The Oaks News
Second-Grade Classes from the Hyde-Addison School Visit the Dumbarton Oaks Gardens
Children gaze at the banks of asters and sunflowers that tower above them. “There’s a bird!” one shouts. “I see bees!” chime others. The eyes of a girl in a red coat follow a monarch butterfly as it floats from bloom to bloom among the crimson and gold chrysanthemums. This late October morning, the Herbaceous Border in the Dumbarton Oaks Gardens has become that most beautiful of spaces: a classroom.
Two classes of twenty-three second-grade students from the Hyde-Addison School, a public elementary school a short walk away from Dumbarton Oaks in Georgetown, visited the gardens three times each in the fall in order to supplement their science curriculum. Accompanied by science teacher Adam Severs, parent chaperones, and members of Dumbarton Oaks’ staff, the young students engaged with the basics of plant biology, approaching questions such as: What is a plant? How are they made? How do they grow?
“We created the program so that the second-graders could see things happening in action,” says Nathalie Miraval, public programming and outreach fellow, who designed and taught the curriculum for the new collaboration. While many students may learn about plant science in the abstract from a textbook, “it’s another thing to actually see roots, to water and plant a seed, to see bees on a flower sucking up nectar. It excites the kids, because it exists first in their mind, but then it’s right there in front of them.” Students come away from visits to the Dumbarton Oaks Gardens with a more tangible and memorable experience of concepts and processes like pollination, photosynthesis, and plant germination.
Garden staff, including horticulturalist Luis Mármol and greenhouse specialist Melissa Brizer, offered demonstrations to the classes during their visits, highlighting interesting examples of plants that related to the lessons for the day. Miraval mentions that these moments are some of the most exciting for students, as when Mármol showed the children an ear of multicolored flint corn to explain pigmentation: “Kids are so used to seeing just a single form of corn that they were blown away! Even I was blown away. That was something that they saw and aren’t going to forget. Those are the special moments, the ‘Oh!’ moments, and I hope they carry that wonder with them as long as they can.”
Dumbarton Oaks’ collaboration with the Hyde-Addison School will continue in the spring, when the second-grade classes return for a second set of three visits around the theme “What do plants do for us?”
James N. Carder (October 2016)
Even after the availability of color photography and, later, the advent of the digital image, a number of artist-photographers have continued to work with black-and-white film stock. They also continue to develop their art in darkrooms, usually employing either the silver gelatin process or the more matte platinum/palladium process. These artists use these media in many cases so that they can better manipulate the image in a printmaking-like manner and create rich tonal effects that range from bright white to velvet black.
Over the years, the archives and House Collection have received black-and-white images that were photographed in the Dumbarton Oaks Gardens. Recently, for example, Julia Cart, a photographer based in Charleston, South Carolina, sent the archives files of garden images that she took in 2002 with a vintage Rolleiflex camera. Ms. Cart works exclusively in film, using antique, large-format cameras. She has said that she is, “above all, a respectful student of natural light.”
In 1999, the artist Tanya Marcuse also photographed in the gardens using black-and-white film. Although she often works in color and in a large-scale format, her Dumbarton Oaks images were created in small scale (approximately 10 by 12 centimeters) using the platinum/palladium process and involving closely cropped and detail imagery. She generously gave prints to the House Collection.
Dumbarton Oaks’ staff photographer, Joe Mills, is also a photography artist who often uses black-and-white photography to create photomontages and collages in a surrealist style. In 1979, he took haunting images in the gardens, and, in 1995, he offered prints of this series to the House Collection.
This month, the Rose Garden bloomed into brilliant shades of red, pink, yellow, and white. See more photos in our garden blog, What’s Blooming at D.O.
The History and Design of the Arbor Terrace
The following is reproduced with permission from: Linda Lott, “The Arbor Terrace at Dumbarton Oaks: History and Design,” Garden History 31, no. 2 (2003): 209–17. Figures 4, 5, 6, 7, and 11 have been replaced, with the following credits: Figures 4, 6, and 11: Brett Davis, July 2016; Figure 5: Dumbarton Oaks Garden Archives, GD P-3-24A; Figure 7: Dumbarton Oaks Garden Archives, GD P-2-13B.
