A long time ago… precisely 48 years ago… with a degree in philosophy / art history from Barnard and landscape architecture from U.C. Berkeley, Topher Delaney, dug in + dug up + dug around… creating + constructing site specific installations commonly referred to as gardens of three dimensional fine art / horticulture and literature.
In scope and scale, their broad range of installations serve as dynamic physical evidence of a visual + spiritual + cultural literacy integrating wonderful exemplars of horticulture and transformative cyclic aspects of nature with distinctive specific cultural linguistic narratives. The text of the terrain is realized in the structure of these narratives, crafted by technical skill and quality materials to create a sanctuary grounded in space and time.
The privilege of success afforded by supportive communities sponsoring both private and public commissions has allowed Topher Delaney with her able business partner Calvin Chin to establish the Virgie Giles Foundation, a (c)3 for benefit of service.
Virgie Giles Foundation focuses on developing tangible policies of benefit in three specific areas of service.
Program A4AAA: Advocacy for Artists and A
Topher Delaney and the San Francisco Botanical Garden Society
Landscape architect Topher Delaney collaborated with the San Francisco Botanical Garden Society to create “Arcimboldo’s Edible Garden,” a demonstration garden that was meant to engage visitors in conversations about global food sources and sustainable gardening. It was installed in the San Francisco’s Botanical Garden’s Edible Garden and meant to be on view for approximately 10 months.
Delaney took inspiration from the work of Giuseppe Arcimboldo (), an Italian painter best known for imaginative portrait heads formed from realistic depictions of fruits, vegetables, flowers, and other objects. Her installation featured distinctive assemblages of planting boxes of different shapes and sizes, made of different repurposed materials. Each assemblage contained plant species from a different part of the world.
The project collaborators planned to feature two tables – one of which was milled from a large Torrey Pine that fell in the botanical garden during winter storms. The second was to feature imagery depicting maps of the Old and New Worlds, with colorful forms of fruits and vegetables placed in the manner of an Arcim
The exotic and mysterious appeal of Moroccan style — with its vibrant colors and ebullient tendency to always go for the max — has taken hold everywhere these days, from fashion and interior décor to the gardens we design. It has certainly been front of my mind ever since a visit to Morocco late in with the San Francisco-based landscape architect, Topher Delaney — see the article in Garden Design's March issue. Moroccan style also has been on the mind of Michele Swanson, the designer of the GardenDesignLive! show garden at the San Francisco Flower and Garden show — our garden called Moroccan Modern won the People's Choice award.
Here are some tips on how to make Moroccan style happen around your own garden:
- Water is as essential to the Moroccan courtyard garden as it is the oasis. To begin the design of anything Moroccan-style, start with a water feature.
- The typical courtyard garden consists of a fountain springing from the center of a carpet of stone or hand-cut glazed ceramic Zillij tiles, encircled by walls or hedges. A vital decorative element in the history of Islamic art and architecture, tiles should be placed
These are the last of the photos I took at the gardens at CornerStone Sonoma. Looking through this second batch it seems that the gardens below rely heavily on hardscape details and less on plants. None of them are gardens without plants, but the green stuff definitely plays second fiddle to the more engineered parts of the gardens.
Yoji Sasaki&#;s The Garden of Visceral Serenity features this terrific walkway: a central, solid strip that alternates with horizontal stripes of varying widths.
Topher Delaney has this striking installation made up of a very short menu of elements: a blue-and-dark-gray striped wall, birches, three balls made of rope, white shade cloth surrounding the space, a bordering hedge and white crushed stone beneath your feet.
The color palette is reduced down to white, gray, black, green and the insistent blue of the backdrop and&#;today, anyway&#;the sky.
Most people plant birches because the trees have striking white trunks. But with the ground and walls being white, the birch trunks almost disappear, leaving a sense of green sheltering foliage floating overhead.
At mid-morning, the shadows of the trees draw striking forms underfoot
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