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BILL BENSLEY

After working in Hong Kong and Singapore for several years, American-born Bill Bensley settled in Bangkok in 1989 and established a business on his own as a landscape architect. Since then he has become one of the preeminent garden designers—mostly for resort hotels—not only in Thailand, but also throughout Southeast Asia, Europe and North America. Bensley's own garden, shown on these pages, is a continual work in progress where he experiments with plants and explores the creative possibilities of new colors, local artifacts and cultural visual cues—any of which may find their way into one of his luxurious and entrancing escapist landscapes.

by william l.warren photographs by andrea jones

Bill BensleyJirachai Rengthong

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steel and concrete buildings, a population in identical casual clothes from Berlin to Houston. In the midst of this homogenization, increasing numbers of well-off but weary global travelers have turned to the "exclusive lifestyle resort," which promises an authentic experience of local culture filtered through a Western lens of sophistication and luxury. The worst of these resorts are criticized for being superficial and gimmicky, but the best draw on local traditions and building cultures to create a sure sense of place that is inspiring to experience.

An American in Thailand, landscape architect Bill Bensley specializes in the creation of such sensual and imaginatively daring enclaves. Bensley lives, along with his father and his partner Jirachai Rengthong, a gifted horticulturist, at Baan Botanica in Bangkok. Their home demonstrates the refinement and meticulous attention to detail that is required to evoke a fantasy ofThailand, yet one that still has its roots in reality.

Hidden behind huge, double wooden gates on a dusty side street, the property was originally two separate compounds that have now been connected. One contains two

Paired blue chaises and mandarin orange umbrellas around the pool say welcome and stand out vividly against the dense foliage of Bensley's garden and lawn. Such "garden jewelry," as Bensley calls it, is part of his signature approach to creating a memorable ambience.

Left: Bensley shows off his best specimen plants and pots as focal points on a shady patio and throughout the garden. Right: A collage of views and antique artifacts—an old entrance gate, swimming pool,Thai pavilion; pebble mosaic, courtyard. a closeup of an old door knocker; a look-out tower, rich planting border and weathered door.

traditionalThai-style pavilions, with steep tiled roofs and paneled teak walls. In the other, a once-conventional Bangkok house has been transformed into an imaginative workshop, showroom and guesthouse, filled with an eclectic collection of art from all over the world and surrounded by a dramatic garden of rare plants, visible from almost every window. Though relatively small in total area, house and garden seem much more spacious, thanks to a layout that creates numerous intimate areas and a constant sense of surprise.

Baan Botanica serves Bensley as both a restful retreat for interludes in a busy travel schedule and as a sort of creative laboratory. "We use my home and garden as an experimental playground for the many resorts we are currently designing. Our latest passion is breeding frangipani (plumeria) in hopes of finding a new variety," he explains. Here, also, he can test different effects of lighting and decoration. "The ability to change my garden is very important to me," he explains. "Getting things to grow in the tropics is not a problem—you can throw a small branch on the ground and next rainy season you have a tree. But the challenge of creating layer upon layer of interest is the most important priority to me as a designer."

Fun is high on the agenda, too. In the same way that his resort landscapes encourage a playful back-to-the-jungle escapism, Bensley enjoys the same hedonistic spirit in his own garden. "I love the jump-off rock in my swimming pool. Every morning I climb out of the deep end of the pool and up through the dense foliage to a level about a meter above the water and dive in as gracefully as I can."

While Bensley has worked with a number of architects, especially the Thai-based Mathar Bunnag, his gardens have developed a distinctive style that is very much his own. Tropical Paradise (Watson-Guptill Publications, 2000), by Singapore writer and architect Tan Hock Beng, with photos by Bensley, describes these gardens as an effort "to create an environment of ambivalent qualities, managing to be very natural and yet somehow very contrived simultaneously."

Bensley's preference is for lush, junglelike plantings set off by lawns or pebbled courtyards, and the infinite variety of tropical trees, shrubs, palms

Design Bensley Garden

"An essential component of any Bensley garden, and ground covers provides a rich resource for the particular effects he wants.

One of the most dramatic Bensley creations is the 20-acre Four Seasons Resort outside the northernThai city of Chiang Mai, which opened in 1995. He calls this an "ever-evolving garden," since, as, with many of his projects, Bensley keeps a close watch on its growth and comes regularly to make improvements. A working rice field in the lower part forms its central feature, complete with blue-clad farmers and a family of water buffaloes, which is set off by swathes of ground covers and dense plantings that screen the Thai-style guest pavilions.