In her Plant Book, written for the future maintenance and preservation of the gardens at Dumbarton Oaks, Washington, DC, Beatrix Farrand (1872–1959) begins the description of ‘The Herb Garden and Wisteria Arbor’ (currently called the Arbor TerraceIn some of the early drawings, the Arbor Terrace is identified as the ‘E’ Terrace.) (Figure 1) by stating that:
This small terrace, with its elegant heartwood tidewater cypress arbor (which was replaced in 1955), has changed considerably in character. It was originally intended as an intimate garden, a ‘giardini segreti’ [sic],The term translates as a secret garden and generally refers to a small, strongly enclosed garden room in fifteenth-century Italian Renaissance gardens that grew out of the medieval tradition of the hortus conclusus. with emphasis on contrast between sunlight and shade, the sound of falling water, the scent of herbs, the movement of wind and birds.Diane Kostial McGuire (ed.), Beatrix Farrand’s Plant Book for Dumbarton Oaks (Washington, DC: Dumbarton Oaks Trustees for Harvard University, 1980), 71.
A discussion of the Arbor Terrace should logically begin with its most dominant feature; the Arbor (Figure 2). Farrand’s text provides an interesting overview (Figures 3–5):
It is not a display garden but, rather, one in which shaded seats can be occupied under the big Wisteria arbor, which was placed in this position in order to minimize the rather overwhelming height of the stone wall which was needed to retain the northeast corner of the Rose Garden. This arbor was modified from a design of Du Cerceau (from his drawing of the garden of the Chateau Montargis). It is planted almost entirely with Wisteria, mainly of the lavender variety but with some few plants of white. The Wisteria Arbor is designed so as to be seen from below, so that the hanging clutches of the ﬂowers will make a fragrant and lovely roof to the arbor. In order to make the high wall less noticeable in its austerity, a wall fountain with an old, French, lead fountain head was designed; and a second niche, also ornamented with lead (which lead ornament needs revision), is placed to the south of the wall fountain, with a simple lead box under the arch in which a book or two might be left. This lead box had not proved practical, as the dampness in this position would ruin any book before many weeks.Ibid., 72. ‘Du Cerceau’ is Jacques Androuet Du Cerceau (c. 1515–85).
In July 1933, Caroline Phillips, a friend of Mildred B. Bliss, owner of Dumbarton Oaks, sent her a note thanking her for a visit to the garden and enclosing three quotations taken from Dante Alighieri’s Purgatorio (begun c. 1307). She wrote:
I have found three little extracts from Dante’s Earthly Paradise at the end of the Purgatorio, which I think fit into your garden. There might one day be a stone or block of wood to carry them on, if you want some words of the Divine Poet in your wood.The letter (dated 9 July 1933) is part of the Farrand-Bliss Correspondence at Dumbarton Oaks. The lines from the letter appear on pp. 2–3. Next to the canto selected is written: ‘For all of Dumbarton Oaks’.
Bliss adopted only one of Phillips’ suggested quotations, lines 139–41 from Purgatorio, canto XXVIII: ‘Quelli chanticamente poetaro leta dell oro/ & suo stato felice forse in parnaso esto loco sognaro’, which was translated by Phillips as ‘Those who in olden times, sang of the Golden Age, and its happy state, perchance dreamed in Parnassus of this place’.The capitalization and spelling are as they appear in the quote on the Arbor Terrace. This phrase, along with the lead book box and lotus flowers, originally adorned the second niche of the Arbor Terrace, but the quotation has since been relocated to the low wall on the left inside the Arbor (Figure 6) and the other ornament removed, leaving a blank arch of masonry. Beneath the quotation appears the phrase ‘codice caetani’, indicating the edition from which it was taken, and the words ‘all amigo Gelasio’, an allusion to the Bliss’s friendship with Gelasio Caetani.
