All my designs begin with the vegetation. Whichever web-site I’m functioning on — here it’s Hauser & Wirth’s new gallery in Minorca, Spain — I 1st find out about what palette of species will mature very well in that local climate and soil. The moment I have a list of solutions, I then glimpse at things like composition and seasonality. As a backyard designer, I function with plants, not paint, and my method is about composition and how points produce. Time is this sort of a major element in what I do. A yard is not like an exhibition, which is put in for just a couple months the plantings will have to keep on to evolve around many years.
The Hauser & Wirth gallery’s at its busiest in the course of the summer season months, when most Mediterranean species are past their most effective, so we experienced to be imaginative about the versions that we applied. The final result is a blend of vegetation that supply construction and texture, and flowers this kind of as euphorbia, echium, helichrysum and agapanthus. In this graphic, I’m revisiting the project right after the inaugural time to see what is performing and what we want to edit. A garden’s never ever ready.
Crops and gardening became a healthful obsession for me in the 1970s right after I still left my parents’ restaurant business and received a work at a nursery. At that time, the way men and women approached inexperienced spaces was really attractive, labor intensive and formal. But I was intrigued in how gardens could be far more sensitive to their setting and a lot more spontaneous in their composition. The nursery my wife, Anja, and I produced at Hummelo in the Netherlands in the 1980s was formulated hand in hand with my style operate, providing me access to a broader array of crops, distinct kinds of perennials and grasses that experienced earlier been really hard to resource. It permitted us to connect to growers throughout Europe. We were being fascinated in how we could use species that’re properly suited to their location, and in a naturalistic way. Via this strategy of structure, we opened people’s eyes to other factors of plants past bouquets. There’s attractiveness in a seed head in winter, and in the fowl feeding on that seed head. A lot of my tasks — for case in point, the Substantial Line in New York, which I did with James Corner Industry Operations and Diller Scofidio + Renfro — are public, and inside of these areas you can see how visitors now interact with the natural environment. Persons are progressively informed of how important gardens and vegetation are to us as human beings.
For my part, I’m just accomplishing my most effective and functioning really hard. To have experienced the affect I have experienced is tricky to understand, as I continue to feel like I’m focused on the suggestions, which are effectively really mental and ecological. But vegetation have constantly been a tool for me to specific my innermost thoughts, and so I’m quite at dwelling in what I do. I just keep going until finally I experience delighted and happy. I see myself as a mixture of an artist and a craftsman: I want a consumer so that I can do my get the job done, but I know that what I provide to a undertaking is special, and that I have a robust signature. What we do as backyard garden designers is superbly complicated, and there’s an artwork to that complexity.
This interview has been edited and condensed.