An essential component of any Bensley garden, amounting to a personal signature, is a strong element of whimsy.This may be architectural, as in intricately carved columns or dramatic swimming pools, but most often takes the form of striking, even bizarre statuary and other art objects made by local craftsmen. Sometimes these reflect the country's culture; sometimes they are products of Bensley's fertile imagination.

For instance, an enormous stone head 6 meters high dominates the pool at a resort in Lombak, Indonesia; vines hang down from the top to simulate hair, mist pours from the gaping mouth, and guests can enter from the back and slide down the tongue.

Other favorite features include fountains in the shape of crocodiles, huge stone baskets

Sedum CrocodileDesigner Potting Shed

"Getting things to grow in the tropics is not a problem—you throw a small branch on the ground, and next rainy season you have a tree.The challenge is to create layer upon layer of interest"

Balinese Style Shed

William L. Warren has lived in Thailand since 1960, working as a writer and a university lecturer. Besides Balinese Gardens and Thai Garden Style (Periplus Publishing, 2004 and 2003; see www.tuttlepublishing.com), he has also written TheTropical Garden and Tropical Plants for Home and Garden (Thames &Hudson, 2000 and 1997), as well as some of the Thai entries for The Oxford Companion to Gardens (Oxford University Press, 2001).

Above:The garden's main border features an enormous urn rising from luxuriant foliage and shaded by a collection of palms. Left: Glimpses of the garden—view from the porch, floating flowers, antique carved horses; balcony with a collection of birdcages, agave, dining after dark; glowing lantern inside the house, antique painted terra-cotta jars.

of fruit, artificial caves and grottos, and mythological figures, often Balinese, which rise unexpectedly out of luxuriant foliage. A rooftop garden at the Sheraton Grande Sukhumvit in Bangkok, on one of the Thai capital's busiest streets, has terra-cotta figures and bas reliefs reminiscent of AngkorWat.Towering stylized white elephants, a symbol of Thailand, command the entrance courtyard of the Four Seasons Resort.

Bensley's voracious appetite for visual clues from the Asian cultures around him is matched by his ability to reinvent and translate his admiration for them in a way that engages the interest of both Western and local audiences. His sensual and imaginative landscapes are on their way to becoming a cult experience in Southeast Asia. ■

William L. Warren has lived in Thailand since 1960, working as a writer and a university lecturer. Besides Balinese Gardens and Thai Garden Style (Periplus Publishing, 2004 and 2003; see www.tuttlepublishing.com), he has also written TheTropical Garden and Tropical Plants for Home and Garden (Thames &Hudson, 2000 and 1997), as well as some of the Thai entries for The Oxford Companion to Gardens (Oxford University Press, 2001).

Above:The garden's main border features an enormous urn rising from luxuriant foliage and shaded by a collection of palms. Left: Glimpses of the garden—view from the porch, floating flowers, antique carved horses; balcony with a collection of birdcages, agave, dining after dark; glowing lantern inside the house, antique painted terra-cotta jars.

Tropical Foliage Drapes
Left:A table set for lunch shaded by umbrellas. Right: The cool, tiled walkways around the main house blur the line between inside and out— fierce sunlight is dappled by gently billowing drapes; hanging orchids and potted plants bring the jungle close to home.

a world of creativity

Bill Bensley is most closely associated with gardens in Thailand and other places in Southeast Asia, but the influences that have shaped his style come from many cultures, some of them very far away, as revealed here: Q What are your favorite gardens?

A Usually the last one I have visited. However, I especially like the Pamplemousses botanical garden in Mauritius (we may renovate this gorgeous property), the hillside botanic gardens in Barcelona, and Sissinghurst and Hever Castle in England, both full of inspiring ideas even though they are far from tropical. My absolute favorite botanical garden has nothing to do with design; it's the Valle de Mai in the Seychelles, the only place in the world where the gigantic coco de mer, or double coconut, grows naturally. Q Favorite objects? A My father's paintings and his own hand-made and designed wooden furniture. Q Which plants do you use most? A Bromeliads, cryptanthus, cacti and sedums, because all of these come in strange and unusual forms and colors.At the moment artocarpus, or breadfruit, is my favorite tree because of the striking patterns of its large leaves, but of course this may change next month. Q Are there any designers you look up to? A Isamu Noguchi, because he crossed so many professional lines [sculpture, landscape, furniture, interior design] and did everything so well. Q What parts of the world have inspired your work?