Caetani served as Italian Ambassador to the United States from 1920 to 1925 and owned Ninfa, in Lazio, among the loveliest gardens in Italy. Like his grandfather, Michelangelo Caetani, Gelasio was a Dante scholar, and, in 1930, he published a limited edition of three hundred copies of the Codex Caetani,The Dumbarton Oaks Library owns number 27. his family’s manuscript copy of the Divine Commedia.Don Gelasio Caetani (ed.), Comedia Dantis Aligherii Florentini (Sancasciano, Val de Pesa, 1930). The manuscript itself is written on parchment in a calligraphic hand of the late fourteenth or very early fifteenth century. Georgina Masson reported that Caetani transcribed for Bliss the quotation that so aptly described the beauties of his own garden at Ninfa and those of Dumbarton Oaks.Georgina Masson, Dumbarton Oaks: A Guide to the Gardens (Washington, DC: Trustees for Harvard University, 1968), 24. The appropriateness of the quotation is underscored when viewed in the context of the entire canto.
After passing through Hell, Dante had to climb the seven terraces of Mount Purgatory on his way to Heaven, the summit of the mountain, on which lay the Earthly Paradise or Garden of Eden. It is here where Dante, abandoned by Virgil, encountered Matilda,Robert M. Durling (ed.), The Divine Comedy of Dante Alighieri (Oxford: Oxford University Press, 2003), 484. Matilda can be seen to embody the innocent happiness of Eden: she is a sort of wood nymph or protective spirit of the place. For further information concerning the question of her identity, see A. Bartlett Giamatti, Earthly Paradise and the Renaissance Epic (Princeton: Princeton University Press, 1966), 107–8. who told him, ‘Here the root of Humanity is innocent: here is everlasting Spring, and every fruit: this is the nectar of which they all speak’.Dante, Purgatorio, canto XXVIII. Certainly, the Arbor Terrace, with its fountain, arbour, ﬂowers and location, evokes the Earthly Paradise of which Matilda spoke. Just as Dante encountered a garden before his final ascent into Heaven, so a visitor to the Arbor Terrace discovers an Earthly Paradise.‘The Divine Comedy takes place in a structured, concentric universe through which Dante and his guides move so that he might learn the results of evil and the meaning of Divine Love. The setting of the poem is a constantly varying landscape, which changes with the state of the author’s soul and the condition of those whom he observes. In order to understand the joys of Paradise he must descend to the depths of Hell’; Margaretta J. Darnall and Mark S. Weil, ‘Il Sacro Bosco di Bomarzo. Its 16th-century literary and antiquarian context’, Journal of Garden History, IV (1984), 1–94 (p. 6). While Darnall and Weil are writing about Bomarzo, their text can also be applied to the Arbor Terrace.
At this point, it is instructive to examine some of the drawings created for the Arbor Terrace from the mid-1930s. Possibly the theme of Mount Parnassus, mentioned in the quotation, was expanded upon and iconography representing Apollo was at one time to be subtly incorporated into the design scheme of the terrace. Mount Parnassus was sacred to both Apollo, god of archery, prophecy, music and healing, and to the Muses. One early drawing for the fountain depicts the head of a satyr and may have alluded to the story of Apollo and the satyr Marsyas, who challenged Apollo to a musical contest, lost and in defeat was ﬂayed alive. Originally planned as a herb garden, the Arbor Terrace evolved into a pot garden and at present incorporates sweeping scrolls in the pavement design, but an early rendering shows the image of a flute lying diagonally over a lyre, partially framed with a spray of flowers (Figure 7). The iconography of both the flute and the lyre could refer to the fact that Apollo was the god of music, the flute also referring to his association with Marsyas. Furthermore, one of the designs for the Arbor Terrace has several wrought-iron gate finials with arrows incorporated into the design, possibly iconography associated with Apollo’s role as the god of archery. (The possibility also exists that the theme of Apollo might have been considered as a separate design scheme before the quotation from Dante had been selected. It may then have been decided to use personal rather than public language in the final design.)
