superstar natives nature`s patterns amazing agastache

thedesıgner
ASSOCIATION OF
PROFESSIONAL LANDSCAPE DESIGNERS
Spring 2015
Marking
Time
NATURE’S PATTERNS
SUPERSTAR NATIVES
AMAZING AGASTACHE
editor’sletter
It's All About Sustainability
A
round ten years ago I
heard renowned nurseryman and grasses expert
John Greenlee speak about the mechanics
of reducing lawn size. Expecting an earnest, statistics-driven lecture, I became
fully alert when he dramatically pounded
his fist on the podium, demanding that
we make a choice. We were either for
lawns or against them.
While I never did make that choice—under the right circumstances, lawns still
have a place in my designs—Greenlee’s
passionate position was one of the events
that influenced me to fully commit to a
sustainable design aesthetic. At times
this can be challenging, as designers are
often caught between what we know is
the right sustainable choice, and following the client’s wishes, which may fly in
the face of best practices. My strategy?
Explain the environmental benefits, but
also explain how a sustainable approach benefits the garden’s owner. Keeping water onsite
not only protects watersheds, it recharges groundwater, which in turn creates sturdier
plants that require less water over time. Attracting pollinators ensures healthier fruit trees
and vegetables.
In this issue, the idea of sustainability is tackled from many angles. Jessi Bloom and David
Boehnlein explain a key tenant of permaculture by sharing how “Nature’s Patterns” can
influence a garden’s design. Edible landscape designers Stefani Bittner and Christian Cobbs
share why they include “Amazing Agastache” in all of their planting plans. Combine these
articles with our regional experts weighing in on their favorite natives, and you have the
tools and inspiration you need to dig into spring.
SUSAN MORRISON
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[email protected]
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9 PRESIDENT'S MESSAGE
12 DESIGN ROUNDUP
14 PRO PLANT PICKS
Superstar Natives
22 TECHNOLOGY
Tracking Hours
BY K E L LY G R EENWO O D
24 BOOK REVIEW
The Living Landscape
BY JA N E B E RGE R, FAP LD
28 DESIGN 101
Natures Patterns
BY J E SS I B LO O M & DAVID BO EH NLE IN
34 ARTIST'S PERSPECTIVE
Marking Time
BY SCOT T H OKUNS O N
40 POLLINATOR HEALTH
Amazing Agastache
BY ST E FA N I BI TTNER
& C H R I ST I A N CO BBS
46 DESIGN MASTER CLASS
3D Modeling
BY C H E R I ST R INGER
54 SAVING WATER
Low Water Trees
BY M AT T F R ED M O NS KY
O N T H E COV ER:
S C U L P T U R E BY DAVID H ARBE R LTD.
O N T H I S PAG E:
P H OTO G R A P H ©SAXO N H O LT/
P H OTO B OTA N IC
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SPRING 2015
contents
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thedesıgner
EDITOR IN CHIEF
Susan Morrison
ART DIRECTOR
Jane Berger,
FAPLD
Book Review
p. 24
Stefani
Bittner
Pollinator
Health
Jessi Bloom
Nature's
Patterns
p. 28
p. 40
Marti Golon
EXECUTIVE DIRECTOR
Denise Calabrese
ASSOCIATE EXECUTIVE DIRECTOR
Lisa Ruggiers
MEMBERSHIP DIRECTOR
Angela Burkett
COMMUNICATIONS DIRECTOR
Michelle Keyser
DIRECTOR OF CONFERENCES &
EVENTS
Jen Cramer
CERTIFICATION COORDINATOR
Kelly Clark
COMMUNICATIONS ASSOCIATE
Courtney Kuntz
BOOKKEEPER
Jennifer Swartz
MEMBERSHIP, FINANCE &
EVENTS COORDINATOR
Leona Wagner
NEWSLETTER EDITOR
Amy Bobb
COPY EDITOR
Claire Splan
➸ Click name to email us!
For information on
advertising in The Designer,
contact
[email protected]
For submission guidelines
click here
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Jane Berger,
FAPLD, has been
designing gardens for the past
20 years and writing about them
even longer, for
Landscape Architecture Magazine,
The American
Gardener, The
Associated Press,
and others. After
a career as a radio
news correspondent in Washington DC, Jane
graduated from
the Landscape
Design Program
at George Washington University.
She served on the
Board of Directors at APLD as
Communications
Chair and was
editor of The Designer from 2009
to 2013.
Stefani Bittner
is the owner of
Homestead
Design Collective,
a San Francisco
Bay Area landscape design firm
focusing on aesthetic edible gardening. Together
with her team at
Homestead, she
offers a unique,
sophisticated,
and effective set
of design, fine
gardening, and
organic farming
skills for people
who want help
creating aesthetically designed,
organic edible
gardens. Stefani is
also the co-author
of the best-selling
book, The Beautiful Edible Garden
(Ten Speed Press,
2013), which was
selected as one
of Amazon’s best
garden books of
2013.
Jessi Bloom is
a best-selling
author, national
speaker, and
award-winning
ecological landscape designer.
Her firm, N.W.
Bloom ~ EcoLogical Landscapes is
known for innovation in sustainable
landscape design,
construction, and
maintenance. Her
book Free-Range
Chicken Gardens
is praised for
being informative and inspiring,
changing the way
people integrate
animals into their
landscapes. Recognition for her
work includes
awards from
the Washington
Department of
Ecology and the
American Horticultural Society.
contributors
David
Boehnlein
Matt
Fredmonsky
Kelly
Greenwood
Scott
Hokunson
Nature's
Patterns
Saving Water
Technology:
Tracking
Hours p. 22
Artist's
Perspective
Kelly Greenwood
designs residential gardens and
interiors for indoor-outdoor living. Her work was
featured in the
book Backyards:
A Sunset Design
Guide as well as
on HGTV’s “Landscape Smart” and
“Small Spaces,
Big Style.” She
earned her certificate in Landscape Architecture from the UC
Berkeley Extension program,
and is a member
of ASLA as well
as a past board
member of the
APLD California
chapter. Look for
her to appear this
summer in the
PBS documentary Decoding
Ancient Chinese
Gardens.
