I was listening to Yann Martel (the Canadian author of ‘Life of Pi’) on the radio yesterday speaking about his project ‘What is Stephen Harper Reading’. Over a four year period form 2007-2011 he sent a book every two weeks with a written recommendation to the Canadian Prime Minister, Stephen Harper. This started because Martel had heard that Harper had stopped reading fiction as he felt it was not relevant to daily life. Martel’s opening line was “I know you’re very busy, Mr. Harper. We’re all busy. But every person has a space next to where they sleep, whether a patch of pavement or a fine bedside table. In that space, at night, a book can glow…” Martel went on to say that he felt it important that leaders should be able to dream. If they are leading us into the unknown, they need to be able to dream a future, to be visionary. He could see no better way of strengthening this than by either reading fiction, or travelling.
Surely much the same is true of garden design? We are constantly dealing with abstract ideas and unrealised futures, the more so as uniquely in design, landscapes change hugely with time. Our ideas are elusive and the best ones often come to us from unexpected sources or at surprising times (read my earlier blog post ‘Where do ideas come from?’). Many of the core ideas for schemes I have worked on have come to me seemingly out of nowhere. Sometimes they arrive like a thunderbolt, leaving me wondering why I hadn’t thought about it before. Once you have had an idea like that, you can’t ‘unthink’ it. On other occasions great ideas just sort of sidle up to me. There I am playing around with a felt pen and paper, and it seems to kind of emerge, to seep out of the end of my pen in a quiet sort of way, like a flower opening from a tight unpromising bud. And, just like a flower from a bud, you can’t pack it up and put it back in again. I love that moment when the idea starts to take shape (literally sometimes). It really is the most magical part of the process and I get the same buzz from it now as I did when I designed my first project.
This process of disconnection from reality, this ability to dream is at the core of what we do. If we were entirely rooted in reality, our designs would be very mundane. Imagine visiting a client and trying to describe how you have reached the point you have, but doing it without visual language, without atmospheric terms. Difficult isn’t it? Our ability to verbally flesh a scheme out is what makes it ‘fly’. I always like to present a scheme in person to a client and these days I insist on it. In the past, occasionally this has not been possible, either because diaries did not allow, or because someone else wanted to control access to the client. It is always a disaster for a third party to present your design because they don’t know the story – designs are all about the stories we tell ourselves and others.
This week I’m going on holiday and I will fulfil both of Yann Martel’s conditions – travel (to Cuba) and reading – I always read loads when I am on holiday, and 80% of it is fiction. I also think loads. So while I am away I will be recharging my batteries, but I will also be in my own private dreamtime. Let’s see how it affects my work…