The fountain head selected for the final design of the Arbor Terrace has been identified, along with two others, as a river god (Figure 8).All three heads were purchased in May 1947 from Frances W. Huard (antiquarian), Versailles, France; Dumbarton Oaks House Collection Files. Barbara Israel, however, provides a different theory supporting the identification of the head as a river god:
Although the mask does not strictly conform to traditional images of Poseidon, or Neptune, the cattails, which are echoed at the base of the wall fountain, suggest rivers and wetlands, which fell within the sea god’s kingdom. The rays of sunlight, however, may allude to Apollo, the Greek god of music, song, and light, indicating instead a modern representation of that mythological deity.Barbara Israel, Antique Garden Ornament: Two Centuries of American Taste (New York: Harry N. Abrams, 1999), 130.
The current fountain, occupying the wall of the right arch, went through a number of revisions before the final design was selected: the head of a mythological god, perhaps a river god or Apollo, surrounded by sheaves of wheat, an element from the Bliss family coat of arms (Figure 9).Sheaves of wheat are also to be found on numerous gates at Dumbarton Oaks: in the design of the Pebble Garden and in the bench in the Rose Garden. While the lotus ﬂowers placed either side of the book box have no connection with Apollo, their selection for the arch on the Arbor Terrace might be a reference to mythology and the story of Odysseus in the country of the lotus-eaters.In Homer’s Odyssey, Odysseus and his crew encountered the country of the lotus-eaters while journeying home to Ithaca. Odysseus sent three men to find out who inhabited the island. They were entertained by the Lotus-eaters, were given some of the food of the lotus plant and, as a result, lost all desire to return home. The dream-like state induced by the lotus plant may have provided the inspiration to use lotus ﬂowers in the arch and might refer to the phrase in Dante’s quotation on the Golden Age: ‘perchance dreamed in Parnassus of this place’.
Could these drawings and ornaments have been part of a conscious programme for the design of the Arbor Terrace, employing subtle references to Apollo and to mythological elements in the Odyssey? While there is no documentation to support this hypothesis and no references made to Apollo in the correspondence between Farrand and Bliss, the allusions evoked by the images mentioned are difficult to ignore. The only other mythological references currently found in the gardens appear in the Star Garden and the mosaics in the Swimming Pool Loggia, which depict the story of Diana and Actaeon.A watercolour by Allyn Cox (1896–1982) of Diana and Acteon has written in pencil in the lower right-hand corner: ‘first sketch for a loggia decoration, Allyn Cox, 1927’.
As Farrand indicated in her Plant Book, the original design for the Arbor Terrace grew out of an Italian garden tradition, the giardini segreti. While it is not possible to discuss the tradition of Italian gardening and Humanism within the scope of this note, it is instructive to look brieﬂy at one text that was widely read in the fourteenth and fifteenth centuries. Pietro de’ Crescenzi’s thirteenth-century Latin treatise on agriculture, Liber ruralium commodorum,De’ Crescenzi drew on the writings of ancient Romans such as Cato, Columella, Varro and Palladius, as well as on his own experience as a country landowner. His work began its wide circulation in manuscript form in 1305, and was one of the earliest printed books in Europe: in Latin in 1471, in Italian in 1478, in French in 1486 and German in 1493. described the construction and design of gardens from the 1300s to the Renaissance. Book VIII, Chapter 3, focuses on pleasure gardens and is divided into three classes: those of poor men, those of modest means, and those of wealthy nobles and kings. The following passage has particular relevance to the design of the Arbor Terrace:
Each of these [gardens] should be adorned with sweet-scented flowers, arbours of clipped trees, grassy lawns, and if possible, a sparkling fountain to lend joy and brightness to the scene. A pergola of vines will afford shade in the noonday heats, but in small gardens it is well to plant no trees on the lawn, and to leave the grass exposed to the pure airs and sunshine.Quotation in Julia Cartwright, Italian Gardens of the Renaissance and Other Studies (New York: Charles Scribner’s Sons, 1914), 2–3. The translations are also given by Robert G. Calkin, ‘Pietro de’ Crescenzi and the medieval garden’, in Elisabeth B. MacDougall (ed.), Medieval Gardens (Washington, DC: Dumbarton Oaks Colloquium on the History of Landscape Architecture, 1983), 155–73; and Frank Crisp, Medieval Gardens: ‘ﬂowery medes’ and Other Arrangements of Herbs, Flowers, and Shrubs Grown in the Middle Ages, with Some Account of Tudor, Elizabethan, and Stuart Gardens (London: John Lane, 1924), 15–19.