Scott Hokunson,
principal behind
Blue Heron Landscape Design,
has been creating landscapes
since 1981, and
brings a wealth
of experience and
expertise to each
project. A proponent of natural
and sustainable
principles, Scott
works closely
with his clients
to create elegant
outdoor living
spaces, minimizing the impact on
the environment
through all phases of the project,
including ongoing
stewardship.
p. 54
p. 28
Dave Boehnlein
serves as the education director
at Bullock’s Permaculture Homestead on Orcas
Island, Washington. He is also the
principal and a
founder of Terra
Phoenix Design,
where he helps
clients around
the globe achieve
their sustainability goals through
integrated master planning. His
freelance teaching services are
highly sought
after by universities, nonprofits,
and other organizations. He seeks
to mainstream
permaculture design with integrity. In addition,
Dave is passionate about plants,
especially weird
but useful ones.
Matt Fredmonsky
is a project manager in corporate
communications
with The Davey
Tree Expert
Company. He has
more than ten
years of experience as a professional writer,
including as a
magazine freelancer, journalist,
adjunct professor,
social media manager, photographer, blogger, and
public relations
manager. When
not working, Matt
enjoys spending
time outdoors,
whether hiking,
cycling, kayaking,
or just relaxing.
p. 34
Cheri Stringer
Design Master
Class: 3D
Modeling
p. 46
Cheri Stringer,
owner/principal
behind TLC
Gardens has been
designing and
building landscapes since 1999.
TLC gardens
works with architects, engineers,
city planners
and professional
builders on landscape renovation
for both residential and commercial projects
throughout
Colorado. Their
goal is to reconnect clients with
nature, either by
integrating elegant outdoor
spaces or by
upscaling commercial properties with areas for
people to reflect
and engage with
the natural world.
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president’smessage
Why I Volunteer
I
feel honored and privileged to be your
2015 APLD president. Many might say I
am a bit crazy, but I don’t think so, and I
want to share with you why I volunteer.
For me it was simple. When I started my
business 12 ½ years ago I wanted to grow it
fast. I have been in other types of business
and around the block enough to know that I
can easily learn (some call it “glean”) from others faster than trying to
learn everything I need to know by myself. I had just finished my two-year horticulture/design degree and quit my job, and I needed to kick-start my design business. What to do? I heard about APLD and thought it could be a good learning tool.
I contacted headquarters and joined.
The area where I live did not have a district and it was at least a three- to fourhour drive to attend the closest APLD meeting. So I put on my volunteer cap and
with a couple fellow designers started the Sacramento District of the California
Chapter. I learned a lot fast and met many wonderful people along the way. Our
small APLD group worked a couple home shows and built a network of designers. We held meetings with presentations about topics we wanted to know more
about. We grew our membership and our businesses. We were a team and cared
about the success of everyone, even though we each had our own businesses as
our first priority.
I truly believe that the more you give, the more you get, and in giving there is
satisfaction that you did so, even though you may not immediately reap the profits. What I have found is that so many in the horticulture industry have a similar
philosophy. It simply feels wonderful!
COLLEEN HAMILTON APLD
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Garden Photography
WorkShop Goes Online
Celebrated photojournalist Saxon Holt has
launched PhotoBotanic.com, an online garden
photography workshop, learning center, and photo
repository. The workshop consists of 24 lessons
inspired by what Holt teaches in his live classes as the
photography program director at San Francisco Botanical
Garden. In addition to the workshop, the website is packed with useful
information for those looking to improve their garden photography skills,
including ebooks filled with beautifully illustrated gardens, advice, and interactive links. Holt has photographed numerous iconic public and private gardens,
and his work is familiar to anyone who owns a garden book or subscribes to a
garden magazine. His advice to designers wanting to improve their own
photography skills? “The first lesson I always tell my students,” says Holt, “is fill
the frame of your camera, whether that’s a smart phone or high-end DSLR.” PHOTOGR A PHS ©SAXON HOLT/PHOTOB OTA N IC
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designroundup
Taking Herbs
To the Spa
Written by garden designer
and APLD member Sue Goetz,
The Herb Lover’s Spa Book
(St. Lynn’s Press, 2015), covers
many areas of interest to
gardeners and designers,
including growing, harvesting,
design plans and recipes for
sachets, scrubs and bath products that create the ultimate
in-home spa experience. The
emphasis is on understanding
the cultural conditions and
wellness uses for a core group
of herbs, rather than creating
an exhaustive encyclopedia.
What makes Goetz’s approach
unique is her emphasis on
using herbs to create sanctuary and retreat spaces in the
garden and home. “I love it
when a landscape client falls in
love with their garden,” says
Goetz, “sometimes by the
simple discovery of what an
herb planted in their own
garden can be used for. ”
Timeless Beauty®
Desert Willow
A North American native, Timeless Beauty
desert willow (Chilopsis linearis ‘Monhews’)
is a 15- to 20-foot deciduous tree that
works well in borders, containers or
firescaping situations. Large, fragrant
bi-colored burgundy and lavender flowers
bloom in clusters at the ends of the
branches. Because it does not set seed,
the flowering season for Timeless Beauty
is significantly extended over other desert
willow species. Purportedly a chance
discovery from an undisclosed location in
Arizona, the tree is hardy to USDA zone 7,
needs full sun, and once established needs
only occasional watering.
PHOTO COURTESY OF MON R OVI A
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proplantpicks
Dudleya
pulverulenta
USDA HARDINESS ZONES: 8–10
SIZE: 6­” H x 12–18” W
CULTURAL REQUIREMENTS:
Sun to part shade. Any soil with
good drainage. Plant at an angle to
keep water away from crown and
provide occasional summer irrigation (not overhead).
Anne Weinberger is a garden designer
and freelance writer based in the San
Francisco Bay Area city of Piedmont. She
specializes in water-conserving gardens
and has a special place in her heart for
succulents. She has designed gardens
throughout the East Bay region of the San
Francisco Bay Area and in Los Angeles.
PHOTOGR A PHS BY KEN B LACKFOR D
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SUPERSTAR NATIVES WEST
Chalk Liveforever
Dudleya pulverulenta
C
BY ANNE WEINBERGER
reating a
western
garden
with mostly natives is a
welcome challenge for
a designer, but some
clients worry that a native landscape will lack
drama. That’s when I
introduce them to the
dazzling California succulent, chalk liveforever,
native to rocky areas
of the coastal ranges
from San Luis Obispo to
northern Baja California.
With ghostly bluegreen foliage coated
Dudleya caespiotosa
in chalky white, it’s an
eye-catching garden accent throughout the seasons. The rosette of nearly
two-inch-wide leaves reaches up and out like a fountain, brilliant against
ground-carpeting natives with colorful blooms, like the late-winter blue of
‘Centennial’ California lilac (Ceanothus ‘Centennial’) and the summer-tofall crimson of ‘Everett’s Choice’ California fuschia (Epilobium canum ssp.
latifolium ‘Everett’s Choice’).
