Ruins and Recoveries

December 30th, 2020 | 7 Comments »

What can we say about 2020? Queen Elizabeth’s Annus Horribilis comes to mind. So does the subject of ruin — personal and business ruin, political ruin and the final ruin, death, which came this year for hundreds of thousands of people, more than we imagined possible when the pandemic began.

But, Janus-like, ruins have a positive as well as a negative face. It may seem contradictory but history and the evidence of my own eyes tell me that to contemplate ruins is to contemplate the future as well as the past.

At Painshill, an early 18th century English garden, the eccentric owner Charles Hamilton constructed a Mausoleum in the form of a ruined Roman triumphal arch. Passing through this ‘arch of death,’  as he called it, contemporary visitors would emerge on the sunny banks of the River Mole, where they would see Hamilton’s newly constructed waterwheel, a revolutionary device that generated electric power and offered a forecast of what the future would bring.


A triumphal arch, Roman style, was part of the landscape at Painshill, an early 18th century garden in England.
The Mausoleum has lost the top of its triumphal arch but the side columns remain.


In the late 1970s, the American cultural geographer J.B. Jackson wrote a thought-provoking  essay called “The Necessity for Ruins.” He argued that ruins provide the incentive for restoration, and in words with strong religious connotations wrote that “the old order has to die before there can be a born-again landscape.”


A ruined building, part of Alcatraz, stands as a reminder of the prison that used to be.
Now a tourist attraction, the island prison Alcatraz fits Jackson’s definition of a born-again landscape. Or at least one that has been re-purposed.


Ruins appeal to us like haunted houses do, attracting us almost against our wills. Their empty spaces, once filled with doors or windows, are  magnets for the imagination, and we fill those spaces with our own fantasies, with dreams of what was, or what might have been, or what one day may be.


The empty windows in this wall at La Torrecchia in southern Italy offer glimpses onto a countryside that is in the process of change.
The empty windows in this wall at the private garden La Torrecchia in southern Italy offer glimpses onto a verdant countryside in the process of becoming less verdant.


Romantic fantasies are part of the appeal. The Italian garden Ninfa, so redolent of the glories of bygone days, mixes the sour air of moldering walls with the powerfully sweet scent of lilacs and roses.


The arched bridge at Ninfa is probably the most photographed spot in the whole garden.
Ninfa has been called the most romantic garden in the world. The arched bridge is probably the most photographed spot in the whole garden, and the green tint in the water is part of its appeal.


But too much sweetness spoils the broth. To exert their full impact, ruins need a whiff of decay.


A temple at Siem Reap in Cambodia casts its spell when approached in silence.
A temple at Siem Reap in Cambodia casts a spell which is particularly strong when approached in silence.


As Sir George Sitwell noted in his book, On the Making of Gardens, ruins where the patina of moss and age have been removed lose their appeal. The stillness of old Italian gardens, with their air of “neglect, desolation and solitude,” makes breathing almost too great an effort. We become unmoored, drifting in and out of time.

“Sleep and forgetfulness brood over the garden, and everywhere from sombre alley and moss-grown stair there rises a faint sweet fragrance of decay.”


An uneven staircase leads up the hillside at Villa Cetinale.
An overgrown staircase, the Scala Santa, leads up the hillside at the Italian Villa Cetinale to the hermitage at the top.


Vegetation that is out of control adds to the appeal of a ruin, its growth suggesting that even in the most inhospitable circumstances, life will assert itself.


Rampant growth characterizes almost every ruin in Cambodia. The fig trees threaten to swallow the roof of this temple.
Rampant growth characterizes almost every ruin in Cambodia. The fig trees here threaten to swallow the roof of this temple.


The combination of fecund nature and crumbling edifice conforms to the Christian doctrine that makes the death and decay of the individual a necessary prelude to resurrection.  The skull beneath the skin and other allusive momemto mori are often seen in European churches and churchyards. Rarely are they as explicit, though, as the inscription that accompanies the skeleton below.


All you that do this place pass bye

Remember death for you must dye.

As you are now even so was I

And as I am so shall you be

Thomas Gooding here do staye

Wayting for God’s judgement daye. 


This unusual tombstone is in the cathedral at Norwich, Dngland.
This unforgettable tombstone is in the cathedral at Norwich, England.


Where, in the ruins of bodies and buildings, do we find today’s equivalent of Charles Hamilton’s water wheel? Where do we look for a future that promises recovery rather than ruin? Not for me in the contemplation of death or in the re-purposing that transformed Alcatraz from prison to tourist attraction. Not in the romantic dreams that speak to young girls’ hearts or in the political forces that have caused so much unnecessary suffering and pain. Hope seems to lie only in the natural world and its relentless tenacity. It alone seems capable of overcoming the follies we humans perpetrate — and let’s acknowledge it, we committed plenty of those in 2020.

Shelley’s poem Ozymandias speaks to the futility of aspiration. If worldly power can crumble, leaving only trunkless legs and a shattered visage, what is the point? The poppies that sprout from stone walls, the trees that split boulders, the weeds that emerge from cracks in the sidewalk, even the bare and boundless sand that stretches far away: they promise that the world will continue, with us or without.


batch 2 (4 of 44)
Poppies are near indestructible flowers, a promise that life goes on, regardless of our stupidities.