While the text itself might not have been a direct inﬂuence, it can be seen that elements listed in de’ Crescenzi’s text, and depicted in a later variant edition at Dumbarton Oaks (Figure 10)Pietro de’ Crescenzi, II libro della agricultura(Venice: Matteo Capasca di Codeca, 1495).
In the preamble to Bliss’s will, a passage again echoes the Humanist theme found in Farrand’s Plant Book:
Those responsible for scholarship at Dumbarton Oaks should remember that gardens have their place in the Humanist order of life; and that trees are noble elements to be protected by successive generations and are not to be neglected or lightly destroyed . . . the serenity of open spaces and ancient trees . . . are as integral a part of Humanism at Dumbarton Oaks as are the Library and the Collections.Preamble to the will of Mildred B. Bliss, 31 August 1966.
The sentiment also appears, in modified form, on the plaque that ﬂanks the right-hand side of the Museum entrance on 32nd Street, which also functions as a portion of the outside wall of the Rare Book Room of the Garden Library (designed and constructed to house Bliss’s collection of rare materials). At the top of the plaque is the phrase Quiescit Anima Libris (The spirit finds rest in books). This phrase is taken from the inlaid inscription on the sixteenth-century Italian bookcase cabinet in the Music Room and also recalls the lead book box originally housed in the Arbor Terrace. It is possible to View these as unifying, integral elements at Dumbarton Oaks, connected in part by their form and function, but also united by Humanist ideals. The concept of unity can be taken a step further with other design elements, such as the oak leaves and acorns on the wrought-iron railings in the main portion of the house (Figure 11) that help to bring nature indoors.
The current design of the Arbor Terrace is a distant echo of its former past as the terrace and its arbour wall have suffered over time, principally because of its location. As Farrand stated, it functions as a retaining wall for the Rose Garden, and in the past, the task of watering so many bushes was accomplished by flooding the entire Rose Garden. Over time, the ﬂow of water and chemicals through the weep holes have clogged them and created an inhospitable environment for both the masonry and the original lead ornaments, causing them to deteriorate.In conversations the author has had with Gail Griffin, Superintendent of Gardens and Grounds at Dumbarton Oaks, the problems of conservation and preservation that exist on the Arbor Terrace have been discussed. The lead book box, as Farrand had predicted, was not practical for the setting and was eventually removed from the wall, along with the lotus ﬂowers. There are several letters from Ruth Havey (1899–1980), an employee at Farrand’s office from the summer and fall of 1949, that included information about renovation work on the Arbor Terrace. Another note from Havey dated 1954 stated: ‘handle of lead cabinet is missing. Replace or cover the hole with a small plaque of lead’. Havey’s sketches presented alternative solutions to the problem of the walls, described in her text as ‘Sketch—two panels in arbour wall without lead lotus and bulrushes—leave waves’. None of Havey’s suggestions for the arches has ever been implemented. The paradigm for the garden that Mildred B. Bliss, Beatrix Farrand and Ruth Havey envisioned might exist in the early drawings and correspondence. The gardens as a whole, as well as individual areas, warrant closer study and examination.
A Reading of Tom Stoppard’s “Arcadia” in the Gardens
On Monday, June 13, the Dumbarton Oaks Gardens became a main stage as actors from the D.C. area offered a stunning and lively reading of Tom Stoppard’s 1993 play Arcadia.