Dudleya pulverulenta is sensational tucked between rocks, snuggled up
against the grand Agave ‘Blue Flame’ or combined with other succulents in a
container. Best in part shade inland, it dazzles from beneath a cluster of deep
wine Aeonium arboretum ‘Zwartkop’ or the nearly black ebony conebush
(Leucadendron ‘Ebony’). In late spring, silvery spikes with clusters of orangered flowers rise up over a foot long.
This distinctive genus also includes the stunning Dudleya brittonii, with a
sea-green glow to its broad, chalky leaves, and D. caespitosa, with finger-like
clumping foliage. Dudleyas are a part of every native garden I design, and I’m
always confident my clients will fall in love with these California beauties.
❧
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SUPERSTAR NATIVES
MIDWEST
Indian Pink
Spigelia marilandica
I
BY BOBBIE SCHWARTZ, FAPLD
f you are looking for an alternative to the pastel flowers of most shade plants,
you’ll appreciate the vibrant color
of Indian pink. Its tubular blossoms
boast bright red sheaths surrounding sunny, yellow starbursts that
light up a shady garden.
Short of stature, the alternate,
ovate foliage of Indian pink forms
a lovely skirt for taller shade
perennials such as yellow waxbells
(Kirengeshoma palmata), autumn
fern (Dryopteris erythrosora) as
well as taller shrubs like Hydrangea
arborescens ‘Invincibelle ® Spirit’. In
my Cleveland garden, the main flush
of bloom occurs in late June, but Indian pink will continue to bloom
intermittently through the beginning of September, with blooms
emerging sequentially from the bottom of the stem to the top.
This woodland perennial acts as a nectar source for butterflies
and hummingbirds. Its native habitat stretches from New Jersey
to Florida and as far west as Texas and Wisconsin. It is greatly
underused, perhaps because so few nurseries produce it. Although
clump forming, the clumps will enlarge with time, and the plant has
the potential to reseed.
This beautiful native is an eye-stopper!
❧
USDA HARDINESS ZONES: 5–9
SIZE: 12–18” H x 12–16” W
CULTURAL REQUIREMENTS:
Part to full shade. Prefers moist soils with good
drainage. Does not transplant well.
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PHOTOGR A PHS BY
B OB B I E SCHWA RTZ
proplantpicks
Bobbie Schwartz, FAPLD, is an awardwinning landscape designer in the
Cleveland area. Her signature is fourseason interest. In addition, she writes
extensively, lectures nationwide, and
blogs at Bobbie’s World.
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As temperatures
drop, leaves take
on a reddish cast.
Vanessa Gardner Nagel, APLD, NCIDQ, owner
of Seasons Garden Design LLC in Vancouver,
WA, designer for over 35 years, and author of
The Professional Designer’s Guide to Garden
Furnishings and Understanding Garden Design,
supports the design philosophy of integrating
exterior with interior and finding the common
thread when “weaving” garden designs.
PHOTOGR A PHS BY VA N ESSA GA R DN ER N AG EL
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proplantpicks
SUPERSTAR NATIVES
NORTHWEST
Evergreen
Huckleberry
Vaccinium ovatum
BY VANESSA GARDNER NAGEL, APLD, NCIDQ
I
n the northwest, native plants often have little presence during cold, wintry
months. While some take on a dried, distinct shape, many have a form that is
muddled or non-existent anytime other than the growing season. Enter evergreen huckleberry. Evergreen, it provides year-round structure and plays a dominant
role in winter when many plants are dormant, then settles gracefully into the background during high season. As temperatures drop, leaves display a reddish cast, adding even more winter interest.
Evergreen huckleberry’s tiny, pink, urn-shaped flowers in spring ripen into late
summer blackish-purple fruits. In sunny locations it will grow to about three feet
high, while in partial shade it can reach up to ten feet tall. Additional sun will usually
dictate more fruits—a welcome occurrence as the tasty berries are highly valued for
pies and jams, can be difficult to find, and unless frozen, spoil quickly. Its flowers and
fruits attract hummingbirds, butterflies, and birds.
Evergreen huckleberry’s native habitat is along the west coast at the edge of coniferous forests in moist, acidic soil, although I have also seen it growing abundantly in
sandy beach soil with shore pines. Because its leaves are small, it can be clipped to
good effect. It makes an excellent formal or informal native hedge, but if left to its own
devices, it typically grows to about six feet in width. An excellent backdrop for other
plants, evergreen huckleberry combines well with other partial-shade-loving plants
like variegated Lenten rose (Helleborus artgutifolius ‘Janet Starnes’), many forms of
hosta and both native and hybridized forms
of mahonia. It is particularly stunning with
Himalayan blue poppy (Meconopsis betonicifolia), which
has similar cultural requirements and flowers that shine
with an evergreen backdrop. Combined with evergreen
carex cultivars in winter, evergreen huckleberry creates
delicate garden bones.
❧
USDA HARDINESS ZONES: 7–9
SIZE: 4’ H x 6’ W
CULTURAL REQUIREMENTS: Partial shade and
moist, well-drained soil. Once established, it is
drought-tolerant in its native habitat.
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SUPERSTAR NATIVES
NORTHEAST
Fragrant Sumac
Rhus aromatica ‘Gro-Low’
BY CHRISTINE DARNELL
W
hen I encounter a difficult site, fragrant sumac is the
native plant I turn to again and again. An essentially
no-maintenance plant, fragrant sumac, also known as
gro-low, possesses a fibrous root system and arching, rooting branches ideal for stabilizing slopes and preserving soil banks from erosion.
With a low profile and fragrant, glossy, trifoliate green leaves, this
workhorse shrub performs well as a groundcover. Woody plant expert
Michael Dirr recommends it for naturalizing and massing. It thrives in
tough areas with poor soils and withstands both sun and shade.
A fast grower, fragrant sumac has a low, wide-spreading form, reaching only two feet in height and six to eight feet in breadth. Its dense,
suckering habit will create an almost impenetrable mass of branches
and leaves in a short period of time. This is a female plant and bears
insignificant yellow flowers and hairy red fruit, which attracts both
birds and butterflies. A male is required for fruit.
