All language subtitles for Beatrix.Farrands.American.Landscapes.2019.1080p.WEBRip.x264.AAC-[YTS.MX].eng

Downloaded from
YTS.MX

♪

Official YIFY movies site:
YTS.MX

WOMAN: IN 1907
BEATRIX FARRAND WROTE,

"THE GARDEN-MAKER MUST KNOW
INTIMATELY THE FORMS AND TEXTURE

"AS WELL AS THE COLOR OF
ALL THE PLANTS HE USES,

"FOR PLANTS ARE
TO THE GARDENER

"WHAT THE PALETTE
IS TO A PAINTER.

"HE MUST PUT HIS COMPOSITION
DOWN IN THE OPEN AIR

"WITH THE SKY AND THE TREES
AND THE GRASS AS BACKGROUND,

"WHILE THE PAINTER
HAS BUT A FLAT SURFACE

ON WHICH TO CREATE
HIS ILLUSION."

I'VE BEEN WORKING ON
GARDENS IN NEW YORK
FOR 36 YEARS,

BEGINNING WITH
THE RESTORATION OF THIS ONE,

THE CONSERVATORY GARDEN
IN NEW YORK'S CENTRAL PARK.

GARDENS ARE GOOD
FOR THE SOUL.

THEY MAKE YOU FEEL
THAT YOUR CITY

OR YOUR COMMUNITY
CARES ABOUT YOU.

DO YOU COME TO
THE GARDEN OFTEN?

ALL THE TIME.
DO YOU?

YEAH, I'M HERE
ALL THE TIME.
THAT'S NICE.

MILLER, VOICE-OVER:
I BELIEVE IN THE PROMISE
OF BEAUTIFUL LANDSCAPES

TO MAKE PEOPLE'S
LIVES BETTER.

MILLER: OH, LOOK!

LOOK HOW CUTE THAT
IS WITH THE PURPLE...

MILLER, VOICE-OVER:
AND NO ONE BELIEVED THAT

MORE THAN MY HERO
BEATRIX FARRAND.

SHE WAS A GROUNDBREAKING
GARDEN DESIGNER

WHO OVERCAME BARRIERS
FOR WOMEN

AND EARNED HER PLACE AT
THE TOP OF HER PROFESSION.

SHE UNDERSTOOD PLANTS
WITH AN ARTIST'S EYE
FOR COLOR AND TEXTURE,

SHE MASTERED ENGINEERING
AND FORMAL STRUCTURES,

AND SHE CARED, AS I DO,
ABOUT PUBLIC GARDENS.

THERE'S NOTHING
LIKE CENTRAL PARK.

NO, CENTRAL PARK'S THE BEST.

YES. AND YOU CAN'T
PUT A PRICE ON THIS.

I RECOMMEND IT TO
EVERYBODY THAT I KNOW.

MILLER, VOICE-OVER: I HAVE
ALWAYS FELT THAT BEATRIX
FARRAND WAS A MENTOR TO ME,

AND AS I LOOK BACK ON MY WORK
IN PUBLIC HORTICULTURE,

I WANT TO LOOK AT
HER LIFE, TOO,

AND LEARN MORE ABOUT
THIS PIONEERING WOMAN

WHO MADE MY CAREER POSSIBLE.

I HAVE ADMIRED
BEATRIX FARRAND FOR YEARS,

BUT IT WASN'T UNTIL 2005
THAT I GOT A CHANCE

TO WORK ON ONE OF
HER COMMISSIONS--

THE WYMAN GARDEN AT PRINCETON'S
GRADUATE SCHOOL.

I LOVE THESE BABIES.

AND THIS IS LOVELY.

AND YOU'RE
A GOOD, GOOD THING.

VERY NICE.

AND THESE ARE
A BEAUTIFUL COLOR.

NICE TEXTURE WITH THAT GUY.

I'M TALKING TO MY PLANTS.

LOOK AT THOSE THINGS.
AREN'T THEY GORGEOUS?

MILLER, VOICE-OVER: AS I WAS
REDESIGNING THE WYMAN GARDEN,

I THOUGHT ABOUT MRS. FARRAND

AND WHAT SHE WOULD HAVE
WANTED ME TO DO.

IT'S A SUNDIAL.

AND MRS. FARRAND
HAD IT OVER THERE,

AND IT WAS IN THE SHADE
BY THE TIME I GOT HERE,

WHICH WAS 100 YEARS LATER.

SO I MOVED IT INTO THE SUN.

AND THEN I DESIGNED
THE GARDEN AROUND IT.

THESE THINGS ARE
MRS. FARRAND'S.

I MEAN, THEY WERE
ON THE PLAN,

AND I DID THAT TO MAKE IT
LOOK MORE LIKE HER GARDEN.

MILLER, VOICE-OVER: SHE WAS
BORN BEATRIX CADWALADER JONES

ON JUNE 19, 1872.

HER MOTHER MARY,
ALWAYS KNOWN AS MINNIE,

WAS ONE OF THE PHILADELPHIA
CADWALADERS

AND A GREAT-GRANDDAUGHTER OF
A REVOLUTIONARY WAR HERO.

SHE WAS A SOCIAL REFORMER,

ADVOCATING FOR BETTER CONDITIONS
IN THE CITY'S HOSPITALS

AND PROFESSIONAL RECOGNITION
OF THE NURSES WHO WORKED THERE.

MINNIE SURROUNDED HERSELF

WITH ARTISTS,
SCULPTORS, AND WRITERS,

INCLUDING HER CLOSE FRIEND
HENRY JAMES.

BEATRIX'S FATHER FREDERIC
WAS A JONES,

A FAMILY SO WEALTHY AND HIGH
ON THE SOCIAL LADDER

THAT STRIVING MEMBERS OF
GILDED-AGE SOCIETY IN NEW YORK

WERE SAID TO BE
KEEPING UP WITH THE JONESES.

WHEN BEATRIX WAS 11,
HER FAMILY CHOSE TO ESCAPE
THE STUFFY CONFINES

OF HER GRANDMOTHER'S HUGE
SUMMER COTTAGE IN NEWPORT

AND BUILD A HOUSE
IN A MORE SECLUDED

BUT NO LESS SOCIALLY
RAREFIED COMMUNITY

ON MOUNT DESERT ISLAND
OFF THE COAST OF MAINE.

THE FAMILY NAMED
THEIR HOUSE REEF POINT,

AND IT WAS AN IDYLLIC SUMMER
REFUGE FOR YOUNG BEATRIX.

MAN: THAT WAS ALL
A LABORATORY FOR HER.

SHE WAS KNOWN TO HAVE
COME OUT OF THE WOODS

WITH WILDFLOWERS THAT
SHE HAD DUG UP

AND THEN PLANTED THEM
NEAR THE HOUSE.

SO THAT WAS
THE BEGINNING.

MILLER, VOICE-OVER:
BUT THE SHELTERED ENCLAVE

THAT SO TRANSFIXED FARRAND
WAS ALSO AN EXTENSION

OF THE RIGID WORLD
OF NEW YORK SOCIETY,

AND BACK IN THE CITY,

HER FATHER WAS FLIRTING
WITH SCANDAL.

CHASSE: TO PUT IT BLUNTLY,
DAD WAS A CAD

AND HAD HAD VERY PUBLIC
INDISCRETIONS IN NEW YORK,

WHICH JUST HORRIFIED
THE FAMILY

AND THAT WHOLE
SOCIAL STRATUM.

ACTUALLY, THE JONES
FAMILY TOOK UP
FOR MINNIE, THE WIFE,

AND THE FATHER WAS SORT
OF PUT OFF TO THE SIDE.

MILLER, VOICE-OVER: ONE OF
MINNIE'S STAUNCHEST SUPPORTERS

DURING THE ORDEAL
WAS FREDERIC'S SISTER,

AN ASPIRING WRITER
NAMED EDITH WHARTON.

WOMAN: IT REALLY IS OUT
OF AN EDITH WHARTON NOVEL.

PEOPLE DIDN'T GET
DIVORCED IN THOSE DAYS.

YOU JUST DIDN'T
DO IT, NO.

WE KNOW THE STIGMA
OF BEING DIVORCED

IN AMERICA AT THAT TIME

AND BEING THE DAUGHTER OF
A DIVORCED SOCIETY MOTHER,

I THINK HAD A LOT
TO DO WITH THE FACT

THAT SHE FELT THAT SHE HAD
TO MAKE A LIFE OF HER OWN

THAT WAS OUTSIDE OF SOCIETY.

MILLER, VOICE-OVER:
BEATRIX JONES MADE HER
DEBUT IN NEW YORK IN 1890,

ATTENDING THE USUAL ROUNDS OF
PARTIES AND COSTUME BALLS,

INCLUDING ONE IN WHICH
SHE WORE A DRESS

INSPIRED BY FORMAL
GARDEN DESIGNS.

BUT EVEN AT THE AGE OF 18,

YOUNG BEATRIX HAD SET
HER SIGHTS ON BEING

SOMETHING MORE THAN
A SOCIETY MATRON.

