Couldn’t resist sharing this wacky invention called The Walking House, which appeared in the New York Times’ House & Home section two days ago.

Apparently, the design of this jet-black structure, which looks like a giant, six-sided building-block with “windows” on each end, was inspired by 18th and 19th century Gypsy carriages.

A Danish art collective called N55 created it during a residency at the Wysing Arts Center in Cambridge, England (The Walking House photo is from this web site).

Envisioned as a “high-tech form of nomadic living,” The Walking House measures 60-square-feet. Inside: a bed, a kitchen, a toilet, a shower, and a wood burning stove.

The computer-controlled legs were created by a M.I.T. engineer. You can watch a little video of The Walking House’s snail-like movements here:

httpv://uk.youtube.com/watch?v=CvxIB83Y0PA

There are some pretty funny comments – hundreds of them, actually – on the YouTube post. I’ll paraphrase three that caught my attention:

What happened to using good, old-fashioned wheels?

What about just walking – you could move a lot faster!

This looks like it was designed for obese people to transport themselves to McDonald’s for a Big Mac

Uh-huh. I dunno, it seems like a lot of work to get this behemoth on six legs to s-l-o-w-l-y meander at the speed of 196 feet per hour.

All I know is that the real Gypsy carriage I visited in Sun Valley this past summer seemed quite a bit more sensible – and it has four old-fashioned wheels.

Inside, there is a full-sized bed, a little cooking area, charming lace curtains, and lots of appeal! Imagine sleeping here, with the canvas roof overhead like a big canopy.

Throw open the door and watch nature’s display; or, perch on the steps with a mug o’ coffee and admire the sunrise. Glorious!

This green-and-red Basque sheep wagon was restored by a craftsman named Cotton Riley (how’s that for authentic?) for Cindy Hamlin, a passionate garden designer and friend of Mary Ann Newcomer’s. I felt very lucky that Cindy shared her hideaway-on-wheels with me!

Cindy’s abode may not be high tech, but it’s got a whole lotta character – and I bet it’s more comfy than The Walking House, too. Vive le difference!

Alerted by my British shed-pal Alex Johnson, of www.shedworking.co.uk,  to news that a village of tree houses had sprung up in Manhattan’s Madison Square Park, I was determined to see the spectacle with my own eyes. While in NYC for a brief 48 hour visit last weekend, I added a stop at this midtown Manhattan public exhibit of sheds-in-trees.

My son, Ben, and I spent 2 days in New York, en route home from a not-so-happy occasion (my mother-in-law’s funeral). The exposure to theater and art was a welcome respite. Last Sunday, before departing to take the train out to JFK Airport, we squeezed in a subway ride on the Downtown R train to 23rd Street & Fifth Avenue.

Emerging from underground into the beautiful autumn weather, we crossed the street and entered a verdant, 6.2-acre patch in the heart of urban hustle. Looking up, built around the trunks and suspended amid branches of six or seven tall shade trees, we spied the underneath sides of the Tree Huts. While quite humble, constructed with an apparent lack of precision from 2-by-4s and nails, each little hut seems perfect in its imperfection. The mere essentials of shelter are provided: roof overhead; floor beneath; walls to protect; window or doorway for access and light. All that is missing is a rope ladder or steps made by pieces of lumber nailed up the tree trunks. I was eager to scramble the heights and enter one of these engaging structures!

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Dare we call it a “Stone Shed”?

Does the idea of hanging moss, dripping water and a dark, quiet enclosure come to mind? Call it a cave, cavern or hollow and you’re getting close to both the ancient and modern-day descriptions of this sheltered stone destination in the cultivated or wild landscape.

If you’re following my ongoing Glossary of Garden Architecture, check out this just-added “definition” of a Grotto.

Here’s how “Seeing the Light,” my story in today’s Los Angeles Times’  HOME section begins:

When Alan Smart was a kid, he discovered an old trunk in an antique store and begged his mother to buy it. She refused (after all, he was 10). So young Alan spent $45 from his allowance to purchase the trunk himself.

“I like old-timey things,” Smart says in his retro Hawaiian-print shirt and board shorts, gesturing to his living room filled with restored antique armchairs and vintage California tile tables.

This is a story that underscores my belief that we can both possess a home and be possessed by it. It’s about how Alan and his partner Michael Uhlenkott transformed a nondescript 1930s Spanish Revival bungalow in an aging Los Angeles neighborhood into a showpiece for decorative arts and their amazing collection of early California pottery, tile, furniture, paintings, figures, and lighting. It’s about how their personalities and preferences are revealed through their choices of color, textiles and artwork.