Fall is when this native
shrub really becomes
something special. Its foliage turns a brilliant orange
to purplish red, delighting both gardeners and
homeowners. I combine
fragrant sumac with plants
that thrive in like conditions, including ornamental grasses like ‘Hameln’
fountain grass (Pennisetum
alopecuroides ‘Hameln’)
or ‘Ruby Ribbons’ switch
grass (Panicum virgatum ‘Ruby Ribbons’) for color and textural contrast. It also pairs well with the silver/blue-green foliage of ‘Junior
Walker’ catmint (Nepeta ‘Junior Walker’). Native to the dunes, open
spaces, and dry woods of North America, this is one superstar native
that should be seen much more in the landscape.
❧
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USDA HARDINESS
ZONES: 3–8
SIZE: 2’ H x 6–8’ W
CULTURAL
REQUIREMENTS:
Full sun to part shade,
dry to medium water
requirements but
tolerant of most soil
situations except
standing water.
proplantpicks
PHOTOGR A PHS BY CHR I STI N E DA R NEL L
Christine Darnell is principle of Christine
Darnell Gardens, a garden design firm
located in Chester, CT, that emphasizes
sophisticated horticultural selections. In
addition to operating her business, Christine
teaches landscape design at Naugatuck Valley
Community College. She is also a Wetlands
Commissioner and Vice President of the
Connecticut Chapter of APLD.
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technology
Tracking Hours
BY KELLY GREENWOOD
A
few years ago, I started looking for a better way to track my billable time, and ended up realizing exactly how much precious
time I was spending creating invoices and doing accounting. I
was also shocked to see how much income I was losing when I forgot to
note my time accurately. As a procrastinator who hates accounting, I would
love to be more Zen about the value of money, but I have a plant habit to
support! Fortunately, I discovered a program that streamlined the process.
Make Your Phone Work
Harder for You
The iOS app TimeWerks allows me to
enter my billable time on my iPhone as
I’m leaving a job site or switching from
project to project at my desk. Since I have
my phone with me everywhere, taking
just a few seconds to do this helps me
track my time accurately, and also
supplies a running total of how much
unbilled time is outstanding. New
contacts can be created directly from
a contact in your phone’s address
book, eliminating the need to reenter information. A list of unpaid
invoices can be seen at a glance.
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Even better, professional-looking PDF invoices can be
created right from the phone. As a meeting concludes, it
can be uncomfortable to ask for payment, but sending
an immediate invoice creates a natural segue. Connect a
PayPal or Square account to the app, and this sometimesawkward moment becomes a natural “Would you like
to pay by check or card?” Be sure to take note of any
transaction fees. If your bank offers mobile check deposit,
you can cash checks instantly, usually without a fee.
Choose the Right App for
Your Business
Some key things to keep in mind when selecting a time
and billing app:
■ Coordinate with your accounting system. If you’re
using QuickBooks, consider using one of their add-on
apps for time tracking and payments, so that your data is
integrated.
ISTOCK
■ Choose an app that allows you to put your logo
& business information into a professional-looking
printable invoice, preferably in PDF format.
■ Consider your specific business practices and needs. If
you are a reseller that needs to charge sales tax, look for
reporting functions, so it’s easy to get summarized tax
information for tax time.
■ Make sure you can export the data easily, so you can
migrate to something else as your business grows—or
when technology improves.
❧
TimeWerks allows
you to do it all on
your phone.
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bookreview
The Living
Landscape
BY JANE BERGER, FAPLD
A
s our planet grows increasingly fragile due
to climate change, it’s more important than
ever to do what we can to protect the plants
and animals within it. In The Living Landscape (Timberpress 2014), authors Doug Tallamy and Rick Darke show
the way forward by explaining how we can design gorgeous, functional landscapes that nurture wildlife and
deepen our connections to the natural world.
In the book’s preface, Darke explains that the “design of
broadly functional, ecologically sound, resource-conserving residential gardens requires a carefully balanced mix
of native and non-native
plants.” He adds that
it’s time to stop worrying about where plants
come from and focus instead on “how they
function in today’s ecology.”
In the following chapters, the authors recommend that designers think in terms of the
layers commonly found in wild landscapes,
from the overhead canopy to the ground layer
and everything in between. The authors note
>>Get the book! Click here to
view on Timber Press
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that consideration should also be given to what they term
the “cultural layers” created by human intervention, such
as old farm fields, roads and railways and pastures, and the
“temporal layers,” which such as seasons and centuries. All
of the layers, of course, have a vital impact on wildlife, from
insects to birds and larger animals.
Finally, Darke and Tallamy apply their concepts to residential gardens and explain how to design gardens that sustain
life at every level. You might be surprised at the authors’
unusual definition of “native.”
➸
A formal allée
of sweet gums
(Liquidambar
styraciflua) form
a canopy and
frame the view
of a sculpture by
André Harvey.
A L L P H OTOS TA K E N FRO M THE L IVING L ANDSC AP E© COPYR I GHT 201 4 BY R I CK
DA R K E A N D D OU G TALLAM Y. P U BLIS H ED BY T I MB ER PR ESS, PORTLA N D, OR . USED
BY P E R M ISSIO N O F TH E P U BLIS H ER. ALL RIGHTS R ESERVED.
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bookreview
The back of the book includes extensive lists of plants for
different regions around the country, along with landscape
functions and wildlife values for each entry. Who knew
that Ironwood (Carpinus caroliniana) supports 411 species of caterpillars?
Beautiful photographs throughout illustrate the authors’
main concepts and the wildlife that depend upon them.
The Living Landscape is a book that belongs in every
designer’s library.
❧
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Sweetbay magnolias
(Magnolia
virginiana) create
a semitransparent
enclosure around an
outdoor patio.
INSET: A Baltimore
oriole in its
distinctive pouched
nest, built in a
sycamore (Platanus
occidentalis).
Nature’s
BY JESSI BLOOM & DAVID BOEHNLEIN
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ISTOCK( 4 )
A
s we think about permaculture design, we can also learn from
nature’s patterns. A pattern is defined as an arrangement of repeating or corresponding parts. Many different patterns show up
in nature—large and small, visible and invisible, exemplified in space and in
time. Nature uses patterns to move, collect, and disperse matter and energy.
Ultimately, patterns are nature’s elegant way of solving problems efficiently
and effectively. If we apply nature’s patterns appropriately in our designs, we
should be able to tap into that efficiency and effectiveness. The key word here is
appropriately. Applying patterns from nature will yield beneficial results only if
the appropriate pattern is applied for any given situation. Applying the wrong
design101
Patterns
pattern can actually create more problems than solutions. Large spiral annual
gardens are often a pain because getting to the center with a hose or wheelbarrow involves walking in circles for a long time (and pulling a hose around a
spiral is no fun at all). A network pattern or a network overlaid on a spiral may
be a better design for easy access in an annual garden. Therefore, as we design
it is crucial that we pay attention to the patterns that address the situation in
nature most analogous to our own situation.