SHE CAME FROM A FAMILY OF 5
GENERATIONS OF GARDEN LOVERS,

AND HER CHILDHOOD
ON MOUNT DESERT

HAD KINDLED A FASCINATION
WITH PLANTS.

NOW SHE WAS DETERMINED
TO PURSUE A CAREER
IN HORTICULTURE.

THERE WAS ONLY ONE OBSTACLE
STANDING IN HER WAY--

IT WAS NOT A PROFESSION
OPEN TO WOMEN.

AT THE TURN OF
THE CENTURY,

ONE JOURNALIST HAD
DESCRIBED GARDENING AS

"A CONGENIAL, SOOTHING,
OUT-OF-DOORS PURSUIT

"TO WHICH A WOMAN OF TASTE
WHO LOVES FLOWERS

CANNOT DO BETTER THAN
TURN HER HAND."

BUT I THINK BEATRIX FARRAND
SAW HERSELF QUITE DIFFERENTLY.

SHE WAS DETERMINED TO BE
A LANDSCAPE GARDENER,

WHAT ONE LEADING CRITIC
OF HER DAY DEFINED AS

"A GARDENER, AN ENGINEER,

"AND AN ARTIST WHO
LIKE AN ARCHITECT,

CONSIDERS BEAUTY
AND UTILITY TOGETHER."

CHASSE: NO UNIVERSITIES WERE
TAKING FEMALE STUDENTS.

M.I.T. TOOK THEIR FIRST
FEMALE ARCHITECTURE
STUDENT IN 1902,

AND SHE HAD
TO TAKE HER MOTHER

TO CLASS AS A CHAPERONE.

OH, FOR GOD SAKES.

CHASSE: BUT BEATRIX MET
CHARLES SPRAGUE SARGENT,

AND HE INVITED HER
TO APPRENTICE WITH HIM

AT THE ARNOLD ARBORETUM.

MILLER, VOICE-OVER:
SARGENT WAS ONE OF THE FOREMOST

BOTANISTS OF HIS DAY,

AND BENEATH HIS PATRICIAN
RESERVE LAY A FIERCE DRIVE

THAT WOULD TRANSFORM
HARVARD'S ARNOLD ARBORETUM

INTO WHAT ONE WRITER CALLED
"THE GREATEST COLLECTION

OF TREES AND SHRUBS IN
THE NORTHERN HEMISPHERE."

OVER THE COURSE
OF A RIGOROUS YEAR,

UNDER SARGENT'S DEMANDING
SUPERVISION,

BEATRIX STUDIED BOTANY,
SURVEYING, AND HORTICULTURE.

"NEVER WAS A GREAT
TEACHER GRANTED A PUPIL

MORE IDEALLY SUITED
TO HIS HOPES,"

A FRIEND OF BEATRIX
LATER RECALLED.

NEAR THE END OF
HER TRAINING AT THE ARNOLD,

SARGENT ARRANGED FOR HER
TO VISIT THE OFFICES OF
FREDERICK LAW OLMSTED,

ONE OF THE DESIGNERS
OF CENTRAL PARK.

CHASSE: SHE SAW ALL
THE YOUNG MEN DRAFTING.

SHE THOUGHT SHE
NEEDED SURVEYING,

ALL THESE SKILLS
THAT SHE COULDN'T GET.

COLUMBIA SCHOOL OF MINDS
HAD DRAFTING COURSES AND
ALL THESE THINGS.

WOMEN WERE NOT ALLOWED.

SO SHE HIRED ONE
OF THE FACULTY MEMBERS

TO TUTOR HER ON
SURVEYING AT HOME.

AND THAT'S WHAT SHE'S
SO EXTRAORDINARY FOR.

SHE KNEW WHAT SHE WANTED
AND SHE DID IT.

ALL THE PIECES THAT SHE
NEEDED AND SHE DID IT.

MILLER, VOICE-OVER: "MY FRIENDS
LOOKED UPON MY STUDIES

AS A SORT OF MILD MANIA,"
FARRAND RECALLED,

"BUT THEY HAVE LEARNED NOW TO
REGARD THEM SERIOUSLY."

IN THE SPRING OF 1895,
WITH HER COURSE

OF STUDY UNDER SARGENT
COMPLETE,

FARRAND TOOK HER MENTOR'S ADVICE
AND SET OFF WITH HER MOTHER

ON A 5-MONTH TOUR
OF GARDENS.

IT WAS A TRIP THAT
WOULD PROVE TO BE

A TRANSFORMATIVE EXPERIENCE
FOR THE YOUNG DESIGNER.

THEY VISITED THE JARDIN
D'ESSAI IN ALGIERS

AND THE PALACE OF
VERSAILLES IN FRANCE,

WHERE SHE WAS CAPTIVATED
BY THE WORK OF THE FAMOUS
DESIGNER LE NOTRE.

SHE WAS NOT ALWAYS
IMPRESSED, HOWEVER.

SHE FOUND SOME OF ROME'S
GARDENS "SO SQUALID
AS TO BE MELANCHOLY."

PARTS OF THE GARDENS
AT THE VATICAN WERE

"A MAZE OF TORTUOUS PATHS
LEADING NOWHERE."

BUT WHEN THEY VISITED
THE VILLA LANTE,

ONE OF MY ALL-TIME
FAVORITE GARDENS,

IT MADE A VIVID IMPRESSION
ON YOUNG BEATRIX.

IN ONE OF HER JOURNALS
SHE WROTE,

"THE BEAUTY OF THE FORMAL
ITALIAN GARDEN

"LIES IN ITS PERSPECTIVES,
EFFECTS OF SPACE,

AND THE PROPORTIONS OF
THE PARTS OF THE DESIGN
TO EACH OTHER."

BEATRIX AND MINNIE SAW
ALMOST 150 GARDENS

DURING THEIR
WHIRLWIND TOUR,

AND EVERYWHERE SHE WENT,
SHE TOOK CAREFUL
NOTES AND PHOTOGRAPHS

OF THE SCALE AND SCOPE
OF THE LAYOUTS,
THE PARTERRE PATTERNS,

AND THE RESOURCES REQUIRED
FOR MAINTENANCE.

[BICYCLE BELL RINGS]

IN ENGLAND, BEATRIX
VISITED TWO PLACES

THAT WOULD HAVE A SIGNIFICANT
IMPACT ON HER GARDEN PHILOSOPHY.

THE FIRST WAS MUNSTEAD WOOD,
THE HOME OF GERTRUDE JEKYLL,

AN IMPRESSIONIST PAINTER
WHO TURNED TO GARDEN DESIGN

WHEN HER EYESIGHT
BEGAN TO FAIL.

FROM JEKYLL, BEATRIX LEARNED
TO USE SOPHISTICATED
COLOR THEORIES

AND APPROACH HER PLANT SELECTION
WITH A SUBTLE NEW PALETTE.

AT GRAVETYE IN SUSSEX,
FARRAND STRUCK UP A FRIENDSHIP

WITH WILLIAM ROBINSON,

THE RENOWNED AUTHOR
OF "THE WILD GARDEN."

MILLER: WHAT WAS IMPORTANT
ABOUT "THE WILD GARDEN"?

CHASSE: HIS BIG POINT WAS
THAT THE FORMAL GARDEN

SHOULD ONLY
BE NEAR THE HOUSE,

AND THEN AS YOU WENT
OUTWARD FROM THE HOUSE,

ESPECIALLY IN
A LARGE PROPERTY,

IT SHOULD GET MORE NATURAL
AND MORE INFORMAL.

AND THAT WAS
A REALLY BIG IDEA.

SHE VISITED HIM
REGULARLY IN ENGLAND,

AND HE BECAME A MENTOR
AND A FRIEND FOR LIFE.

WOMAN: LET'S LOOK
AT THE LAYOUT.

BY TELESCOPING THIS DOWN,
FARRAND'S TRYING TO

MAKE IT FEEL LIKE THE GARDEN
GOES ON AND ON AND ON AND ON.

AND SO WHEN YOU'RE
DOING YOUR GARDENS,

THINK ABOUT MOVEMENT
IN YOUR GARDEN,

SYMMETRY
AND ASYMMETRY, OK?

SO IF YOU WANT TO SKETCH
OUT SOME STUFF FIRST

AND ERASE A LITTLE
BIT, YOU CAN.

MILLER, VOICE-OVER: THE GREEN
TEENS ARE YOUNG PEOPLE

WHO WANT TO HELP
THEIR COMMUNITIES

BY LEARNING ABOUT
HORTICULTURE.

TODAY, THEY'RE DESIGNING
THEIR OWN GARDENS,

WITH BEATRIX FARRAND
AS THEIR INSPIRATION.

FARRAND DESIGNED THIS
GARDEN, BELLEFIELD,

FOR HER COUSIN THOMAS NEWBOLD
AND HIS WIFE SARAH IN 1912.

IT WAS INTENDED TO BE
AN INTIMATE FAMILY ENCLOSURE

AND INCLUDED A
VANISHING PERSPECTIVE

THAT EMBRACED
WILLIAM ROBINSON'S IDEA

OF INCREASING WILDNESS AS
ONE MOVED AWAY FROM THE HOUSE.