A I am drawn to places where we can still see what the earth and past civilizations used to look like—such as Siem Reap, Cambodia; Bhutan, Botswana, New Zealand and Patagonia. Q Can you recommend a "fantasy" resort?

A Mombo Camp in Botswana and Huka Lodge in New Zealand.

■ For more information and examples of Bill Bensley's work, see www.bensley.com.

Bill Bensley WorkJirachai RengthongUlf Nordfjell

ULF NORDFJELL

NORDIC LIGHT

Sweden is not the first place a garden designer would turn to for inspiration. Can there really be a rich gardening tradition in such a rugged, forested country that shares its northern latitudes with Iceland? Even in the south, summer temperatures rarely rise above the 70s. But the answer is yes, of course—Sweden's international reputation for creative design extends to contemporary garden-making, and Ulf Nordfjell is one of Sweden's foremost garden designers. Nordfjell moved from the study of ecology and biology to a stint as a ceramic artist and then to landscape architecture. He found his niche as a designer of modern outdoor spaces that are profoundly influenced by a feeling for nature.

by joanna fortnam photographs by jerry harpur it ■1

Cottage Potting Shed

From left: Ulf Nordfjell at his summer home,Agnas in northern Sweden; his cottage is painted the warm iron-oxide red of traditional rural buildings. View from the garden across the Ore River;

summer is fleeting and therefore doubly precious in this northern region.

Country Manor Houses

tradition of country manor houses, with French/Italian-influenced formal gardens of clipped hedges and flowerbeds near the house and estates modeled on the English landscape park on the outer perimeters. The farming community, marked by the intense struggle with an extreme climate, has no use for luxurious formal gardens—but there is a strong cottage tradition of growing vegetables and flowers.The farther north you travel in Sweden, the more the concept of gardening dissipates into nature "managed" as a transition between the house and its surrounding countryside. Ecological sensitivity to the nuances of rock, moss, water and trees is characteristic of such cold-climate "gardens"—and all of these streams meet in the work of Ulf Nordfjell.

Nordfjell, now 52, grew up in northern Sweden, a relatively uninhabited region of long, cold, dark winters and short, dry summers. "As I've gotten older I realize that this landscape influenced me a lot," he says. "The dense forest, the rivers—there is something a little bit sacred about the Swedish landscape."

Scandinavia's atmospheric interplay of light, water and the landscape has influenced many of its artists. Long winters, an impression of limitless space, silence and glassy, aqueous light from a low sun that emphasizes blue, purple and white rather than red—the sense of place is tranquil and a little melancholy. All very different from the vivid exuberance of the Mediterranean world and other hot climates.

Nordfjell was brought up to look after the garden. His mother took infinite care raising vegetables in the short northern growing season (roughly from the middle of May until the first frost in late August), but it was from watching her work in the flower borders that his interest grew. Nordfjell now laughs at himself as the teenager who went to a local plant nursery and came home with two fescue grasses. This was a bold choice long before ornamental grasses became fashionable and perhaps a sign of a designer in

From left:The apparent softness of this cottage garden belies Nordfjell's attention to structure. Repetition of shapes and colors (boxwood balls, pink nicotiana) organize the scheme. Richly planted slopes down to the river and woodland plants under trees are intensive to maintain but a study of ecology underpins Nordfjell's approach.

the making. Sure enough, at 16 he went on to design an outdoor living room in the family garden, using timber from their own pine trees.Today, Nordfjell still summers at the cottage in the village of Agnas, where his mother lived for 18 years.

In school, Nordfjell studied biology and ecology. But he says, "I was ultimately bored by science. I didn't find beauty in ecological solutions." He took up ceramic art as a creative outlet, but then discovered landscape architecture. During his five years of study the Swedish Modern movement was an especially strong inspiration.This design quake of the '50s fused traditional Swedish folk arts and crafts with the international Modernist movement that was making its way around the globe in architecture and industrial design.The gardening scene of the time revolved around designer and writer Ulla Molin (who died in 1997), a legendary figure who was also much influenced by the British Arts and Crafts movement. She disseminated her own version of the "less-is-more" philosophy of simple, pared-down gardens using the best local materials.