What follows is a basic, nonexhaustive library of patterns from nature. For
each pattern, we give examples of that pattern showing up in nature as well as
some design applications to help drive home the point that our designs get better when we use the right pattern at the right time.
➸
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design101
Branches in
a tree
Streams in a
watershed
Circulatory
system
Fire department
organization
Pathway
hierarchy
Branching
Branching patterns are great examples of ways nature collects and disperses
both energy and materials. The branches of a tree allow energy photosynthesized in the leaves to be collected and redistributed via the trunk. Creeks come
together to form streams, which lead to rivers and so on as water is collected
from an entire watershed. The circulatory system in the human body is a way to
collect de-oxygenated blood, recharge it, and send it back out to bring oxygen to
the farthest reaches.
In design we use branching patterns all the time in the form of hierarchies. An
access hierarchy allows us to have paths of increasing widths and durability
for more intensive uses. Imagine a paved road that can accommodate a dump
truck with offshoots that are somewhat smaller to accommodate pickup trucks.
These may have offshoots that accommodate garden carts or wheelbarrows,
which may in turn have offshoots that accommodate a single person. This can
be incredibly useful when trying to make the most efficient use of space while
allowing good access to all locations.
A good example of an invisible application of this pattern in design is the organization of a fire department. For every one district chief, there are typically
a few battalion chiefs. Under the battalion chiefs are several lieutenants and
under them a host of firefighters. This clear chain of command makes a lot of
sense in this case. After all, no one wants the firefighters making decisions by
consensus when their house is on fire. In this case the branching pattern is well
applied to social design.
I LLUSTR ATI ON S BY PAUL KEA R SLEY
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Waves & Meanders
Waveforms appear frequently in nature and provide an example of how manipulating an edge can achieve a goal. When rivers come out of foothills and hit
a flat floodplain, they often begin to meander a lot more. This happens because
much of the energy in that water was played out when it was moving through
steeper areas. These meanders are where rivers drop out most of their sediments, leading to some of the most fertile places on earth, floodplains. Many
mushrooms burst from the ground and unfurl in a modified wave pattern called
an Overbeck jet. This is where ominous mushroom clouds get their name. This
pattern allows the mushroom to push up from the soil with minimal edge, thus
minimal resistance. When it breaks the surface, it can unfurl to expose its gills
and send out spores. When two fluids move past one another, waves are the
result because they minimize turbulence. This means each fluid can move past
more efficiently. Waves in bodies of water occur when wind passes over the
surface (in which case air is acting as a fluid).
WINTER
AUTUMN
SUMMER
SPRING
BI O LO G I CA L AC T I V I T Y
TIME
Meandering
river
Mushroom
growth
Ocean
waves
Seasonal
energy needs
Constructed
pond
In design, one way we can use waves and their accompanying manipulation of
edge is by changing the shapes of elements. A pond that is a perfect circle has
minimal perimeter for maximum area. In some cases this is exactly what we
want. However, if we want to grow more pond edge species, we can increase
the pond edge using a wave pattern while still allowing it to hold the same
amount of water.
Similarly, we can find an invisible pattern in the pulse of the seasons. Pulses are
actually waves that occur over time, which we can see when we map them out
on a graph. In this graph we see that relatively little biological activity happens
in winter. When spring comes, plants start growing, animals wake up and
➸
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design101
begin seeking food and finding mates, and soil microbes quicken the pace of their
decomposition work. During summer, things aren’t as frantic as spring. Plants
are either continuing to grow at a modest pace or they are in maintenance mode.
Animals are raising young. When fall hits, everything in nature must get ready for
winter. Extra energy is spent to harden off cell walls, store food, and shut down
systems that will be damaged by cold. Then we return to the calm of winter. This
waveform repeats year after year. The double pulse of energy expenditure in
nature that happens in spring and fall matches up perfectly with time and energy
required of people working with natural systems. Knowing this, we can plan the
activity cycles of our lives appropriately or try to minimize extra work when we
know our biological systems will need our attention.
Grids, Networks, & Tessellations
Grids, networks, and tessellations all tend to maximize connections. They are
also patterns of expansion and contraction (think of how your clothes, which
are a network of threads, have the ability to stretch). In nature, the network
pattern of a spiderweb is quite resilient. If part of the web is damaged, the bulk
of it can still catch flies. Tessellations are repetitions of the same shape that,
when put together, can fill up all space, leaving no voids. Hexagons in a honeycomb efficiently use space and maximize the volume of honey the bees can
store while using the minimum amount of material to make the structure itself.
Another example is the pattern of sunflower seeds in a flower head, which fit
tightly together with no wasted space in between.
Spiderweb
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Honeycomb
Sunflower
seeds
Net-and-pan
system
Plant spacing
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In landscapes, we often see orchards planted in grids. When dealing with arid
landscapes, we can use a network pattern to help concentrate the small amount
of rainfall where the trees are. By installing basins around the trees and a series
of shallow drains to connect them, we can catch any rainfall hitting the landscape
and route it to where it’s needed most. This is called a net-and-pan system.
In the garden, we can also think about tessellations when we consider plant spacing. The crown
shape of many plants is roughlyHORTICA
round, so when
we plant on a rectilinear grid, there is always
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|
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artist’sperspective
34
Marking
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Used as a focal point,
an armillary sphere
adds depth and
interest to a garden.
Time
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35
artist’sperspective
M
BY SCOTT HOKUNSON
ankind has studied the sun and stars since the dawn
of civilization. The constant pattern of rotation and
orbit of the planets in relation to the sun has provided a basis to track the passage of time and the occurrence of events for
thousands of years. Gardens provide a similar consistency. As the seasons
change, shoots break ground in spring, followed by the yearly appearance
of a favorite blossom, then the first chill of fall.
These days, we rely on smart phones and digital timepieces to track time,
and electronic alarms and appointment calendars to remind us of birthdays, anniversaries, and other important events. These modern-day means
have distanced us from natural cycles, and separated us from the wisdom of
the garden.
David Harber has a different vision of timetracking and its connection to the garden, a
vision he is sharing with the world through an
ancient tool. He is reintroducing modern society’s gardens to the ancient art of timekeeping
with the sundial. An internationally known
artist, Harber leads a team of skilled craftspeople at David Harber Limited in Oxfordshire
County, England. He and his team produce
beautifully artistic sundials that reconnect
with natural cycles and track time and events,
all while luring one back into the garden.