GIRL: IT'S LIKE WALKING
THROUGH A RAINBOW

BECAUSE LIKE, WHEN
YOU FIRST COME IN,

THERE'S LIKE PINK, BUT IT'S
NOT ALL THE SAME COLOR.

IT'S LIKE DIFFERENT.

IT GOES FROM LIGHT TO DARK,

AND THEN IT, LIKE,
MAKES YOU GO THAT WAY
TOWARDS THE WHITE,

AND THEN YOU COME AROUND
AND THEN BACK TO
THE DARKER COLORS.

'CAUSE LIKE...
YEAH, IT'S LIKE ART.

MILLER: I WANT TO SEE.
I WANT TO SEE.

OH, LOOK AT THAT!
SO I GOT--

HEY, WHAT ARE THE
RED THINGS YOU'VE GOT?

THE RED THINGS, THOSE
ARE PICNIC TABLES THERE.

OH, FOR PEOPLE TO SIT
AND ENJOY THE PLACE.

WHEN I DESIGN GARDENS,
FIRST THING I DO

IS PUT IN PLACES
FOR PEOPLE TO SIT.

BECAUSE IT HAS
A MESSAGE, YOU KNOW.

COME, BE HERE,
WE WANT YOU TO COME.

I THINK THAT'S
VERY NICE.

THANK YOU SO MUCH.

SO YOU GO PICK SOME FRUIT,
GO TO THE POND,

LOOK AT THE DUCKS,
WALK BACK,

GET SOME FRUIT,
WALK THROUGH--

SO IT'S ALL AN EXPERIENCE?

MM-HMM. AND THEN
THERE'S A YOGA SPACE.
OHH.

SO YOU CAN DO,
LIKE, YOGA BECAUSE,

YOU KNOW, IT'S, LIKE,
PEACEFUL AND QUIET.

YES. YES.

I'VE BEEN DOING THIS
FOR 40 YEARS.

YOU TRY TO LEARN,
BUT YOU CAN NEVER QUITE

GET YOUR HANDS ON
TIME AND WEATHER.

SOMEBODY SAID GARDENING
IS THE SLOWEST-MOVING
OF THE PERFORMING ARTS.

AND YOU THINK YOU MIGHT
KNOW HOW THAT PLANT'S
GONNA BEHAVE,

BUT THEY ALWAYS FOOL YOU.
THEY ALWAYS FOOL YOU.

THEY DO SOMETHING
DIFFERENT EVERY YEAR,

'CAUSE THEY'RE ALIVE.

MILLER, VOICE-OVER:
IN OCTOBER 1896,
FRESH FROM HER TRAVELS,

BEATRIX OPENED HER
OWN OFFICE ON THE TOP FLOOR

OF HER MOTHER'S HOUSE
ON EAST 11th STREET
IN NEW YORK CITY.

THIS WAS QUITE UNUSUAL,
FOR SOMEONE OF HER CLASS

TO BE TAKING ON A
PROFESSION AS A WOMAN.

THERE WAS A REPORT
IN A NEW YORK PAPER

THAT SAID SHE WAS OUT
THERE IN HER FISHERMAN'S
SLICKER AND BOOTS,

AND SHE DIDN'T HAVE
A SOCIETY PARASOL.

SHE WOULD HAVE NEVER CARED
HOW SOCIETY FELT.

SHE WAS DIRECTING
THE CREWS,

AND THIS WAS JUST, YOU
KNOW, EARTH-BREAKING.

YES.
LITERALLY.

MILLER, VOICE-OVER:
IN THE FIRST FEW YEARS OF
HER PROFESSIONAL PRACTICE,

BEATRIX FARRAND WAS
ABLE TO LAND A NUMBER

OF IMPORTANT COMMISSIONS
UP AND DOWN THE EAST COAST.

"IT IS WORK, HARD WORK,
AND AT THE SAME TIME,

IT IS PERPETUAL PLEASURE,"
SHE EXULTED.

"I DO NOT ENVY THE GREATEST
PAINTER OR SCULPTOR

"OR POET THAT EVER LIVED.

IT SEEMS TO ME THAT ALL THE ARTS
ARE COMBINED IN THIS."

AS HER PRACTICE WAS
PICKING UP STEAM,

FARRAND WAS ALSO
ESTABLISHING HERSELF

AS AN OUTSPOKEN ADVOCATE
FOR OPEN SPACE.

"IT IS NOT TOO LATE TO
URGE UPON NEW YORKERS

THE ABSOLUTE NECESSITY OF
ACQUIRING A PARK SYSTEM,"

SHE WROTE IN 1899.

"BOULEVARDS, PLANTED
WITH TREES AND KEPT
FREE FROM HEAVY TRAFFIC,

"SHOULD ALSO LEAD
TO THE PARKS

FROM THE DENSELY-POPULATED
PORTIONS OF THE CITY."

FARRAND'S EARLY WORK AND WRITING
ATTRACTED THE ATTENTION

OF A GROUP OF
DISTINGUISHED DESIGNERS

WHO WERE SEEKING TO FORMALIZE
THEIR NEW PROFESSION.

CHASSE: WHEN THEY DECIDED
TO FORM THE FIRST SOCIETY

OF LANDSCAPE ARCHITECTS
IN THE WORLD

AND ACTUALLY COINED THE TERM
"LANDSCAPE ARCHITECT,"

SHE WAS THE ONLY WOMAN
SIGNER OF IT IN 1899.

AH, YES.

SO SHE'S CONSIDERED
THE FIRST WOMAN
LANDSCAPE ARCHITECT.

SHE WAS A PIONEER,
WASN'T SHE, PATRICK?

I THINK SO.
SHE WAS EVEN A PIONEER

AMONG OTHER
LANDSCAPE ARCHITECTS

BECAUSE SHE WAS
PROMOTING NATIVE PLANTS

AND SHE WASN'T DOING

WHAT I CALL FACSIMILE
GARDENS, WHICH WERE BIG.

EVERYONE WAS DOING
ITALIAN GARDENS
OR FRENCH GARDENS.

SHE COULD DO GARDENS

WITH SOME OF THOSE
CHARACTERISTICS,

BUT ALSO COULD
DO JUST WONDERFUL,
UNDREAMT OF THINGS.

YEAH, BECAUSE SHE WAS
EDUCATED IN ALL THOSE THINGS,

BUT SHE DIDN'T
SPIT THEM BACK OUT.

MILLER, VOICE-OVER:
NOT EVERYONE WAS IMPRESSED
BY THE NEW DESIGNER.

FREDERICK LAW OLMSTED
HAD ONCE DISMISSED HER
AS A DABBLER,

AND PRESTIGIOUS PUBLIC
COMMISSIONS

THAT OFTEN MADE REPUTATIONS

WERE STILL AWARDED
EXCLUSIVELY TO MEN.

IF FARRAND WANTED TO
BREAK DOWN THESE BARRIERS,

SHE WAS GOING TO HAVE TO PROVE
HERSELF AGAIN AND AGAIN.

IN NO SMALL PART
BECAUSE OF MRS. FARRAND,

WOMEN LIKE ME HAVE BEEN
ABLE TO HAVE A CAREER

IN PUBLIC GARDEN DESIGN.

MINE STARTED
WHEN BETSY ROGERS

AND THE CENTRAL PARK
CONSERVANCY

GAVE ME THE CHANCE IN 1982

TO RESTORE THE CONSERVATORY
GARDEN IN CENTRAL PARK.

IT WAS ALL OVERGROWN.

IT DID SEEM DANGEROUS BECAUSE
THERE WAS NO ONE IN THERE.

THE CITY WAS TOTALLY POLARIZED,
RACIALLY AND ECONOMICALLY.

IT WAS IN FISCAL CRISIS,

AND THEY CUT OUT THE
FUNDING FOR PARKS.

FINALLY, PEOPLE STARTED
PAYING ATTENTION.

I HAD TO TEACH MYSELF
HOW TO RAISE MONEY,

GO TO PEOPLE, FRIENDS,
ASK FOR HELP.

OF COURSE, EVERYONE
SAID WE WERE MAD,

PEOPLE AROUND HERE
WON'T APPRECIATE IT.

JUST REALLY QUITE AWFUL.
HORTICULTURAL SNOBBISM.

MILLER, VOICE-OVER:
"THEY," THEY WOULD SAY,

POINTING IN THE DIRECTION
OF EAST HARLEM,

"THEY WILL DESTROY IT."

THE OUTCOME WAS
THAT THEY WERE DEAD WRONG.

PEOPLE BEGAN TO COME BACK.

IT WAS SO EXCITING.

AND IT WAS THE PLANTS CREATING
A BEAUTIFUL SPACE

AND MAKING PEOPLE FEEL HAPPY.

I DID COLLAGES WHEN
I WAS A PAINTER,

AND WHAT IS THIS
BUT A COLLAGE?

MILLER, VOICE-OVER:
PRETTY SOON, I WAS PAINTING

ON A VERY LARGE CANVAS,

WHICH IS THE CITY
OF NEW YORK.