The gardens, last used as a performance space during a 2010 production put on by the Byzantine Studies department, were an ideal setting for Arcadia. The play, a tragicomedy that explores modern ideas in the context of the past, is centered around an English estate. One plot line tells the story of its nineteenth-century inhabitants, focusing on a young girl’s relationship with her tutor and with her family. The present, a twentieth-century storyline, acts as a foil for the earlier plot, tracing concerns of contemporary academia, including poetry, science, mathematics, and philosophy, back to these characters. It is a work that resonates with arts admirers and science enthusiasts alike, perfect for bringing together communities with a wide variety of academic interests.
The idea of staging the play in the gardens came from a discussion between Tyler fellow John Davis and Emily Townley, a local actress who would become the producer—and one of the stars—of Arcadia in the gardens. Townley and Davis spent two months putting together the reading.
“They call it a reading that is ‘lightly staged,’” Davis said. “They were reading from scripts, but there was a director who gave them direction on where to stand, when to enter, to actually make it more dynamic.”
The dynamism of the performance extended to the setting, as Arcadia’s main stage separated itself into the Fountain Terrace, the Lovers’ Lane Pool, and the Orangery. The actors and audience moved from space to space as the production progressed. Davis and Townley, seeking to emulate the play’s original English country estate backdrop, chose these parts of the gardens strategically. Townley opened the play on the Fountain Terrace, utilizing its balconies and staircases to introduce the characters. From there, the scene transitioned into the Lovers’ Lane Pool. The amphitheater layout of the pool, which had been drained for cleaning, served its purpose as an area designed for entertainment. As the sun went down, the play moved to the well-lit Orangery for its final scenes.
At the play’s end, “the enclosed nature of the Orangery provided a level of intimacy that was especially appropriate for the changes in narrative and tone,” noted Kaja Tally-Schumacher, a student attending the Garden and Landscape Studies summer school. “The transition from very open spaces to such an intimate and small space really heightened emotion and the sense of community between the audience members and the actors.”
For Tally-Schumacher and other summer school students, the play evoked the themes they have explored in the two-week course, such as the origins and cultural practices of gardens and design landscaping. “The history of gardens is integral to the setting and plot of the play,” added Thalia Allington-Wood.
Similarly, Davis mentioned the inclusion of theories about order and chaos in nature that are studied by the students and elaborated on in Arcadia, specifically through the effects of staging. The temporality between acts, coupled with the unchanging nature of the play’s props and setup, also related to discussions on the memory of place and the passage of time within gardens. However, many noted that one of the greatest consequences of staging the play in the gardens was the intimacy experienced by the audience in such a setting.
“I was very happy that that’s the way it turned out,” he said. “Just because we were that close and just because there wasn’t the separation between a stage and an area for an audience, I think it became intimate . . . just by the way that it was done. And it was good in that way. I hadn’t planned it but it worked out very, very well.”
Dumbarton Oaks in the News
In the Washington Post, Michael Dirda calls Prince Hermann von Pückler-Muskau’s Letters of a Dead Man, recently published by Dumbarton Oaks as part of its ex horto series, a “classic of travel literature,” comparing the prince’s account of his time in Britain to Stendhal’s writings on Italy. “This richly illustrated edition of the Letters of a Dead Man is one of those books that bring an era to life,” Dirda writes. “En route to England, Pückler visits the aged Goethe in Weimar; in London, he dines with the great financier Nathan Rothschild; later, he flirts with the Duchess of St. Albans, a foundling raised by gypsies who slept her way to the top.” You can purchase Letters of a Dead Man on the Harvard University Press website.
The Washington Post’s Adrian Higgins meditates on the role of designed landscapes in academic life, including a mention of Dumbarton Oaks and a few words from John Beardsley, director of Garden and Landscape Studies: “Harvard University’s research center at Washington’s Dumbarton Oaks provides the sweetest blend of landscape and academia, even if the Georgetown garden started life as a private paradise.”
In another piece, Higgins features an installation on the Arbor Terrace that recreates a sixteenth-century physic garden in Padua. He also explores Dumbarton Oaks’ links to the Paduan model through Beatrix Farrand and the Rare Book Collection.