The Gustavian style, still popular today, is also a favorite of Nordfjell's—and another example of the way Swedish designers through the ages have taken international high design and fused it with folk traditions in a way that dignifies both.This 18th-century aesthetic was named for King Gustav III (1771-1792) who brought the style ofVersailles to Sweden. The ornate French originals—architecture, furniture and interiors—evolved by a process of severe simplification into a style of rural buildings painted rust red, white-painted wooden furniture and airy interiors characterized by graceful symmetry.

As a garden designer, Nordfjell is influenced by his Swedish aesthetic heritage, but his first love and inspiration is the natural landscape. Rather than try simply to reproduce it in his work, he aims to extract its elements: "I try to distill a feeling for the landscape into

Potting Shed Interior DesignsPotting Shed Interior DesignsNordic Countries Modern Garden

From left: Wooden lighting columns covered in wisteria. A modern water garden unites a not-so-modern house in southern Sweden with the wider landscape. Pond edges are kept soft with pebbles, ornamental grasses and iris.Walkway and seating pondside where wild meets designed; a sheltered platform for contemplation.

From left: Wooden lighting columns covered in wisteria. A modern water garden unites a not-so-modern house in southern Sweden with the wider landscape. Pond edges are kept soft with pebbles, ornamental grasses and iris.Walkway and seating pondside where wild meets designed; a sheltered platform for contemplation.

the structure of the garden and do it in a naturalistic way," he says. He uses Swedish materials, which speak the international language of granite, steel and timber, but the characteristically "Swedish" aspect to his approach is that he emphasizes functionality, natural beauty and simplification rather than high contrast (such as vivid colors or extreme forms).

As for any garden designer, every project sets up a demanding interplay between planting design and structure—and Nordfjell handles both very well. Contrast his summer cottage in northern Sweden, firmly in the rural tradition of cottage gardening.The heavily planted slopes down to the rushing Ore River need intensive upkeep, but the effect is naturalistic, with long views across the forested valley and beyond incorporated into a rich horticultural tapestry. The style is right for the site and the owner.

The setting for the Farstorp estate in southern Sweden is just as spectacular—but the design approach here is more pared-down and structured. Again, long views are incorporated into the garden—Nordfjell opened up the dark forest to soften the line between the garden and the wild and bring the natural landscape closer to the house. The new water garden and its pebble beach have helped make the garden feel more personal by bringing the scales of domestic and wild into balance.

The richness and translucence of designed spaces such as these and their distinctively intense relationship with nature make Sweden a country well worth visiting to see refreshing ideas in garden design. See "Swedish Gardens—Who Knew?", page 59, for a list of starting points, some recommended by Ulf Nordfjell. ■

The gardens on these pages were photographed for Gardens in Perspective, the latest book from Jerry Harpur (Mitchell Beazley, 256 pages, about $45), in which he showcases the work of some of the best contemporary garden designers in the world.

Piet Oudolf Garden

swedish gardens—who knew?

It is generally agreed that June is the best time to see gardens in Sweden. Here is a selection of gardens to visit, with some recommendations from Ulf Nordfjell:

  • Topping Nordfjell's list is Göteborg Botanical Garden in Gothenburg (the rock garden is particularly good). See www.goteborg.se/botaniska.Gunnebo House, also in Göteborg, has a wonderful organic kitchen garden. See www.gunneboslott.se.
  • Carl Linnaeus, known to gardeners as the father of taxonomy, is better known in his native Sweden as Carl von Linne.The Linnaeus Garden at Uppsala University is laid out according to Linnaeus' own plan from 1745. See www.linnaeus.uu.se. His small country estate is also open to the public. See www.hammarby.uu.se.
  • Wij Gardens at Ockelbo, deep in the forests about 140 miles north of Stockholm, has a display garden by Nordfjell (pictured below right), among others. The ambitious master plan for this sprawling site of a former paper mill includes wildflower meadows, an orangery, a library, an exhibition space and wetlands. See Info in English at www.wij.se.
  • Sustainable environmental design is not just a talking point in Sweden.To see ideas in action, visit projects such as Hammarby Sjöstad in Stockholm (www.hammarbysjostad.se) and Västra Hamnen in Malmö (www.malmo.se), where whole areas of urban blight have been revitalized and planned around renewable energy.
  • Sofiero Castle and Garden near Helsingborg, the former home of the Swedish royal family, has spectacular rhododendrons and holds a garden festival every August. See www.sofiero.helsingborg.se.
  • Läckö Slott, a romantic baroque castle in western Sweden, is gardened by Englishman Simon Irvine. He creates a new, completely organic garden from scratch every year. See www.lackoslott.se.
  • In northwest Skane,southern Sweden, garden tours take place every June. More than 40 private gardens and allotments are open. The Web site www.tradgardsrundan.nu is in Swedish only, but staff at the local tourist office (www.helsingborg.se) should be able to help; or visit the main tourist site for the region: www.skane.com.
  • Norrviken's Gardens, a historical garden in Bastad, Skane, has been stylishly restored and is now under the artistic direction of master florist Tage Andersen.And the restaurant comes highly recommended. See www.norrvikenstradgardar.se.