MILLER, VOICE-OVER: IN 1912,
BEATRIX FARRAND AT LAST

RECEIVED A MAJOR
PUBLIC COMMISSION

WHEN SHE WAS HIRED
TO DESIGN THE LANDSCAPE

AT THE GRADUATE COLLEGE
AT PRINCETON,

INCLUDING THE WYMAN
GARDEN I RESTORED

A HUNDRED YEARS LATER.

HER WORK WAS SO SUCCESSFUL
THAT BY 1915,

SHE WOULD BE APPOINTED
PRINCETON'S FIRST

CONSULTING LANDSCAPE GARDENER.

MAN: SHE FELT THAT
THE PLANTS HAD TO BE AS CLOSE

TO EACH OF THE BUILDINGS
AS POSSIBLE.

THIS GAVE HER THE
OPPORTUNITY TO CREATE

SOME WONDERFUL WALK SPACES
AND LAWN AREAS AND OPEN AREAS.

THAT WERE UNCLUTTERED
WITH PLANTS.

THE SUSTAINABILITY
OF HER PLANT PALETTE MEANT

THAT SHE WOULD FIND
THE RIGHT PLANT EVENTUALLY
FOR THE RIGHT SPOT.

WE'RE SITTING RIGHT
IN FRONT OF A TREE
THAT SHE PLANTED.

THIS OLD KATSURA TREE
WAS THE IDEAL PLANT

AND PLANTED
IN THE RIGHT PLACE.

100 YEARS LATER, AND
WE'RE STILL CLIPPING HIM.

YES.

MILLER, VOICE-OVER: FARRAND'S
IDEAS FOR PRINCETON BROKE FREE

OF THE TRADITIONAL DESIGN
CONVENTIONS OF HER TIME.

SHE TRAINED DIFFERENT VARIETIES
OF TREES AND SHRUBS

TO GROW UP THE SIDES
OF BUILDINGS,

ALLOWED FOR ELEGANT
AND PROPORTIONED OPEN SPACES,

AND SPENT TIME WATCHING
THE STUDENTS--

WHERE DID THEY GO--

AND THEN SHE PUT
THE PATHS THERE,

AND THAT IS WHAT WE NOW
CALL DESIRE LINES.

PRINCETON'S SUPERVISING
ARCHITECT, RALPH ADAMS CRAM,

ARGUED THAT FARRAND'S IDEAS

COMPROMISED THE ARCHITECTS'
VISION FOR THE BUILDINGS,

AND HE AND OTHER MEN
ON THE GROUNDS STAFF

DISMISSED HER
AS THE BUSH WOMAN,

ALWAYS OUT IN
THE FIELD AGONIZING

OVER THE PRECISE PLACEMENT
OF TREES AND SHRUBS.

NOT SURPRISINGLY,
FARRAND DIDN'T BACK DOWN

FROM HER IDEAS
AND USUALLY PREVAILED.

SHE REMAINED PRINCETON'S
CONSULTING LANDSCAPE GARDENER

FOR NEARLY 30 YEARS.

"WE ALL KNOW THAT
EDUCATION IS BY NO MEANS

A MERE MATTER OF BOOKS,"
SHE ONCE WROTE,

"AND THAT AESTHETIC
ENVIRONMENT CONTRIBUTES

"AS MUCH TO MENTAL GROWTH
AS FACTS ASSIMILATED
FROM A PRINTED PAGE.

NO LIFE IS WELL ROUNDED
WITHOUT THE SUBTLE
INSPIRATION OF BEAUTY."

MAN: SHE LEFT US GREAT
LANDSCAPES AT PRINCETON,

AT YALE,
AT OCCIDENTAL COLLEGE.

THEY'VE BECOME PART OF
THE FABRIC OF OUR LIVES.

PEOPLE GROW UP, GET EDUCATED,
FALL IN LOVE.

AND THEN GO OFF INTO LIFE
AND REMEMBER THOSE THINGS.

RIGHT.

MILLER, VOICE-OVER:
ON A BRISK FALL DAY
IN SEPTEMBER 1915,

BEATRIX FARRAND FOUND
HERSELF STANDING

IN A BOGGY PIECE OF LAND
IN THE BRONX,

TRYING TO FIGURE OUT
WHAT TO DO ABOUT THE ROSES.

SHE HAD BEEN COMMISSIONED BY
THE NEW YORK BOTANICAL GARDEN

TO DESIGN A HOME FOR WHAT
NYBG HOPED WOULD BECOME

A WORLD-CLASS
ROSE COLLECTION.

THE FACT THAT FARRAND WAS TAKING
ON THIS KIND OF A PROJECT

AT SUCH A PRESTIGIOUS
INSTITUTION

WAS A TESTAMENT TO THE UPWARD
ARC OF HER CAREER.

IN THE FALL OF 1913,
SHE HAD OPENED AN OFFICE

AT 124 EAST 40th STREET
IN MANHATTAN,

STAFFED WITH AN ASSISTANT.

A FEW PROMINENT
COMMISSIONS SOON FOLLOWED--

LANDSCAPING FOR THE
NEW YORK CITY HOME OF
THE BANKER J.P. MORGAN

AND, THROUGH HER WORK
AT PRINCETON,

A PROJECT AT THE MOST FAMOUS
ADDRESS IN AMERICA--

THE REDESIGN OF THE EAST
GARDEN AT THE WHITE HOUSE

FOR PRESIDENT
AND MRS. WOODROW WILSON.

DESPITE THE AWKWARDNESS
OF THE NEW YORK BOTANICAL
GARDEN SITE,

BEATRIX WAS UNDAUNTED.

RECALLING A DESIGN
PRINCIPLE SHE HAD LEARNED

FROM CHARLES SARGENT,

SHE INTENDED TO "MAKE
THE PLAN FIT THE GROUND

AND NOT TWIST THE GROUND
TO FIT A PLAN."

CHASSE: THIS WAS THE BOWL,
AND IT WAS NOT WELL DRAINED,

AND ROSES DON'T LIKE WET FEET,

SO AN ELABORATE TILE
DRAIN SYSTEM WENT IN,

AND THEN THE BEDS
WERE LAID OUT

IN THIS WONDERFUL
TRIANGULAR PATTERN.

THE CENTERPIECE IS
OBVIOUSLY THIS GAZEBO,

AND IT MAKES A HUB
FOR THE SPOKES
OF THE PATHS,

AS WELL AS A PROSPECT
FROM WHICH YOU CAN
LOOK AT THE BEDS.

MILLER, VOICE-OVER:
AT THE NEW YORK
BOTANICAL GARDEN,

FARRAND COMBINED THE CLASSICAL
FORMS SHE LOVED

WITH THE RIGOROUS
BOTANICAL PRINCIPLES

SHE HAD LEARNED FROM SARGENT.

THE NYBG COLLECTION OF ROSES,
MORE THAN 7,000 IN ALL,

WERE ORGANIZED
BY PLANT FAMILIES

AND METICULOUSLY CATALOGUED
AND LABELED.

"THE NEW GARDEN WILL
BE AT ONCE A MUSEUM OF ROSES

AND A POPULAR SCHOOL FOR ALL,"
THE "NEW YORK TIMES" OBSERVED,

"WHETHER THEY WISH TO GROW
A PLANT OR TWO IN A HOME PLOT

"OR DEVELOP
A MILLIONAIRE'S GARDEN,

"AND WILL OFFER MATERIAL

FOR THE PROFESSIONAL STUDENT,
FLORIST, OR BOTANIST."

CHASSE: SHE APPRECIATED
SCIENCE

AND ALSO GEOMETRY.

THOSE COME TOGETHER IN THIS,

WHICH THEY DON'T OFTEN DO
IN OTHER ROSE GARDENS.

MILLER: THAT'S TRUE,
THAT'S TRUE.

MILLER, VOICE-OVER:
ALMOST 20 YEARS AFTER
ENTERING THE PROFESSION

AS A LANDSCAPE GARDENER,

BEATRIX FARRAND'S
CAREER WAS THRIVING,

AND SHE HAD ALSO FOUND SOMEONE
WITH WHOM TO SHARE THE JOURNEY.

WHILE SHE WAS
WORKING AT PRINCETON,

SHE WAS INVITED TO DINNER
AT THE PRESIDENT'S HOUSE.

THERE SHE MET A TALL, TWEEDY
44-YEAR-OLD PROFESSOR

OF HISTORY AT YALE
NAMED MAX FARRAND.

A COURTSHIP ENSUED,

AND THE ROMANCE SURPRISED
BOTH FAMILIES.

MAX'S SISTER-IN-LAW CAUGHT
A GLIMPSE OF FARRAND

SUPERVISING A LARGE CREW OF MEN
ON THE PRINCETON CAMPUS

AND EXCLAIMED, "IF THAT
LADY REALLY WANTS MAX,

SHE'LL GET HIM."

EDITH WHARTON
WAS DELIGHTED.

"HOLD ON TO
THE INESTIMABLE TREASURE

OF YOUR UNDERSTANDING
OF EACH OTHER,"

SHE WROTE TO
HER NIECE THAT FALL.