Urban Landscape Outreach Launch
The Mellon Initiative in Urban Landscape Studies is located on the tree-filled grounds of the historic gardens at Dumbarton Oaks. But its mission, as its name suggests, is to extend landscape studies into the city. In April and May, the program did this literally, launching its outreach program for students from underserved schools in Washington, D.C. Over a hundred students were given tours of the new LEED-certified Fellowship House, the recently designed pollinator garden by the Garden Court, and the historic gardens themselves.
The first of these workshops, titled “Biodiversity from Garden to City,” built upon the landscape and architecture curriculum at Phelps Architecture, Construction and Engineering High School, located in northeast Washington, D.C. Students toured the Dumbarton Oaks Gardens, paying particular attention to landscape design, topography, and water management, and met with Luís Mármol, gardener and horticulturalist. They were shown different types of plant beds—from the highly aesthetic Rose Garden to the more functional Kitchen Garden—and the Wilderness, an area located in the South Lawn, just before R Street, that serves to absorb water as well as to provide a contrast with more formal areas. Tyler fellow Deirdre Moore, who designed the new pollinator garden, discussed issues of water management as well as the connection between certain plants and the insects they attract. The field trip ended with a pop-up exhibit of Moore’s drawings and maps of the pollinator garden in the Lower Refectory, where students were given the opportunity to ask questions about the design process.
In May, we expanded outreach initiatives to include elementary school students through the D.C. Arts and Humanities Education Collaborative, a group that organizes field trips for public and public charter schools across the District. The “Tree Notebooks” workshop, given to fourth, seventh, and eighth graders from Achievement Prep in southeast Washington, D.C., introduced the basics of tree identification and emphasized the importance of trees in urban sustainability and well-being. Students were first asked to identify the uses of trees, ranging from wood and food to spiritual renewal in some cultures. Then they sketched particular trees in the garden—an exercise aimed at reinforcing some of the elements of tree identification as well as landscape design. Another workshop, “City of Trees,” was given to sixth graders from McKinley Middle School. Using the grounds of Dumbarton Oaks, students were shown various ways in which ecological issues enter the city, from gardens like the ones at Dumbarton Oaks to water management and biodiversity at the pollinator garden and LEED certification at the Fellowship House. Throughout the tour, students also paid particular attention the gardens’ topography and various strategies for controlling the flow of water from garden to park.
The National Building Museum’s Teen Council, a part of the museum’s Design Apprenticeship Program, came to Dumbarton Oaks in mid-May to explore design features, hydrology, and historical topography in the gardens and Dumbarton Oaks Park in a workshop called “Private Garden, Public Park.” As those familiar with Beatrix Farrand’s work know, the gardens and Dumbarton Oaks Park used to be connected, giving the visitor the experience of going from a manicured garden to a more “wild”—but just as designed—space. The more feral parts, which lay at the bottom of the hill by the creek, were given to the National Park Service in 1940, the same year that the gardens and museum collections were transferred to Harvard University. After an extensive tour of the gardens, students walked through the gate at the base of the Forsythia Dell to Dumbarton Oaks Park. They saw remnants from the pre-1940 era, including the stone bridge, dams along the creek, and stone benches along the path, and then imagined new transitions from garden to park.
Outreach is just one aspect of the Mellon grant, which was awarded by the Andrew W. Mellon Foundation's “Architecture, Urbanism, and the Humanities” initiative and runs through 2018. The program also provides fellowships for scholars working on urban landscape issues all over the world and organizes a variety of events aimed at encouraging interdisciplinary dialogue. The outreach component of the grant, however, is unique. It provides an opportunity to foster new collaborations between Dumbarton Oaks and outside organizations, such as the National Building Museum, and to rethink the gardens as the basis for a series of workshops on landscape and planting design, urban sustainability, and biodiversity in cities. In addition, preparing for these events drew together people inside Dumbarton Oaks, from the gardens staff and Garden and Landscape Studies program to the Director’s Office.