Harber’s installations can be found all over the
world, in such places as Windsor Castle, The
Millennium Dome, and Princeton University,
as well as a dozen colleges in Oxford and Cambridge.
Harber’s journey with sundials, in particular
the armillary sphere, began in 1992, when he
came upon what has become his life’s passion:
Twenty-five years ago I was introduced to an
armillary sphere by an antique dealer. I was in-
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PHOTOGR A PHS COURTESY OF DAVI D HA R B ER
apld.org
Noting important dates on
a sphere creates a personal
connection within a garden.
stantly captivated by the elegance of the form without fully understanding the
strict restrictions placed upon it by the mathematical/scientific elements of
the design. Twenty-five years on I am still in love with the purity of the armillary sphere; it symbolizes the perfect marriage between art and science and is
imbued with oracle status.
An armillary sphere has a circular framework that depicts celestial movement, and is used to mark the passing of hours and minutes. Its “oracle status,” as Harber mentions, has made it a focal point of inspiration and solace.
As such, it enjoys a tradition of inscription in the form of mottos, quotes,
and sayings, on or about the sphere. It can be used to mark other events as
well, as Harber describes:
It can also show the progression of the seasons, marking the summer/ winter
solstice and the Spring/Autumn equinox and indeed any individual date specified. It can include specific markings for birthdays, wedding anniversaries, and
other significant dates relevant to the commissioning of the sundial.
Placement of a sundial is paramount to its successful use as both clock and calendar. Location, along with the addition of a commemoration or inspirational
phrase, makes it a perfect choice for a focal point in the garden. Because of ➸
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37
BEYOND
ART
An armillary
sphere sundial
as a focal point
in a garden is
not simply a
timepiece or
sculpture, but a
connection—a
connection
to the natural
order of things,
a connection
to the art and
artistry of our
ancestors, and
quite possibly,
a reconnection
between modern
day happenings
and time spent in
the garden.
the particulars of installation and the ability to draw focus, a sundial can establish a sense of place in the garden, an important element in a successful garden
design. The important considerations for installing a sundial are functionality,
aesthetics, and accuracy. Harber explains:
Placement of the dial has three main elements. Firstly, as the maker we want
the piece to function to the best of its ability. It therefore needs an unimpeded
view of the southern sky. There will naturally be occasions when objects block
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artist’sperspective
part of this, trees, buildings etc. However, as I point out to many of my clients,
the dial will be there sharing its wisdom and time-keeping long after the tree
has passed on. The second consideration is the dial’s aesthetic location. It can
be positioned to be a statement piece, e.g., the center of a lawn, the intersection of two paths, or the focal point at the end of a vista. And thirdly, is accuracy. The dial’s accuracy is determined by the scale of the sundial (the larger,
the more accurate,), and its adherence to ancient mathematics as established
by the Babylonians, Greeks, and Romans. Any dial worth its salt has been
made for its correct latitude/longitude by craftsmen who know the trade and
should be accurate to within a minute or two.
The attributes of a David Harber sundial—inspiration, personal connection, and an affiliation to natural cycles—that
make his pieces unique, have
been overlooked in many of today’s gardens. Designers, faced
with a society that has gradually become disassociated with
its natural surroundings, are
increasingly challenged in creating spaces that are in harmony with the surroundings.
The inclusion of elements that
reestablish that connection,
be it with human events or the
natural world, personalize the
garden and establish a sense of
place. The armillary sphere is a
Inspirational inscription establishes an
wonderful design element that
"oracle" status an an armillary sphere.
connects us with natural cycles
as it reminds us of time and events, while drawing us back into the garden
with its beauty and grace.
For Harber, a chance encounter long ago with an antiques dealer sparked a
passion that transformed a career. Through the years, that spark has grown
to affect the lives of those who have commissioned Harber’s artistry, and inspired countless others to look to the heavens once again.
❧
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pollinatorhealth
40
Amazing A
|
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Agastache
'Black Adder'
PHOTO CO U RT ESY OF
A N N IE'S A N N UA L S
Agastache
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BY STEFANI BITTNER &
CHRISTIAN COBBS
Fire speaks to
the senses
G
one are the days
when a plant can
be just pretty.
When a garden
requires a commitment of
time, water, and other resources, shouldn’t it also work for
us? Plants that provide a
harvest—food to eat and cut
flowers to enjoy—while also
filling the garden with beauty
and supporting organic
gardening practices do exactly
that. That’s why agastache
varieties are among our
favorite plants when designing
an edible garden.
Agastaches sport showy flowers spring through fall, and
are relatively easy to grow.
Beloved by hummingbirds
and pollinators, southwestern
varieties are even referred to
as hummingbird mint. Although you won’t feed your
family each night with edible
flowers, agastache flowers
can be used as garnishes for
salads, baked goods, and cocktails, while their foliage can be
added to herb salads, or used
as the basis for a cup of tea or
a cocktail.
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Globetrotter's pinkpurple blooms are a
pollinator favorite.
pollinatorhealth
PHOTO COURTESY OF A N N I E' S A N N UA LS
On the west coast, we are especially fond of the species and
hybrids derived from the high
deserts of the southwest for our
edible landscapes. Varieties that
have held up nicely through our
sometimes wet winters include
‘Tutti Frutti’, ‘Rosy Giant’, and
Agastache rupetris. All have the
most amazing fragrant foliage,
making them suitable for teas.
In the San Francisco Bay Area,
many innovative chefs have begun using the flowers in savory
dishes, including the stunning
orange-red flowers of ‘Coronado’, and the tall, luscious, deeppink spikes of ‘Tutti Frutti’. Some
varieties are tastier than others,
but try them all out for yourself
and see what you think. At the
very least, they are a worthwhile and attractive addition to
any drought-tolerant garden.
Good drainage is essential, ➸
'Apricot Sprite' is
a great choice for
rock, butterfly and
kitchen gardens.
PHOTO BY ST EFA N I B IT TN E R
PHOTO CO URT ESY OF A NN IE 'S A NN UA L S
In general, agastaches are both
cold hardy and drought tolerant, but both of these characteristics can vary, so it is important to choose the right one
for your growing conditions. It
seems like there is a new variety
coming out every day—some
tougher than others—but at our
design firm, we love to try them
all!
