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BY JONATHAN LERNER / PHOTOGRAPHY BY JIM WESTPHALEN

Wagner Hodgson’s assignment for a lakeside estate in Vermont required subtle deletions, essential corrections, and thematic consistency.

FROM THE FEBRUARY 2020 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

The property is a stubby peninsula jutting west into Lake Champlain. The lake is nearly two miles wide here. Beyond it, in New York, the tiered peaks of the Adirondacks appear flattened and monochromatic, blurring as they recede into the distance. Given the setting, the place seems even more expansive than its 140 acres. But the grandeur is counterbalanced by the land’s gentleness—it has the unassertive quality characteristic of Vermont’s culture, if not of the state’s more typical mountainous terrain. From a country road, you turn onto a half-mile-long drive. The approach runs between meadows, where sheep from an adjacent farm are grazed, before entering a wood and then curving toward the house. From here, 30 feet below through the filter of trees, the lake gleams slate blue.

Bays scoop out the north and south shores of the peninsula, shaping it like an anvil; the west shore runs for 2,000-plus feet along the lake proper. The main house sits in neat, tree-dotted lawns near the anvil’s southern point. It’s grand in scale, and traditional though restrained in style. There’s a pool and pool house, and a carriage house that doubles as entertaining space. Both are well spaced from the house and each other and visually buffered, at least in summer, by planting areas: There’s a curve of river birches undergirded by Limelight hydrangea (Hydrangea paniculata ‘Limelight’), Astilbe, and a mix of sage and grass varieties, and separately, a little grid of honey locusts. Farther away, past an intervening sweep of woods, a guesthouse overlooks the south bay. A quarter mile from that, above the north bay, sits a smaller second guesthouse. Near that structure, but also shielded by trees, there’s a reconstructed antique barn. Aside from a short steep drop down to the lake all around, the land has only soft contours. As a whole, of course, this estate is plenty splendid. But its buildings are scattered, and unostentatious. Sight lines are veiled by the skeins of trees. There is no hill to provide a commanding view of the place all at once. When you’re there, it feels understated and quiet.

The Burlington, Vermont, firm Wagner Hodgson was hired in 2014 to create a coherent master plan that would transform the abandoned farm property into a working estate. That required addressing woodland management, shoreline protection, field restoration for sheep husbandry, management of agricultural runoff, siting of outbuildings, and establishment of outdoor living spaces for the client family. The property had been neglected. Some fields had been in agricultural use, but wooded areas including the lakefront bluffs had become overgrown and thick with invasives. “Before, all the way up to the house, you couldn’t even tell there was a lake here,” says H. Keith Wagner, FASLA, who was the principal in charge on the project. “You couldn’t see the house either,” until you’d come right up to it. A big part of the job came down to editing. Wagner says, “It wasn’t only what you added; it was what you subtracted.” Thinning of trees along the bluff now allows views to the water as you get close. And selective removal neatly “opened up a shot,” as Wagner puts it, between remaining trees, to provide a 400-foot head-on prospect from the curve of the driveway right to the front of the house. You glimpse the building for a moment—it’s a stately one, well served by that long view—before passing back among trees that intermittently screen it, and finally arriving at the door.

Editing, of course, involves not only deletion but also elaboration and punctuation. (more…)

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BY TIMOTHY A. SCHULER / PHOTOGRAPHY BY KEVIN SCOTT

In dry western Washington, a fruit company compound by Berger Partnership all but vanishes in a shroud of native plantings.

FROM THE AUGUST 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

The shift takes place just past Cle Elum. Driving the 140 miles from Seattle to Yakima, Washington, crossing the Cascade Range at Snoqualmie Pass, the landscape seems to dissolve in the span of a few minutes. The ponderosa pine forest gives way to high desert so quickly it’s as if the towering trees had been shrunk by a laser, transfigured into gnarly sagebrush. Dotting eastern Washington’s arid, gray-brown shrub steppe are green pastures, fields, orchards, and farms. The Yakima Valley is one of the most productive regions in Washington, thanks to a massive irrigation project undertaken around the turn of the 20th century. Farmers here grow apples, peaches, pears, cherries, and plums, as well as grapes for wine and hops for beer. The Yakima Valley produces more hops than anywhere else in the United States and more than two-thirds of Washington’s wine grapes, an industry worth nearly $5 billion.

And yet the sparsely vegetated ridges reveal the climatological truth of this place: that under normal conditions, the Cascades are a good enough goalie to prevent all but a fraction of western Washington’s wetness from slipping past them, and the presence of even the smallest amount of water is broadcast in bright pops of color. The draws and gullies appear as gashes of green, yellow, pink, and white, as if someone took a landscape painting, folded it in two, and stuffed the canvas into a crevice.

I take in the view from the cab of a 2016 Toyota Tacoma hurtling eastward on Interstate 90. Jason Henry, ASLA, a principal at the Seattle-based Berger Partnership, is driving. We’re on our way to Yakima, a sprawled-out town of roughly 100,000 people, where Berger Partnership recently completed the landscape for the headquarters of the Washington Fruit & Produce Company, a family-owned grower founded in 1916. Although Henry has lived in Seattle since 1996, the landscape architect has a deep connection to the Yakima Valley. His mother was born in Selah, just north of Yakima, and as a child, he spent summers at his aunt and uncle’s ranch outside the city, exploring and fishing and occasionally helping out in the family orchards. He still has cousins in the fruit industry. (more…)

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