"BUILD YOUR LIFE ON
ITS SECURE FOUNDATIONS

AND LET EVERYTHING YOU DO
AND THINK BE PART OF IT."

THEY WERE MARRIED
AT MINNIE'S HOME

IN NEW YORK CITY
ON DECEMBER 17, 1913

AND SETTLED DOWN TO LIVE
IN NEW HAVEN.

CLEVES SYMMES:
THEY MARRIED LATE IN LIFE,

AND YET THEY HAD A LONG,
LONG HAPPY MARRIAGE.

THEY HAD AMAZING COMPATIBILITY

AND A GREAT
INTELLECTUAL CONNECTION.

MILLER, VOICE-OVER:
ON A JANUARY DAY IN 1921,

FARRAND ARRIVED AT A SPRAWLING,
HILLY PIECE OF LAND

LOOKING OUT OVER ROCK CREEK
PARK IN WASHINGTON, D.C.

THE PROPERTY, THAT INCLUDED
A VICTORIAN MANSION

MUCH IN NEED OF RENOVATION,
WAS CALLED THE OAKS.

IT HAD BEEN PURCHASED
THE PREVIOUS YEAR

BY THE AMERICAN DIPLOMAT
ROBERT BLISS

AND HIS WIFE MILDRED.

AS BEATRIX WALKED AROUND
THE PROPERTY WITH THE OWNERS,

WHAT SHE SAW WAS A DAUNTING
BUT EXHILARATING CHALLENGE.

WITH STEEP SLOPES
OF AS MUCH AS 100 FEET

DROPPING DOWN FROM THE HOUSE
TO THE CREEK BELOW,

THE GARDEN REPRESENTED
NOT ONLY A COMPLEX
ENGINEERING TEST,

BUT ALSO AN OPPORTUNITY TO
INCORPORATE MANY OF THE STYLES

AND INFLUENCES THAT FARRAND
HAD ACCUMULATED

DURING HER WORK AND TRAVELS.

AFTER HER TOUR, BEATRIX DASHED
OFF A 6 1/2-PAGE REPORT

OUTLINING HER VISION

FOR WHAT WOULD BECOME
KNOWN AS DUMBARTON OAKS.

IT WAS A SERIES OF GARDEN
ROOMS AND CAREFULLY
ORCHESTRATED VISTAS

THAT MOVED THE VISITOR
EFFORTLESSLY

THROUGH THE RADICAL
TOPOGRAPHY OF THE SITE.

"YOU'VE GOT IT EXACTLY
IN EVERY RESPECT,"

MILDRED BLISS WROTE FARRAND,

"AND I CAN'T BE PATIENT
UNTIL YOU GET BACK HERE

AND START TO REALIZE YOUR
AND OUR MUTUAL DREAM."

I'VE BEEN COMING HERE
SINCE I WAS A LITTLE GIRL,

AND I'VE ALWAYS THOUGHT
THIS WAS THE MOST BEAUTIFUL

PLACE IN THE WORLD.

WHAT'S WONDERFUL ABOUT
THIS PLACE IS THAT

IT IS A COMBINATION
OF ART AND PLANTS,

COLOR, LINE, FORM, TEXTURE,

REPETITION, SCALE.

THIS WAS REALLY ONE OF
HER GREATEST WORKS OF ART.

MILLER: WHAT IS SO UNIQUE
ABOUT THE STRUCTURES HERE
IN THE GARDEN?

WOMAN: ONE OF THE THINGS
IS THE SENSE OF ENCLOSURE

WITHIN THESE ROOMS
OR TERRACES,

AND EACH ROOM HAS
A DIFFERENT FLAVOR.

AND AS YOU'RE COMING
DOWN THE HILL,

YOU GET GLIMPSES
INTO THE NEXT ROOM

WITH PIECES OF ORNAMENT
OR WITH PLANTS.

AND SO IT DRAWS ME,
EVEN AFTER BEING HERE

FOR 20 YEARS,
INTO THE NEXT ROOM.

YES, IT'S KIND OF
A WONDERFUL TRICK.

IT IS.
ADDS SOME SUSPENSE.

IT DOES, INDEED.

THIS GARDEN
IS OUTSIDE OF TIME.

ITS BEAUTY TRANSCENDS.

I'VE NOTICED WHEN I BRING
PEOPLE INTO THE GARDEN

THAT WITHIN JUST
A SHORT PERIOD OF TIME,

THEY RISE ABOVE THE
FEELINGS THAT THEY HAD

WHEN THEY CAME
AND ARE LIFTED UP.

MILLER, VOICE-OVER:
CONSTRUCTION ON THE VAST PROJECT

BEGAN IN EARNEST IN 1923,
BUT AS IT PROGRESSED,

FARRAND HAD TO KEEP IN TOUCH
WITH HER GLOBE-TROTTING CLIENTS

AS THEY MOVED FROM ONE
DIPLOMATIC POST TO THE NEXT.

SHE KEPT UP A STEADY STREAM
OF CORRESPONDENCE,

AND OFTEN SENT MULTIPLE
DRAWINGS OF EVERY FEATURE,

PIECE OF FURNITURE,
AND ORNAMENTAL DETAIL,

OVER 1,200 IN ALL.

SHE BUILT FULL-SCALE
MOCK-UPS OF CRITICAL
PARTS OF THE GARDEN

SO WHEN THE BLISSES WERE
ACTUALLY ON THE SITE,

THEY COULD UNDERSTAND
HER IDEAS.

LOOKING BACK, MILDRED
OBSERVED THAT

"NEVER WERE THE OWNERS
SO PERSUASIVE AS TO
INSIST ON A DESIGN

WHICH MRS. FARRAND'S
INNER-EYE COULD NOT ACCEPT."

DUMBARTON OAKS WAS UNDERWAY,

BUT LITTLE DID BEATRIX KNOW
THAT SEEING IT TO COMPLETION

WOULD TAKE HER MORE THAN
TWO DECADES

AND REPRESENT THE MOST
MONUMENTAL CHALLENGE
OF HER CAREER.

IN 1927, AS FARRAND WAS
SUPERVISING A DESIGN STUDIO

WITH A FULL SLATE OF
IMPRESSIVE PROJECTS,

NEWS ARRIVED THAT
WOULD UPEND HER CAREFULLY
ORCHESTRATED PLANS.

WOMAN: SHE WAS REALLY
ON A ROLL,

AND THEN ALL THE SUDDEN,
HER SCHOLARLY HUSBAND,

MAX FARRAND, GETS A JOB
OFFER OF A LIFETIME

TO BE THE FIRST DIRECTOR
OF THE HUNTINGTON GALLERY

AND LIBRARY IN
SAN MARINO, CALIFORNIA.

SO ONE CAN IMAGINE
THE DISCUSSIONS

AROUND THE BREAKFAST
TABLE ABOUT WHAT
TO DO ABOUT THIS.

THERE WAS NO WAY THAT HE
WAS GONNA TURN THAT DOWN.

MILLER, VOICE-OVER:
BEATRIX WOULD NOW BE
ALMOST 3,000 MILES AWAY,

AND A 5-DAY TRIP BY TRAIN,

FROM THE MOST IMPORTANT PROJECT
SHE HAD EVER UNDERTAKEN.

WHILE MAX FOUND HIS NEW POST
AT THE HUNTINGTON CONGENIAL,

FOR BEATRIX, CALIFORNIA
WAS A PROFESSIONAL SETBACK.

TWO TALENTED DESIGNERS,
FLORENCE YOCH AND
LOCKWOOD DE FOREST,

DOMINATED THE LANDSCAPE FIELD
ON THE WEST COAST.

CUT OFF FROM THE
TIGHTLY-KNIT WORLD

THAT HAD PROVIDED MANY
OF HER EARLY COMMISSIONS,

BEATRIX FOUND HERSELF SHUT OUT
OF MANY IMPORTANT JOBS.

WORST OF ALL, THE EXTENSIVE
GROUNDS OF THE HUNTINGTON

REMAINED UNDER THE IRON GRIP
OF WILLIAM HERTRICH,

HENRY HUNTINGTON'S
LONGTIME HEAD GARDENER.

BEATRIX TRIED TO MAKE
THE BEST OF THE SITUATION,

DESIGNING THE GARDEN
AT THE DIRECTOR'S HOUSE
WHERE THEY LIVED,

WORKING ON THE MASTER PLAN
FOR THE SANTA BARBARA
BOTANIC GARDEN,

AND FINDING CONSULTING WORK
ON THE CAMPUS OF CALTECH.

BUT CALTECH TREATED HER
LIKE A VOLUNTEER,

WHILE PAYING FLORENCE YOCH FOR
SIMILAR WORK AT THE SAME TIME.

FINALLY, FARRAND COLDLY
INFORMED THE UNIVERSITY THAT

"MY HALF-CHARITABLE,
HALF-AMATEUR STATUS IS
NOT SATISFACTORY,"

AND MOVED ON.

WHILE HER PROSPECTS
IN CALIFORNIA SEEMED BLEAK,

FARRAND'S GIRLHOOD COMMUNITY
OF MOUNT DESERT ISLAND IN MAINE

ONCE AGAIN PROVED
TO BE A SUSTAINING

AND NURTURING WELLSPRING
OF HER CAREER.