I take heart from those poppies and from initials carved into tree trunks. Looking at the photo below, you may wonder why Andy felt the need to deface a tree in order to mark his presence. Was he the one who carved the hearts on the branch? Who knows, and who cares? His name, along with those hearts and the scrawls that were difficult to read when I saw them a decade ago, will be indecipherable soon, if they aren’t already.  The tree will grow around them, obliterating the past in favour of its future health.


Andy's name will slowly disappear from this tree trunk in West Australia.
Andy’s name will slowly disappear from this tree trunk in West Australia.


I ask myself if anything good will come from this ruin of a year. Perhaps we will become kinder to one another. Perhaps more of us will realize that to take care of ourselves, we must also take care of others. Perhaps we won’t. But I hope that we will.

Tree Hugging for Tree Huggers

December 21st, 2020 | 16 Comments »
Do you know when the phrase 'tree hugger' was coined? I didn't, so I looked it up. According to the Merriam-Webster dictionary, the first known use of the term dates from 1965. Other words coined that year: jet lag, mini dress, pop art, teach-in, doo-wop and time traveller. Reading these words, I felt like a time traveller myself. In part this is because those words are so familiar now but also because the connotations of 'tree hugger' have changed so much. In 1965,  tree hugger was a derogatory term. Not so today.


Continuum, Continued

November 23rd, 2020 | 4 Comments »
Over the last few weeks, while the weather was remarkably kind, I've continued to work on an extension to Timelines, the trail that explores ideas about memory, history and our relationship to the land. I wrote about the initial work on Continuum in my last blog post, almost a month ago.  Since then, lots has happened. We added a wonderful tree trunk bench alongside the stream, right next to the old lid from a sap bucket that was used, who knows how many years ago, when maple syrup was being made at Orin's Sugarcamp.



October 27th, 2020 | 12 Comments »
"There is often a huge difference between an idea and its realization. Ideas must be put to the test. That's why we make things, otherwise they would be no more than ideas." Andy Goldsworthy's words ring true for me. I have more ideas than I can realize, certainly more than I can act on in my lifetime.  Folders splitting at the seams contain scribbled thoughts and doodles, pages torn from magazines, projects detailed but never executed. So when I begin to translate an idea into the reality that Goldsworthy speaks


Autumn Leaves

October 12th, 2020 | 11 Comments »
Walking through the woods recently, I passed this installation, called The Forms.   [caption id="attachment_9253" align="aligncenter" width="3728"] The Forms represent the basic building blocks of the constructed world. They are one part of Timelines, the trail at Glen Villa that explores ideas about history, memory and our relationship to the land.[/caption]   The colours of the plexiglass shapes stood out from the muted tones around them, attracting me like a magnet. Closer, I noticed leaves scattered on top of them, some haphazardly, some artfully arranged.     The contrast in colours atop


Autumn Colour Brings Joy

October 6th, 2020 | 4 Comments »
The autumn colours seem particularly intense this year at Glen Villa, my garden in Quebec's Eastern Townships. Leaves started to turn earlier than usual and the height of the season has almost come and gone. But what a season it has been! It started early, when a small horse chestnut tree (Aesculus pavia) began to turn.   [caption id="attachment_9230" align="aligncenter" width="2541"] This photo was taken in mid-September[/caption]   It continued as the sourgum trees (Nyssa sylvatica) nearby began to change colour. First one tree caught fire ...   [caption id="attachment_9228" align="aligncenter"


Visitors at Glen Villa

September 29th, 2020 | 11 Comments »
Last week was very unusual -- after a summer of isolation, living inside a family-only bubble, two groups of visitors came to tour Glen Villa. One group came from NIP Paysage, a landscape architecture firm in Montreal whose name reflects its approach to every project it undertakes. To understand, you need to know that NIP is the French acronym for a PIN, or Personal Identification Number. So, as its website states, "NIP aims to reveal the true character of the environments upon which it intervenes." I first met two of the principals


The Medicine Wheel and the Four Directions

September 20th, 2020 | 4 Comments »
Earlier this week I was fortunate to visit a new installation on the Tomifobia Nature Trail in the company of its creator, Paul-Conrad Carignan, and Paul's partner, Sylvia Bertolini. Paul is a Metis Algonquin-Anishnabe Elder and the site he designed is dedicated to spiritual and healing teachings of the Indigenous Medicine Wheel and its four directions. At a clearing beside the trail, located in Quebec's Eastern Townships close to the border with the United States, large granite slabs, or stelae, rise up at the four directions. Each stone is engraved with an


The Dining Room Table on the China Terrace

September 4th, 2020 | 10 Comments »
The China Terrace is my way of representing the past in the present, of giving a new life to memories of the years when Glen Villa Inn welcomed summer guests from near and far. According to a local newspaper of the time, Canadians and American visitors "from every state in the Union" came to spend their holidays here in North Hatley, Quebec. The hotel's life was brief, though. Built in 1902, it burned to the ground in 1909, shortly before opening for its eighth season. Not long after moving into Glen Villa in 1996, I discovered an


Marian Coffin, Landscape Architect

August 24th, 2020 | No Comments »
In this year, the 100th anniversary of the 19th amendment that gave women in the U.S. the right to vote, I'm thinking about American women from that era and the gardens they created. Marian Coffin (1876-1957) was one of the most sought-after of these women, particularly in the years before World War II. Trained at MIT between 1901 and 1904, one of only four women in the landscape architecture program, she went on to design over 50 significant estate gardens, mostly for wealthy clients on the East Coast. Her most important commission was