Opposite, top: Granite and water are often united in Nordfjell's work. A path appears to float across this pond. Opposite, below:A path wraps around a pond to form a junction with the

natural landscape beyond. Below: Nordfjell's work at Wij Gardens in Ockelbo, a major new public garden.

Jacques Wirtz

JACQUES WIRTZ

Jacques Wirtz

Belgian landscape architect JacquesWirtz has ushered the European classical landscape into the 21st century throughout northern Europe. Now he has left his mark on the NewWorld, with his first garden on the West Coast

BY DONNA DORIAN PHOTOGRAPHS BY STEVE GUNTHER & JERRY HARPUR

Jerry Harpur Gardens

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Opposite: Son Peter and father Jacques Wirtz in the Ornamental Garden at Alnwick Castle, Northumberland, U.K., in front of 500-year-old iron Venetian gates. From top left, clockwise: Pruned hedges in a private garden in Belgium. The Noortman garden in Belgium.The ivy tunnel in the Poison Garden and the Great Cascade, both at Alnwick Castle, U.K.

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■ From top left, clockwise:The play of water repeats the lacy quality of fretwork gates at Alnwick. ■ Pruned hedges assume abstract shapes in an Antwerp garden. ■ At Alnwick, a pathway surrounded by a rill and beech hedging leads to a pool surrounded by narrowly upright oak trees. Wirtz created a sense of architecture in this Belgian garden by sculpting hedges into steps. Opposite: Stepped hedges, pleached trees and a formal water feature are combined.

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Martin Wirtz LandscapeSchoten Belgium

rom their office in Schoten, outside of Antwerp, Belgium, the family firm of Wirtz International has designed gardens throughout Europe, condensing at each site the long and complex traditions of landscape architecture to their most essential and elegant expressions.Years ago, Jacques Wirtz and his sons Peter and Martin branched out to Japan and then to the United States, where they won commissions in New Jersey and Florida. In 1998, they also began work on their firstWest Coast garden, which is showcased on pages 64-68, the firstWirtz-designed garden on American soil to appear in print. Likewise, the publication of TheWirtz Gardens, a two-volume collection that features the prolific range of their private and public landscapes, has helped direct attention in the United States to their accomplishments.

But the Wirtzes' first appearance on the international stage dates back further, to 1990, when the firm was awarded the prestigious French commission to redesign the Carrousel Garden in the Tuileries, Paris. The redesign briefly made landscape architecture newsworthy. Other high-profile projects—recently including the firm's design of a garden at Alnwick Castle in Northumberland, U.K., where Capability Brown once played his hand—reaffirm the position of Wirtz International as one of the foremost landscape architectural teams working in the modern classical style today.

PatrickTaylor, author of TheWirtz Gardens, points to their influences: the formality of the Italian Renaissance, which they undermine and modernize with sudden asymmetrical shifts; the minimal refinement of the Japanese garden, which they have honed through the mastery of their radically austere plant palette; and the fertile and accom-~ plished tradition of Flemish plantsmanship, which continues like a leitmotif through

  • their work. Building on this complex history to import the new, the Wirtzes have
  • ushered the classical, aristocratic idiom of landscape architecture into the 21st century.