Agastache rupetris,
also known as licorice
mint, is one of the more
durable agastaches.
➸
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pollinatorhealth
and many succumb to rotting
in heavy soils in wet winters.
Southwestern varieties do not
hold up well in humid summers.
Growing four feet tall with
lovely dark blue-purple flower
spikes, varieties like the anise
hyssop (A. foeniculum) and its
hybrid, ‘Black Adder’, are native
to the central U.S. and hardy to
USDA Zone 4. They can tolerate
much more winter rain and
return reliably regardless of
how wet the winter or spring.
Their foliage has an especially
fragrant licorice scent that is
intoxicating when brushed
against. Not surprisingly, anise
hyssop’s licorice-flavored foliage
is a fantastic addition to herb
salads and makes a refreshing
herbal tea. Both of these
varieties have edible flowers that can be used in salads,
drinks, desserts, and more.
To create a balanced and cohesive design, we rely on agastache
for repeating the colors and textures in the kitchen and cutting
garden throughout the entire
landscape. Varieties seem to be
available in every color!
SOME FAVORITES INCLUDE:
■ ‘Apricot Sprite’ with soft
apricot blooms
■ ‘Black Adder’ with deep
purple flowers
■ ‘Lavender Haze’ with lighter
purple flowers that even have a
lavender taste
■ ‘Champagne’ for light pink/
white blooms
■ ‘Summer Breeze’, a multicolored variety with flowers
ranging from hot pink to
brilliant orange
■ ‘Globetrotter’ with vibrant
pink-purple blooms
❧
WHERE TO FIND THEM
If you can’t find a specific agastache at your local nursery,
try these mail order resources:
44
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■ Morning Sun Herb Farm
■ Annie’s Annuals Nursery
■ Plants Delight Nursery
➸ Click name to go to website
apld.org
Incrediball Hydrangea
®
Improved ‘Annabelle’ hydrangea
While ‘Annabelle’ hydrangea’s flowers will typically flop over, Incrediball hydrangea’s huge
flowers are held upright on sturdy stems so the plant looks great all summer long, even after
rain. This durable native hydrangea is adaptable, growing well in full sun or partial shade. Best
of all, it puts on a fantastic flower display even after harsh winters.
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USDA ZONE 3, AHS 9
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Available from Proven Winners® ColorChoice® growers.
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THE VALUE OF
3D
Modeling
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designmasterclass
BY CHERI STRINGER
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F I GU R E 1
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designmasterclass
A
s landscape design professionals, our business depends on creating
landscape plans that look good, get clients excited about the space,
and show enough detail for both clients and builders to visualize the
final product. Although we may be skilled in creating 2D representations of our design concepts complete with texture, color, and line distinctions,
most of us stop there. Yet once our firm began using 3D modeling, it allowed us to
bring a higher value to our design clients and increase our profit margin by:
■ Improving our design skills, as the creation of a 3D model forces a designer to
thoroughly evaluate the spatial relationships between landscape areas.
■ Helping our clients to visualize themselves in
the space we’ve created, which in turn sells the
project installation.
■ Allowing us to spot construction problems
before they arise.
Getting started is easier than you might think.
With a learning curve similar to the conversion
from hand drafting to CAD-based design,
you can learn the skills needed to create 3D
models of your landscape plans. Programs like
Vectorworks Landmark, my professional choice,
and Google SketchUp have integrated tools for
professionals to produce 3D models from their
2D landscape plans. The following case studies
show how powerful integrated 2D and 3D
landscape plan formation can be.
3D modeling can help refine
many of the questions that
arise during a landscape
design project, including:
■ How will steps integrate
with a patio wall?
■ How will the architecture
influence the perceived
space?
■ How will furniture placed
in the space affect the flow
pattern dynamics?
■ How will an alternate
walkway configuration
change the space for better
or worse?
Project One
DESIGN GOAL: Create intimate interconnected spaces throughout the site that
balanced the modern architecture of the home with the native landscape around it.
▲
The 2D design (Figure 1) shows an entrance courtyard aligned with the main
entrance to the home and leads past a pool terrace to a series of terraced outdoor
steps. While it is easy to see that these spaces are interconnected, the 2D rendering
does not convey how the architectural style of the home will affect the space ➸
P H OTO G R A P H Y AND ILLU STRATIO NS BY CH E R I STR I N GER
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49
designmasterclass
F I GU R E 2
50
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dynamics, nor does it show how the
F I GURE
terraced steps will create a visual
connection to the native ground level.
▲ Multiple camera angles of the 3D
landscape model (Figure 2) allow us to
instantly grasp how these spaces will be
perceived in the constructed landscape, as if
we were actually standing in the space.
More importantly, in the 3D model we feel
the impact of the home’s architecture on the
spaces being designed. During the design
process, the 3D model allowed us to easily
visualize the impact of several different
design configurations. In this project, by defining the landscape spaces
prior to construction work, the 3D model sold the installation contract
and streamlined construction. Images of the installed project (Figure 3) ▲
demonstrate how accurately the 3D models represent the finished site.
apld.org
3
Project Two
F I GU RE 4
DESIGN GOAL: Create outdoor
destinations that integrate seamlessly
with the existing deck and site grade.
▲
At the rear of the home you see the
development of a patio space with
an intimate seating and fire pit area
(Figure 4). The presence of steps
makes it clear there is a grade change,
however, the 2D plan does not allow
for a full appreciation of the weight of
the existing upper deck, which directly impacts the designed spaces.
▲
The preliminary 3D model (Figure 5) helped us to understand in
better detail how the existing deck could be used to define the edge of the
transitional space between the intimate seating area and the fire pit area.
For this project 3D modeling of the site was crucial to a smooth installation,
as it allowed the successful integration of existing elements in a tight space
with little margin for error. Traditionally, we would have been fine-tuning in
the field during construction and watching our profit margin disappear. ➸
F IG URE 5
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designmasterclass
Improved Communication
& Construction
In our practice, 3D modeling doesn’t replace 2D design, but rather
enhances it. It is especially helpful in explaining the relationship of a
newly designed space to existing structures. For a project that included a
central courtyard with seating sandwiched between two buildings,
▲
we placed the 2D landscape plan (Figure 6) and 3D model with the
F I GU R E 6
52
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▲
buildings made
transparent (Figure
7) side by side
during our client
presentation. This
helped the client
understand how
FIGURE 7
existing buildings
would impact the new space. The 3D model allowed us to explore these
dynamics prior to creating a contract for installation; it sold the project,
simplified construction, and increased the design value.