OF ALL THE PROJECTS
SHE DID ON THE ISLAND,

THE MOST AMBITIOUS WAS
THE ONE SHE DESIGNED

FOR JOHN D. ROCKEFELLER JR.

AND HIS WIFE ABBY
IN SEAL HARBOR.

THE GARDEN WOULD BE SET
AWAY FROM THE MASSIVE

HUNDRED-ROOM MANSION
CALLED THE EYRIE,

AND IT WOULD SERVE AS
BOTH A DESTINATION
AND A CUTTING GARDEN

TO FILL THE HOUSE WITH
FRESH FLOWERS EVERY WEEK.

IT WAS AN IRRESISTIBLE
CHALLENGE FOR BEATRIX,

A CHANCE TO WORK WITH
THE NATIVE PLANTS OF MAINE

AND TO CREATE A BREATH-TAKING
ARRAY OF FLOWER BORDERS.

MILLER: WHEN YOU BRING
SOMEONE HERE,

YOU TAKE THEM VERY SLOWLY
DOWN THE SPIRIT PATH.

THESE STATUES,
THEY'RE KOREAN.

THEY'RE SCHOLARS
AND GENERALS.

THIS IS A WONDERFUL SPOT.

THE SCULPTURE OF IT.

AND THE FROG'S JUST
IN THE RIGHT PLACE.

ISN'T THAT SWEET OF HIM?

AND THEN THERE'S ALL THESE
DIFFERENT KINDS OF MOSS,

SO THERE ARE LOADS OF TEXTURES.

I MEAN, JUST LOOK AT THAT.

YOU JUST CAN HARDLY RESIST

PATTING THOSE BABIES,
THEY'RE SO BEAUTIFUL.

THERE'S A LITTLE WATER
GOING THROUGH THERE,

AND THE MOSS COVERS THE--

I GUESS IT MUST BE
THE SOIL OR THE ROCKS.

AH, I LOVE IT.

CHASSE: THE SPIRIT PATH
WAS REALLY CATALYZED

BY A TRIP THAT
MR. AND MRS. ROCKEFELLER

TOOK TO ASIA IN 1922.

THEY'D BEEN
COLLECTING ASIAN ART

AND PORCELAINS AND THINGS
FOR YEARS,

BUT THEY DIDN'T KNOW
ABOUT THE CULTURE
FROM WHICH IT SPRANG.

THE MING TOMBS MADE
A BIG IMPRESSION,

THE FORMALITY OF THIS GRAND
ALLAY OF GUARDIAN FIGURES.

AND THEY VISITED THE
FORBIDDEN CITY PALACE,
WHICH WAS IN RUINS.

IT WAS SURROUNDED BY
A PINK STUCCO WALL

WITH GOLD TILE ROOFS.

THAT IDEA CAME HOME
WITH THEM.

THEY WANTED WHAT
MRS. ROCKEFELLER CALLED
A CHINESE GARDEN.

MRS. FARRAND WANTED
THE SPIRIT PATH

PLANTED
IN NATIVE PLANTS.

THAT WAS SO
AVANT-GARDE OF HER.

IT WAS.

TODAY PEOPLE THINK THEY
JUST THOUGHT IT UP,

BUT SHE WAS DOING IT THEN.

MILLER: WE GO DOWN TO THE END
AND COME BACK.

A GOOD GARDEN
ALWAYS HAS A SURPRISE.

THERE'S A RAISED BED HERE
WITH THE WALL BEHIND IT,

DELIBERATELY PLANTED
SO THAT YOU CAN'T SEE IN.

OK, SO THEN YOU COME
TO THE GATE,

AND YOU STAND HERE, AND THEN
IF YOU'RE BRINGING A VISITOR,

YOU TURN AROUND
AND YOU LOOK AT THEM.

BECAUSE THEIR MOUTHS FALL
APART AND THEY GO, "OH!"

YOU SELDOM GET TO SEE THIS
MUCH COLOR ALL AT ONCE.

THE SMELL HERE.
OH, MY GOODNESS.

I'VE BEEN COMING HERE
FOR 47 YEARS.

I NEVER GET TIRED OF IT,

NEVER CEASE TO FEEL
THAT GREAT JOLT THAT
YOU GET FROM IT.

SO MRS. FARRAND
AND MRS. ROCKEFELLER
KNEW WHAT THEY WERE DOING.

THE SPIRIT PATH WAS ALL
ABOUT SERENITY AND QUIET,

AND THEN WOW.

CHASSE: IT'S THE MOST
AMBITIOUS FLOWER GARDEN
SHE EVER DID.

THERE WERE 600 PLANTS
ON THE LIST.

IT WAS OVERPOWERING.

MILLER: I THINK THAT THE SOUL
OF THE VISITOR IS STIMULATED

BY ALL OF THAT WONDERFUL STUFF,
AND THEN YOU TURN TO THIS,

AND IT'S MUCH MORE PEACEFUL,
MUCH MORE SERENE.

CHASSE: THE USE
OF NATIVE PLANTS

AND BACKGROUND OF
WOODLANDS WAS UNUSUAL.

ALMOST EVERYBODY ELSE
WAS TRYING

TO EUROPEANIZE THE
AMERICAN LANDSCAPE--

BECAUSE THAT'S CHIC.

AND NO ONE FOCUSED
ON THE FACT

THAT AMERICA HAD UNIQUE
LANDSCAPES OF ITS OWN

INTO WHICH YOU COULD
INSERT TRADITIONS FROM
DIFFERENT CULTURES.

MILLER, VOICE-OVER:
IN THE LATE 1920s,

BEATRIX FARRAND COULD
HAVE LIVED QUIETLY WITH
MAX AT THE HUNTINGTON,

CONTENT WITH AN ALREADY
DISTINGUISHED BODY OF WORK.

INSTEAD, SHE KEPT DESIGNING
AND BUILDING LANDSCAPES

AT AN ASTONISHING PACE.

WHEN SHE VISITED
FRIENDS AND CLIENTS,

SHE WOULD OFTEN PREFER
TO STAY AT A NEARBY HOTEL

SO SHE COULD WORK
LATE INTO THE NIGHT
WITHOUT DISTURBING THEM,

AND SHE CONTINUED
TO TRAVEL BACK AND FORTH
ACROSS THE COUNTRY,

OFTEN TAKING AN ASSISTANT ALONG
FOR PART OF THE JOURNEY.

CHASSE: SHE USED TO DICTATE
MEMOS AND THINGS ON TRAINS

AND THEN PUT THE PERSON
OFF AT THE NEXT STOP

TO TAKE A TRAIN BACK
AND TO TYPE IT UP.

TO GO BACK TO NEW YORK.
OH, I LOVE THAT.

MILLER, VOICE-OVER:
THE ROCKEFELLER GARDEN

IN MAINE WAS IN FULL SWING,

BUT IT WAS HER AMBITIOUS
PLANS FOR DUMBARTON OAKS

THAT WOULD HIGHLIGHT
FARRAND'S UNIQUE COMMAND

OF EVERY ASPECT
OF GARDEN DESIGN.

WHAT MAKES
DUMBARTON OAKS SPECIAL

IN TERMS OF MRS. FARRAND'S
WHOLE CAREER?

WELL, THIS IS ONE OF
THE MOST INTERESTING
GARDENS SHE DID

BECAUSE IT'S ONE OF
THE MOST CHALLENGING.

I MEAN, IT'S GOT
INCREDIBLY COMPLICATED
TOPOGRAPHY.

AND SHE HAD TO DEAL WITH
SO MANY CHALLENGING SLOPES

WHICH SHE RESOLVED IN
PART THROUGH TERRACING

AND IN PART THROUGH
JUST LETTING THE NATURAL
TOPOGRAPHY APPEAR.

SHE LET THE FOREST
COME RIGHT UP TO THE
HOUSE IN SOME PLACES

AND PUSHED THE LAWN
OUT INTO THE FOREST
IN OTHERS,

SO SHE CREATED THIS
SORT OF TENSION

BETWEEN THE CITY
AND THE FOREST.

WOMAN: AS YOU DESCEND
THROUGH THE FORMAL GARDENS,

YOU WOULD DESCEND DOWN INTO
THESE SO-CALLED WILD GARDENS

THAT WERE DESIGNED,

BUT WERE VERY,
VERY MUCH BASED

ON WILLIAM ROBINSON
TYPE OF PLANTING.

AND IT'S ALL SITUATED
IN A NATURAL STREAM VALLEY.

YOU WERE TELLING ME
THAT YOU HAD BULBS

THAT HAVE STARTED
COMING UP THAT
WERE THERE

WHEN MRS. FARRAND
PLANTED THEM.

YES.

HOW BEAUTIFUL.

DO YOU THINK SHE PUT
THESE BLUEBELLS IN HERE?

THIS IS ALL HER.
SHE PLANTED ALL OF THESE.

THE TWO PIECES WERE
OBVIOUSLY DESIGNED
AS A WHOLE.

IT WAS ALSO A COMPLIMENT
TO THE FORMAL GARDENS.