The Mellon Initiative in Urban Landscape Studies is excited to build on these workshops with more events next year with these and additional institutions. Extending scholarly research in urban landscape studies to students in secondary education occupies an important position in Dumbarton Oaks’ overall mission to support the humanities and serve the wider public and to find ways for local schools to use the gardens and museum as an educational resource. Dumbarton Oaks might have some very old relics in its possession but they are being looked at through younger and younger eyes.
Dumbarton Oaks’ gardens were the subject of conversation on a recent edition of the Kojo Nnamdi radio show, “Shaping the City: Washington's Landscapes.” Kojo and guests, Architect and University of Maryland professor Roger Lewis and Landscape Architect Michael Vergason, discussed how landscapes shape the identity of Washington, DC. Listen to the discussion on Kojo’s website.
The Image Collections and Fieldwork Archives (ICFA) hold unique footage of the Dumbarton Oaks Gardens. While most of the footage dates to the 1930s and 1940s, some scenes may have been recorded as early as the mid-1920s. Shot in both black and white and in color, the film contains garden views, winter scenes, and summer scenes at the pool, as well as glimpses of Mildred Barnes Bliss and her friends at the Orangery and in the gardens.
The Dumbarton Oaks Gardens film was re-discovered in early 2011 when ICFA staff learned that three film reels in cold storage contained footage of the Dumbarton Oaks Gardens. Films were sent to Colorlab for preservation and digitization in October of 2011, and the project was completed in March of 2012. Currently, all of the original films are safely stored in one of the freezers in ICFA’s cold storage area.
As part of the DO/Conversations series, on July 20, 2012 Archives Specialist Rona Razon described the “re-discovery” of the Dumbarton Oaks Gardens film and the process of preserving it. Rona’s introduction was followed by a screening of the film with live commentary by James Carder, Archivist and House Collection Manager, and Gail Griffin, Director of Gardens and Grounds.
Contemporary art installation by Cao | Perrot Studio
Dumbarton Oaks announces the creation of Cloud Terrace, a new contemporary art installation in the Dumbarton Oaks Gardens by artists Andy Cao and Xavier Perrot of Cao | Perrot Studio, Los Angeles and Paris, in collaboration with J.P. Paull of Bodega Architecture.
Cloud Terrace takes the form of a hand-sculpted wire mesh cloud suspended over the Arbor Terrace and embellished with 10,000 Swarovski elements water-drop crystals mirrored in a reflecting pool.
The Arbor Terrace is one of the most modified spaces in the Dumbarton Oaks Gardens. Originally designed by Beatrix Farrand in the early 1930s as a simple rectangular herb garden, bordered on the west by a wisteria-covered arbor and on the east and north by a hedge of Kieffer pears, it was refashioned by Farrand’s former associate Ruth Havey in the 1950s as a pot garden centered on a Rococo-style parterre with low, Doria stone parapet walls. The space can be hot and bright; Cao | Perrot’s installation is a response to these conditions, extending the shade of the arbor across the terrace and animating the space inside the parterre with an oval pool surrounded by bluestone pebbles.
Cao | Perrot studio have a stunning list of projects to their credit, including temporary site-specific installations at the American Academy in Rome, the Potager du Roi, Versailles, the Tuileries, Paris, the Medici Fountain in the Luxembourg Gardens, and many of the world’s leading garden festivals. Cao | Perrot studio are also responsible for the winning design of the 600-acre Guangming New Town Central Park in Shenzhen, China, a collaboration with Lee + Mundwiler Architects, which received an AIA 2009 National Honor Award for Urban Design. For more information on the artists, please visit www.caoperrotstudio.com.
The installation was organized by John Beardsley, Director of Garden and Landscape Studies at Dumbarton Oaks, and Gail Griffin, Director of Gardens, with the particular assistance of staff members Jane Padelford and Walter Howell. It is the third in a series of contemporary art installations at Dumbarton Oaks, following projects by Charles Simonds in 2009 and Patrick Dougherty in 2010. The series is intended to provide fresh interpretations and experiences of the Gardens and art collections of Dumbarton Oaks. The project was built with the assistance of twenty-six volunteers and supported by Swarovski Elements, who provided the crystals used for the installation.