Alan and Michael are artists of the highest order. If there is a surface to embellish, they will find a way, even if it means spending endless hours standing on ladders to hand-stencil the stucco ceiling with a Moorish pattern or antiquing the walls with layers of glazing, rag-application and dry brush painting techniques.

They design with a respect for the past, an appreciation for craftsmanship and materials, and a lighthearted sense of irony. There is no halfway effort here. Everything relating to a genre, period or style is explored, honed, refined and reinterpreted. There’s such an honesty and authenticity to each decision to adorn and decorate. I love every detail! 

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Our beloved Seattle bungalow, updated from its 1924 origins

My interest in garden design from the American Arts and Crafts era is connected with the affection we have for a 1924 Seattle Craftsman bungalow, which my husband and I bought in 1996.

The one-story house, about 1,100-square-feet in size, was painted light gray. With faded white trim, it was not much to look at, as it had been a rental house for so many years (seen at right). On our first visit, we ignored the sofa on the front porch (below, left) and instead gazed at the breathtaking views of Lake Washington, the Cascade Mountains, Seward Park and Mount Baker.

Thus began our love affair with Craftsman architecture. We wanted to expand the house while also preserving its character. My husband Bruce met Toby Taylor of Caledonia Bay Builders after previously seeing his work and tracking him down through a real estate agent

Toby (seen below, right) and Bruce hit it off immediately, an almost unheard of phenomenon between a builder and a potential client who is also a lawyer. Toby introduced us to Robin Abrahams, a Seattle architect who he described admiringly. We were impressed when Toby told us that Robin was “way cool.”

Miraculously, we went with our “gut” feelings and hired them both (this was highly rare for my lawyer-husband, who typically would have insisted on competitive bids from three candidates). We’d heard all the horror stories. Nearly everyone we knew who had restored, renovated or built a home was unenthusiastic about the process, or about their contractor, or about their architect.

But our little project was blessed. We adored Robin and her colleagues at Abrahams Architects. She is a bundle of creative energy, a thoughtful, very smart, incredibly gifted designer. We also loved Toby’s verve, his hard-working, can-do attitude, and his often amusing ski-bum vocabulary.

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A FURTHER INSTALLMENT OF THE SHED STYLE GLOSSARY. . .

Look far in the distance. What do you see? Is there a destination at the terminus of this path?

In September 2006, after living in Southern California for only three weeks, I had the fortunate experience of joining many of my Seattle friends on a Northwest Horticultural Society tour led by Gillian Mathews. It was an introduction to the awesome plants and landscape beauty of my new environs . . . an inspiring and encouraging few days, spent in the company of kindred (Seattle) spirits who kept telling me how fortunate I was to be living here amidst “paradise.”

One of our stops was to visit Casa del Herrero, a fantastic Spanish Hacienda-style estate, built in the 1920s in nearby Montecito. After touring the magnificent home, completely restored down to the furniture and artwork, we moved on to the garden. At a particular stop on the tour the vantage point shown above appeared. The decorative stucco-and-tile wall, at least 10-feet tall and 18-feet wide, stood nestled at the base of a gently-sloping ravine. Built-in benches on each side face the center.

“Oh, look,” said one of my friends, a landscape designer. “It’s an Exedra!”

A Spanish-inspired Exedra: Standing apart from the dwelling and lying widely open

To learn more about the classic “Exedra” as a landscape design element, visit my glossary, where I’m compiling photos and definitions of unique garden architcture.

Visting Bellingham and the Whatcom Horticultural Society

Bright and early on September 17th, I flew from Burbank, CA to Bellingham, WA (by way of Seattle and a 2-hour layover). I was pretty tired, having only four hours of sleep the night before, so I dozed a bit on the small Horizon Air jet that transported me from Seattle to B’ham in barely 25 minutes.

As the plane began to descend, I perked up and looked out the window to see – oh glory – Puget Sound, and several of its islands including Lummi Island. I was so happy (exhilarated, actually) to gaze upon the gray-blue palette of the water and islands, the scenery dotted witha few boats; the islands populated with cabins and summer cottages. What a “welcome home”!

My friend, Dawn Chaplin, garden designer and nurserywoman (seen with me above, in front of the Whatcom Museum), invited me to speak at the September meeting for the Whatcom Horticultural Society. I have a special place in my heart for this group, thanks to my friendship with the late Stephanie Feeney, who was one of the founding mothers of WHS. Stephanie, creator of the Northwest Gardener”s Resource Directory, originally started her garden touring “reference” (as a few photocopied pages stapled together at the corner), for her use and for her WHS friends. Upon her death in 2000, I inherited the editorship of her book and produced the 9th edition, still in print.