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< thing down to its essentials. The Wirtzes have made landscape architecture into

TY architecture; carving their boxwood and yew like stone, they have populated their

TER gardens with sculpture; and since their gardens are to be inhabited, they have made

° three-dimensional artworks—mysterious and, acting with nature, enduring.

Potting Shed Designs

"It was a risk to ask someone from Belgium, from so far away, to design the garden, but the project is completely successful,"

says this California-based homeowner, who works in the field of architecture. For her, the hedges that gently undulate across her front-entrance drive and the tall, pencil-thin Italian cypress that tower behind them are strong structural elements. "To me," she says, "the garden is like architecture in the yard."

For the Wirtzes to transplant their talents to American soil had its challenges, of course. To start with, much of their usual repertoire of hornbeam, beech and yew could not thrive in Southern California. But working closely with the Calabasas-based landscape contractor Michael Blodgett of Royal Landscape, PeterWirtz transcribed a fascinating translation.

Particularly limited by the inability to rely on yew, the Wirtzes made the radical choice to sculpt golden bamboo (Phyllostachys aurea) into topiary rounds. Elsewhere huge and healthy mounds of coast rosemary (Westringea fruticosa)—a rarely pruned shrub that is generally used in informal English-style California gardens—assumed the cloudlike hedge forms for which the Wirtzes are so well known.

Elsewhere,Wirtz acknowledged local tradition and on three sides of the house ensured ample outdoor living spaces, surrounding one, which he called an "object chamber," with a row of London plane trees (Platanus x hispanica 'Bloodgood'), which Blodgett trained to resemble that solid European citizen, the straight-edged hornbeam hedge.Throughout, the Wirtzes' innovative use of plants not only suggests the international applicability of their landscape architecture, but also offers fresh possibilities for how these plants can be used in the California landscape. It's subtle and exciting, which is the greatWirtz way.

"I wanted everything to be very minimal," says the homeowner, whose predominately green garden enjoys cocktails of a limited color palette of red—with burgundy snapdragons in the flowerbed, bougainvillea trailing up the porch, a splash of red Japanese maple at the side yard. "I wanted to edit out and maintain a very satisfying quiet." ■

ForWirtz International, see www.wirtznv.be. For Royal Landscape, call 818-591-3135. The Wirtz Gardens by Patrick Taylor, photos by Marco Valdivia (Wirtz International, 2004, $200).

Wirtz Garden Landscape Images

Left: In his first California garden Peter Wirtz used Texas privet (Ligustrum japon-icum 'Texanum') to create a stand of trees against the back of the house. Here: Crisp blocks of Texas privet and little-leaf boxwood contrast with the ruffled canopies of London plane trees which will eventually form a tabletop hedge 8 feet above the ground.

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■ Above:Wirtz sculpted bamboo rounds in his first West Coast garden, where the backyard was designed around a 125-year-old live oak visible behind the bench. Below: Italian cypress tower above hedges of Texas privet; a row of London plane trees on the left is being trained along a frame and will soon be clipped into a tabletop canopy to mimic a European-style hornbeam hedge. ■ Right:A dovecote accents an ancient fruit orchard in Bellum, Belgium.

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Designing Backyard Fruit Orchard

the poetry of small spaces Hotel de Rosier, wedged in the heart of Antwerp, just miles away from Schoten where Jacques Wirtz makes his home, was to me among the most beautiful small hotels in the world, made so in part because I entered a Wirtz garden here for the first time. Built centuries ago as a nunnery, it surrounded an inner courtyard where Wirtz centered his garden around an ancient ginkgo tree. Even the young Jacques Wirtz knew to weave the past into the present.

Today, the name Jacques Wirtz conjures up images of grandeur, be it his Carrousel Garden in the Paris Tuileries or his many garden designs for the castles of French, Belgian and Dutch aristocrats at which he made his name. But the intimate courtyard at the Hotel de Rosier taught me to look behind the hedges of the Wirtz garden. Even at his own house, for example, a secret garden is tucked away behind the hornbeam hedges.

Finally, it is Wirtz's intimacy with history that is profound.Take, for example, this private residence in Bellum, Belgium, pictured above. Here he planted a community of statuesque yews and wove them into the landscape with the remains of an old fruit orchard whose rows conclude at an ancient dovecote.The scene is the lyric of a young poet singing of spring and timelessness in perfect pitch. —dd

Piet Oudolf Designs

PIET OUDOLF

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