SO MANY OF THE VIEWS
RADIATE OUT INTO
THE WILD GARDEN.

IT WAS MEANT TO BE PART
OF THE EXPERIENCE.

AND IN HER ERA,
THIS PARK WAS
HIGHLY MAINTAINED.

THERE WERE
THOUSANDS OF BULBS AND
STREAM-SIDE PLANTINGS.

I MEAN, SHE REALLY
TACKLED SOMETHING OF
QUITE A LARGE SCALE.

MAN: I THINK THAT
BLENDING OF THE SORT
OF EUROPEAN FORMALITY

WITH THE WILD GARDEN CONCEPT
THAT THE ENGLISH

AND THE IRISH WERE
ADVOCATING IS UNIQUE.

IN A WAY, THIS THEREFORE,
BECOMES AN AMERICAN GARDEN.

YES.

WE'RE FORTUNATE
THAT DUMBARTON OAKS
HAS SURVIVED.

A HUNDRED YEARS
LATER WE CAN SEE

EXACTLY WHAT
SHE WANTED TO DO

AND WHAT SHE ACHIEVED,
AND IT'S BRILLIANT.

MILLER, VOICE-OVER:
"I WANT TO KEEP IT

AS POETIC AS POSSIBLE,"
SHE SAID,

"AND MAKE IT THE SORT OF PLACE

IN WHICH THRUSHES SING
AND DREAMS ARE DREAMT."

DUMBARTON OAKS AND THE WILD
GARDEN BEYOND ITS WALLS

WOULD EVENTUALLY BECOME
OPEN TO THE PUBLIC,

AND BEATRIX FARRAND
CRAFTED DETAILED INSTRUCTIONS

TO HELP TRANSFORM
THESE PRIVATE GROUNDS

INTO SPACES THAT
EVERYONE COULD ENJOY.

FARRAND'S COMMITMENT TO
THE PUBLIC WAS ON MY MIND

WHEN IN 1987 I WAS ASKED
TO DESIGN GARDENS

IN OF ONE OF THE MOST
URBAN PLACES IN AMERICA--

BRYANT PARK, RIGHT IN
THE MIDDLE OF MANHATTAN.

JUST AS THEY SAID YOU CAN'T

DO ANYTHING NICE
IN THE CONSERVATORY GARDEN,

THEY WOULD SAY YOU CAN'T
POSSIBLY FIX BRYANT PARK.

5 ACRES OF DEGRADATION.

THE PARKS DEPARTMENT
WASN'T TAKING CARE OF IT.

I HAD NO IDEA THERE WOULD BE

SUCH PUBLIC INTEREST
IN THE PROJECT.

WHO DID THEY CALL ON
BUT THE SUPERHERO

OF PUBLIC PARKS,
LYNDEN B. MILLER.

THERE WERE ONLY TWO
ENTRANCES AND EXITS,

AND THERE WERE THESE
HUGE, HIGH HEDGES.

AND SO PEOPLE FELT
THEY'D BE TRAPPED IN HERE.

MILLER, VOICE-OVER:
I COLLABORATED WITH

THE LANDSCAPE ARCHITECT
LAURIE OLIN,

WHO OPENED UP THE PARK
AND FOCUSED ON GIVING PEOPLE

A BEAUTIFUL, SAFE
SPACE TO ENJOY.

MOVEABLE CHAIRS WERE
ADDED TO GIVE THEM
A SENSE OF CONTROL.

I PUT LUSH GARDENS ON
EITHER SIDE OF THE MAIN LAWN

TO BRING A CONNECTION
WITH NATURE BACK TO
MIDTOWN MANHATTAN.

THE MORE PEOPLE THERE ARE,
THE SAFER THE PLACE IS.

THE MESSAGE THAT
PEOPLE HEAR IS,

WE DID THIS FOR YOU,
AND YOU'RE WORTH IT.

IN 1928, WHILE STILL
WORKING IN CALIFORNIA

AND SUPERVISING THE ONGOING
WORK AT DUMBARTON OAKS

AND THE GARDEN
IN SEAL HARBOR,

FARRAND TOOK ON
ANOTHER CHALLENGE.

JOHN D. ROCKEFELLER JR.
HAD BEGUN

BUILDING A NETWORK OF CARRIAGE
ROADS ON MOUNT DESERT

IN WHAT WOULD LATER BECOME
ACADIA NATIONAL PARK,

AND HE WAS COMMITTED TO
MAKING THEM OPEN TO THE PUBLIC.

ONCE AGAIN HE CALLED
FOR FARRAND'S HELP.

THE AMBITIOUS PROJECT,
WHICH COVERED 82 MILES

OF ROADS AND CONNECTING
FOOTPATHS

AND 13 BRIDGES BUILT
OF STONE FROM LOCAL QUARRIES,

INVOLVED A SIGNIFICANT AMOUNT
OF BLASTING AND CLEARING.

ROCKEFELLER HOPED THAT
FARRAND WOULD BE ABLE TO
RESTORE THE ROADSIDES

IN A WAY THAT BOTH
HEALED THE LANDSCAPE

AND MAINTAINED THE VIEWS
AND CHARACTER

OF THE NEW THOROUGHFARES.

CHASSE: IT'S ONE OF HER GREAT
UNHERALDED PROJECTS

BECAUSE THEY WERE BLASTING,

WHICH LEFT A LOT
OF RUBBLE AND SCARS.

SHE DESIGNED THE PLANTINGS
WITH 99% NATIVE PLANTS

SO THAT WOULD
ALL BE INVISIBLE.

AND SHE DID IT
ON THE CONDITION

THAT SHE WOULD NOT
CHARGE FOR IT

BECAUSE HE WAS
DOING IT OUT OF
HIS OWN PASSION

AND SHE WANTED
TO TRY TO MATCH THAT.

MILLER, VOICE-OVER: HER
COLLABORATION WITH ROCKEFELLER

WAS A MEETING OF TWO
STRONG-MINDED PEOPLE,

WHO, TO THEIR GREAT DELIGHT,
SAW THINGS THE SAME WAY.

"PLEASE KNOW THAT THERE IS
NO ROAD WHICH I BUILD

"FOR WHICH I DO NOT COVET
YOUR GRACIOUS INTEREST

AND SKILLFUL CONSIDERATION,"

ROCKEFELLER WROTE HER
IN ONE TYPICAL LETTER.

♪

[INDISTINCT CHATTER]

MILLER: MR. ROCKEFELLER
AND MRS. FARRAND

WENT OVER EVERY
SQUARE INCH OF THE ROADS,

THINKING HOW TO MAKE THEM MORE
BEAUTIFUL FOR THE PUBLIC.

SHE WAS ALWAYS
PAINTING WITH PLANTS.

CHASSE: FARRAND DREW
STRONG PARALLELS

BETWEEN NATURE
AND DESIGN LANDSCAPES,

AND ONE OF THE MOST
ELOQUENT ARGUMENTS

SHE MADE WAS FOR
THE CREATION OF
ACADIA NATIONAL PARK.

SHE WAS
AN EARLY SUPPORTER.

SHE WROTE AN ARTICLE
IN WHICH SHE ARTICULATES

THE VALUE OF NATURE
AND THE VALUE
OF PUBLIC ACCESS

TO A BEAUTIFUL PLACE
LIKE THAT.

AND SEE, THAT'S WHY--
THAT'S WHY SHE'S MY HEROINE.

I'VE WATCHED WHAT
THOSE PLACES DO.

I THINK EVERY PERSON HAS
SOMETHING INSIDE THEM

THAT NEEDS A CONNECTION
WITH NATURE.

[SIRENS]

MILLER, VOICE-OVER:
I'VE NOTICED THAT DURING
NATIONAL TRAGEDIES,

PEOPLE TEND TO RELY ON THE
NATURAL WORLD TO GROUND THEM.

IN 2001, WHEN THE WORLD TRADE
CENTER BUILDINGS CAME DOWN,

THEY WERE ONLY ABOUT
6 BLOCKS FROM A GARDEN

I HAD DESIGNED IN
BATTERY PARK CITY.

DESPITE THE DEVASTATION,
THE RESCUE WORKERS USED THE PARK

AS A REFUGE DURING
THEIR LUNCH HOURS.

EVERYTHING KEPT RIGHT ON
BLOOMING THROUGH THE SMOKE
AND THE ASHES.

ON SEPTEMBER 12th,
I WAS LOOKING OUT THE WINDOW

WHERE I LIVE 100 BLOCKS AWAY

AND THINKING ABOUT
MY POOR CITY,

AND SOMETHING HAPPENED THAT
CAUGHT THE EYE OF THE MEDIA.

MY DUTCH BULB-GROWER
CALLED UP AND SAID,

"I'M SO UPSET ABOUT WHAT'S
HAPPENED TO NEW YORK."

AND, "WHAT CAN I DO?"

AND I SAID, "HANS, HAVE
YOU GOT ANY EXTRA BULBS?"

MILLER, VOICE-OVER:
WITHIN A WEEK,

HE'D FOUND A MILLION OF THEM,
AND HE DONATED THEM.