Dawn and her husband David met me at the airport and whisked me off on a whirlwind tour of Bellingham’s fantastic gardens and even a few magical “sheds” and shelters in the garden. In this misty, foggy maritime place on the map, people in Bellingham use color and art in very exciting ways. Here is a travelogue of our garden-filled afternoon:

Our tour kept gathering up friends and bringing them along. In front, from left: Dawn Chaplin, landscape designer Susann Schwiesow, and Laurie Satushek discussing plants in Susann’s glorious front border; In the back, Steve Satushek and David Chaplin.

SATUSHEK GARDEN

The wild and crazy landscape owned by Steve and Laurie Satushek

Photographer Steve Satushek and artist/teacher Laurie Satushek live and garden on about 8 acres overlooking the Nooksack River Delta and Bellingham Bay. They have transformed a nondescript ranch house and unkempt field into a colorful residence and equally brilliant landscape. Every surface of their residence is embellished with mosaics, mirrors, three-dimensional objects, and Steve’s oversize “outdoor” photographs — all rendered in a crayon box-inspired palette.

The informal but exuberant garden makes creative use of cobalt glass wine and water bottles (seen above, at left and below) and Steve’s cleverly-engineered and equally beautiful photography (he combines nature and botanical photographs with several innovative processes for weatherproofing oversize canvases). Together, the gallery-house and gallery-garden lure visitors to explore, observe, and fill their eyes with a surprising interpretation of art infused into every aspect of life.

More blue bottles: Here, they are mounted upside down on rebar posts. Staggered “rows” create a waist-high blue wall that lines the driveway. Citrus-cutouts of dancers add whimsical contrast.

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Irv and Shira Cramer created a backyard destination in an otherwise unused section of their hillside property. They bought and personalized a prefabricated shed-studio from Seattle-based Modern Shed.

[All photographs by William Wright]

There’s a huge media spotlight on prefabricated sheds these days, and much of it is shining on Ryan Grey Smith and Modern Shed of Seattle. While I would prefer to have a bit of those bright rays focus on Shed Style and our book, Stylish Sheds and Elegant Hideaways, I can’t help but be pleased to have media outlets participate in the conversation we began. As more stories rave about Modern Shed’s innovative and affordable design solutions for people in search of stylish space, I think everyone in the shed world will benefit. “The Shed,” an online magazine published by Alex Johnson in the UK, ran my story about Ryan earlier this year, called “Shedquarters.”

One of Ryan’s projects is featured in our book, a chapter called “Rec Room” that profiles a young Los Angeles artist and designer named Lin Su (seen at left, in front of her Modern Shed). But originally, a second Modern Shed structure was also slated for Stylish Sheds. It’s the sad reality that books have space limitations. Ours did, and in the end, that meant we had to cut seven chapters out of the final version of Stylish Sheds. It was P-A-I-N-F-U-L to say the least!

 

So many sheds, so few pages. Now it’s time to share one of those “lost” chapters. It includes the story and photographs of a bright green structure perched on a Berkeley hillside. Designed and built by Modern Shed, the haven is owned and used by a warm, artistic and fascinating couple named Irv and Shira Cramer.

Here’s their story, illustrated by a gallery of Bill Wright’s wonderful photographs:

Hillside Hideaway

A couple descends twenty-five steps to a garden far below their home to enjoy this separate and soulful place for music, books, and conversation. 

Irv Cramer doesn’t take the gift of sanctuary lightly. While some might consider the 13-by-14 foot shed installed at the foot of their garden to be a modest, humble structure, to Irv and his wife Shira, it is an oasis, for both body and mind.

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Okay, this is to be filed under “self promotion 101,” but, after all, what is the point of blogging if I can’t do that?

I am sending a huge bouquet of thanks to Jenny Andrews, Sarah Kinbar and the talented team of editors and designers at GARDEN DESIGN. Earlier this year, they asked me to profile the Venice, Calif., garden of uber-architect Ron Radziner and his wife Robin Cottle.

“Simple Geometry,” my story, appears in the September-October issue of Garden Design. You can see one of photographer Jack Coyier’s gorgeous shots appearing on the cover, depicting the family’s outdoor dining room. There’s lots more to read and see inside, as GD gave us a 10-page spread for the article.

I still haven’t seen the real issue or paged through it, but thanks to my Seattle pal, Stace Crooks, for calling this morning to tell me a copy arrived in her mailbox. I guess I better race out to get my own. I’ll post the entire story on my web site soon.

And another huge thanks goes to Paula Panich, my wonderful friend and writing coach. Paula helped me unsnag some tricky elements of the story, and in the process, made it lighter and more graceful. She is awesome.