Encyclopedia of Garden Plants (1997); New York: DK Publishing, by Christopher Brickell and Judith D. Zuk. “Of the clumsily stout and heavy modern encyclopedic books packed with color photos, I prefer this.”
5. Landscape Plant Problems: A Pictorial Diagnostic Manual,  3rd ed. (2006); Puyallup, WA: Washington State University Cooperative Extension, by Ralph Byther et al. “Color photos of Western Washington common garden plant bugs and diseases. When consulting, I use the photos to show clients. Once one learns the problem’s name, then other sources suggest actions. (You can buy this at South Seattle Community College’s bookstore).”
6. Cornucopia II: A Source Book of Edible Plants,  2nd ed. (1998); Vista, CA: Kampong Publications, by Stephen Facciola. “The most practical and handy book to learn about edibility of plants, and their availability.”
7. Northwest Gardener’s Resource Directory,  9th ed. (2002); Seattle, WA: Sasquatch Press, by Stephanie Feeney (ed. Debra Prinzing). “All Northwest gardeners will find this helpful, though a new edition would be better.”
8. The Plant Locator(R) Western Region (2004); Portland, OR: Black-Eyed Susan Press and Timber Press, by Susan Hill and Susan Narizny. “The quickest way to learn about commercial availability of garden plants. More than 60,000 plants included.”
9. Hillier Manual of Trees and Shrubs,  7th ed. (2002); Newton Abbot, England: David & Charles, John Hillier and Allen Coombes. “Useful one-volume, compact and comprehensive list of cultivated temperate-zone woody plants. Weak in U.S. cultivars.”
10. The Plant Book: A Portable Dictionary of the Vascular Plants,  2nd ed. (1997); Cambridge, England: Cambridge University Press, by D. J. Mabberley. “By far the best one-volume source to look up any plant family of genus. Small, dense and invaluable.”
11. New Flora of the British Isles,  2nd ed. (1997); New York: Cambridge University Press, by Clive Stace. “The best botany book to identify non-native plants growing wild in the Seattle area. Richly complete; over 1,000 pages.”
12. Sunset Western Garden Book,  8th ed. (2007); Menlo Park, CA: Sunset Publishing Corp., Kathy Brenzel, editor. “All western North American gardeners should own this. Every edition gets better.”