There are many programs out there that allow you to integrate 3D models
into your design process. I prefer Vectorworks Landmark because of the
flexibility it provides in presenting 3D models and because both the 2D and
3D environments are created at the same time. Regardless of the program you
use, incorporating 3D models into your design process will improve the value
of the finished product by improving your spatial design skills, streamlining
your construction, and increasing your profit margin.
❧
one resource
FOR
D E S I G N | P R O D U C T S | M AT E R I A L S | AVA I L A B I L I T Y
Planters
•
Fountains
•
Tables
•
Benches
•
Pottery
•
Accents
❧
savingwater
Low Water
54
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Xerscaping is an
effective design
strategy in lowwater regions.
Trees
BY MATT FREDMONSKY
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55
P
ersistent drought conditions across the American southwest
illustrate the need for landscape designs that can endure harsh
drying trends. A growing trend in western states and other dry
areas is xeriscaping, a landscape water conservation concept that
originated in Colorado.
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The term “xeriscape” comes from xeros, the Greek word for dry. The concept
has spread throughout the west to mean using water-efficient landscape
designs to eliminate irrigation. Xeriscape methods range from replacing
whole sections of turf with permeable gravel or mulch to carefully selecting
shrubs, trees, and other plants that thrive in dry areas.
PHOTO COURTESY OF THE DAVEY TR EE EXPERT COM PA N Y
apld.org
savingwater
▲
When a large
specimen is needed for
a design, bur oak trees
(Quercus macrocarpa)
are a drought-tolerant
choice.
Trees with
Low-Water
Needs
Not all trees need buckets of
rain each year to grow tall, offer
shade, and color the landscape.
By choosing the right tree, you
can create a landscape with all
the benefits trees have to offer—even for landscapes in hot,
dry climates.
ISTOCK
The Kentucky coffee tree (Gymnocladus dioicus) grows naturally in the east but lives as far
southwest as Oklahoma and
Texas. It can tolerate drought
and adapts well in USDA Zones
3 to 8. This tree can grow large and provide great shade
benefits, but its seeds and seed pods can prove toxic to some
small animals, so factor its toxicity into the location.
▲ Drought tolerant
boxelder displays
attractive samara
fruit in autumn.
Western hackberry (Celtis reticulata) is native to the western U.S. and grows
to about 25 feet. It can withstand full sun and low water. Also native to the
west, Boxelder (Acer negundo) grows as high as 40 feet and is a fast-growing shade tree. Smaller ornamental trees include pineapple guava (Feijoa
sellowiana). Native to Brazil and Argentina it features exotic, red and white
flowers followed by edible fruit. Drought tolerant once established, it works
well as a hedgerow or as a small tree up to 15 feet tall.
➸
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savingwater
Low-Water vs. No-Water
No tree or shrub can survive without water even though many can thrive
in regions where there is little natural moisture. Some tree and shrub species will require some additional irrigation, if available, or you will need to
carefully consider their location—such as in a rain garden where they will
▲
benefit from storm runoff from down spouts. Finally,
California buckeye
it’s important to recognize that all trees need adequate
(Aesculus californica)
water during the first two to three years after they’ve
needs only a few
been planted.
good rains in a year.
❧
PHOTO COURTESY OF THE DAVEY TR EE EXPERT COMPA N Y
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Beautiful spaces. Intelligent design. Experienced professionals.
We define landscape design!
Find YOUR landscape designer at www.apld.org.
2015 board of directors
PRESIDENT
Colleen Hamilton, APLD
Bloomin' Landscape Designs
7122 Willey Way
Carmichael, CA 95608
(916) 961-0191
PRESIDENT-ELECT
Lisa Port, APLD
Banyon Tree Design Studio
3630 Northeast 123rd Street
Seattle, WA 98125
(206) 383-5572
SECRETARY/TREASURER
Jock Lewendon, APLD
Outdoor Living Spaces, LLC
766 Schoolhouse Lane
Bound Brook, NJ 08805
(732) 302-9632
IMMEDIATE PAST PRESIDENT
Susan Cohan,, APLD
Susan Cohan Gardens, LLC
69 Hedges Avenue
Chatham, NJ 07928
(973) 665-9260
ADVOCACY DIRECTOR
Richard Rosiello
Rosiello Designs &
Meadowbrook Gardens
159 Grove Street
New Milford, CT 06776
(860) 488-6507
CERTIFICATION CHAIR
Maryanne Quincy, APLD
Q Gardens
PO Box 2746
Sunnyvale, CA 94087
(408) 739-5493
COMMUNICATIONS
& OUTREACH CHAIR
Vanessa Gardner Nagel,
APLD, NCIDQ
Seasons Garden Design LLC
12517 Northeast 20th Avenue
Vancouver, WA 98686
(360) 546-2746
EDUCATION CHAIR
Ellen Johnston, APLD
ETJ Designs
5543 Wateka Drive
Dallas, TX 75209
(469) 628-3321
GOVERNANCE CHAIR
Eric Gilbey
7150 Riverwood Drive
Columbia, MD 21046
(443) 542-0658
CONNECT
WITH US!
MEMBERSHIP CHAIR
Tina Nyce, FAPLD
Nyce Gardens
20521 NE 34th Place
Sammamish, WA 98074
(425) 533-4292
RESOURCE DIRECTOR
Joe Salemi
DynaSCAPE Software
3426 Harvester Road
Burlington, ON L7N3N1
(800) 710-1900
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The Designer is an official publication and member service of the Association of Professional Landscape
Designers (APLD), 2207 Forest Hills Drive, Harrisburg, PA 17112. Ph: 717-238-9780 Fax: 717-238-9985.
Disclaimer: Mention of commercial products in this publication is solely for information purposes;
endorsement is not intended by APLD. Material does not reflect the opinions or beliefs of APLD.
APLD is not responsible for unsolicited freelance manuscripts and photographs. All printed articles
become the copyright of APLD.
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The only magazine written by designers for designers,
The Designer is looking for talented members like you to
share your stories, teach new techniques, and inspire with
your designs.
calling
all
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All submissions from APLD members are considered, but The Designer
is particularly interested in articles that fit the issue’s editorial theme
or are appropriate for one of the magazine’s recurring features, such as
“Pro Plant Picks,” or regular columns spotlighting technology or business
strategies.
Learn more about the submissions process and view the 2015
editorial calendar here.
Not sure if your story is a good fit? Editor in Chief Susan Morrison is
happy to discuss your idea with you. Reach her at [email protected].
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