YELLOW IS THE COLOR
WE'VE ADOPTED

IN THIS COUNTRY
FOR REMEMBRANCE.

MILLER, VOICE-OVER: WORKING
WITH THE COMMISSIONER

OF MANHATTAN PARKS,
ADRIAN BENEPE,

AND NEW YORKERS FOR PARKS,

WE PLANTED IN ALL
5 BOROUGHS,

IN PLACES WHERE THEY HADN'T
SEEN A FLOWER IN YEARS.

REPORTER: NEW YORK CITY WILL
BE THE GOLDEN APPLE.

THE YELLOW RIBBON OF DAFFODILS
WINDING THROUGH EVERY BOROUGH.

MILLER, VOICE-OVER: WE PLANTED
BULBS WITH THE FAMILIES

OF FIREMEN AND POLICEMEN.

REPORTER: SINCE SEPTEMBER 11th,
J.A. REYNOLDS HAS BEEN TRYING

TO COME TO TERMS WITH
THE LOSS OF HIS SON BRUCE.

REYNOLDS: THIS WAS
HIS PLAYGROUND.

HE GREW UP HERE WHEN HE WAS
5, 6, 7, 8 YEARS OLD.

IT GOT ME BACK AGAIN
INTO THE GARDEN.

WE HAVE TO FIND SOME WAY TO
PERPETUATE THEIR MEMORY,

AND I DON'T THINK THERE
COULD BE ANY BETTER WAY

THAN TURNING TO THE EARTH.

MILLER, VOICE-OVER:
IN MARCH OF 1941,

MAX FARRAND RESIGNED
FROM THE HUNTINGTON,

AND HE AND BEATRIX
LEFT CALIFORNIA

AND MOVED PERMANENTLY
TO REEF POINT IN MAINE.

THEY SHARED A DREAM OF
TRANSFORMING HER CHILDHOOD HOME

INTO A CENTER FOR PUBLIC
HORTICULTURE AND RESEARCH.

"THE OBJECT OF REEF POINT,"
BEATRIX WROTE,

"IS PRIMARILY TO SHOW WHAT
OUTDOOR BEAUTY CAN CONTRIBUTE

"TO THOSE WHO CAN
BE INFLUENCED BY TREES

AND FLOWERS AND OPEN-AIR
COMPOSITION."

TANKARD: SHE WANTED TO OPEN UP
GARDENS FOR PEOPLE,

JUST ORDINARY PEOPLE
TO COME AND LOOK AT.

IT WAS A HAPPY TIME
AT LAST,

AND THE TWO OF THEM
COULD WORK TOGETHER
TAKING A FAMILY HOME

AND CONVERTING IT INTO
A LANDSCAPE STUDY CENTER.

MILLER, VOICE-OVER:
NOTHING QUITE LIKE REEF POINT

HAD EVER BEEN TRIED BEFORE--

A PRIVATE HOME TRANSFORMED
INTO A BOTANIC GARDEN,

SPECIALIZING
IN NATIVE PLANTS

AND DEDICATED TO SPREADING
IDEAS ABOUT HORTICULTURE.

TANKARD: IT WAS A STUDY GARDEN.

EVERYTHING WAS
LAID OUT IN BEDS,

AND HERBARIUM SHEETS
WERE MADE FOR
EVERY SINGLE THING.

DON'T YOU WISH WE
COULD'VE GONE THERE?

AND I WOULD'VE LIKED TO HAVE
BEEN ONE OF HER STUDENTS.

TANKARD: OH, I THINK SO.
I THINK SO.

MILLER, VOICE-OVER:
IN A SENSE, BEATRIX
WAS COMING FULL CIRCLE,

RETURNING TO HER HORTICULTURAL
ROOTS AS AN AVID STUDENT

OF CHARLES SARGENT'S
AT THE ARNOLD ARBORETUM.

AND STANDING BEHIND ALL HER
EFFORTS WAS HER HUSBAND,

WHOM SHE CALLED
"MY GOLDEN MAX."

BUT IN THE SPRING OF 1945,

MAX FARRAND'S HEALTH
BEGAN TO DECLINE,

AND IN JUNE, HE DIED.

BEATRIX REFLECTED
TO A FRIEND ABOUT

"30 YEARS OF HAPPY
COMPANIONSHIP

WITH A GREAT TEACHER, A SCHOLAR,
AND A CHARMING GENTLEMAN."

WITHOUT MAX FOR SUPPORT,
BEATRIX CONTINUED TO TRY

TO REALIZE THEIR DREAM
AT REEF POINT.

IT DEVELOPED INTO REALLY
A MAJOR BOTANIC GARDEN

WITH HERBARIUM AND ALL
THE THINGS THAT YOU NEED,

ALL THE SEED PACKETS
FROM ALL OVER THE COUNTRY.

I MEAN, WHO ELSE WAS DOING THAT
AS AN INDIVIDUAL GARDENER?

MILLER, VOICE-OVER:
BEATRIX BEGAN PUBLISHING
A SERIES OF NEWSLETTERS

AND STARTED WRITING
A WEEKLY COLUMN

FOR THE "BAR HARBOR TIMES."

AND SHE OPENED HER GARDENS
TO THE PUBLIC IN 1945.

ONE VISITOR
RECALLED THAT BEATRIX

"PUT A SPRIG OF WHITE
HEATHER IN MY BUTTONHOLE

WHEN WE SAID GOOD-BYE."

THEN, ON SEPTEMBER 5, 1947,

A WILDFIRE SWEPT
ACROSS THE ISLAND,

DESTROYING ALMOST
20,000 ACRES,

INCLUDING A SIZABLE
PORTION OF BAR HARBOR.

MIRACULOUSLY,
REEF POINT WAS SPARED.

BUT THE FUTURE OF FARRAND'S
DREAM WAS IN DOUBT.

DESPITE ATTRACTING 50,000
VISITORS OVERALL,

THERE WAS NO ENDOWMENT
FOR THE CENTER,

AND HER OWN RESOURCES
WERE DWINDLING.

AMY GARLAND, HER
HEAD GARDENER, WAS AGING,

AND EFFORTS TO FIND
A SKILLED HORTICULTURIST

TO REPLACE HER
PROVED FRUITLESS.

IN THE END, BEATRIX FELT
SHE HAD NO CHOICE

BUT TO SHUT
REEF POINT DOWN.

WHAT APPALLS ME
AND SEEMS SO DRAMATIC

IS THAT SHE TOOK HER
LIFE'S WORK IN THOSE PLANTS,

AND SHE SAID,
"TAKE THEM AWAY."

THERE'S A BIT OF AN ANGER,
DON'T YOU FEEL, IN THIS?

CHASSE: OH, YEAH, I THINK
SO, AND FRUSTRATION.

YEAH.

I ALWAYS HAVE FELT THAT
SHE WAS DEPRESSED,

AND SHE JUST SAID
THE HECK WITH IT.

I THINK HER STANDARDS
FOR THE GARDEN WERE SO HIGH.

YEAH, YEAH.

AND SHE COULD SEE
THE DIFFICULTY

OF EVER TRYING TO MAINTAIN
THOSE STANDARDS

WITHOUT THE PROPER STAFF
AND WITHOUT THE RESOURCES
THAT WERE REQUIRED.

SHE COULDN'T BEAR
TO WATCH IT GO DOWNHILL.

MILLER, VOICE-OVER:
"IT HAS TAKEN ALL THE
COURAGE I CAN MUSTER

TO HAVE ARRIVED
AT THIS DECISION,"

BEATRIX WROTE
IN MAY OF 1955.

"BUT IT IS BETTER TO
BE OF GOOD COURAGE
AND ARISE AND DO IT

"THAN HAVE TO FACE
DETERIORATION OF THE GARDENS

AND WASTE THE RESOURCES OF
THE LIBRARY AND COLLECTIONS."

UNABLE TO AFFORD THE UPKEEP,

BEATRIX HAD THE HOUSE
TORN DOWN.

HER OLD PATRON AND FRIEND
JOHN D. ROCKEFELLER JR.

AGREED TO UNDERWRITE
THE COST OF SAVING HER
MOST REMARKABLE PLANTS,

AND THEY BECAME THE FOUNDATION
OF TWO NEW PUBLIC GARDENS.

AT THE AGE OF 83,
BEATRIX FARRAND

WAS NOW LOOKING
FOR A FINAL HOME.

AMY GARLAND AND HER HUSBAND
LEWIS WERE PLANNING TO RETIRE

TO A SMALL FARMHOUSE
SURROUNDED BY A HUNDRED ACRES

NOT FAR FROM BAR HARBOR,

AND THEY INVITED
HER TO JOIN THEM.

SHE ACCEPTED AND CONSTRUCTED
A SEPARATE WING

FOR HERSELF AND HER MAID,
CLEMENTINE WALKER.

AS SHE SETTLED INTO
HER MODEST SURROUNDINGS,

BEATRIX FARRAND HAD ONE MORE
GARDEN SHE WANTED TO DESIGN.

CHASSE: SHE BROUGHT ALL
OF HER FAVORITE PLANTS,

WHICH HAD TO BE WINNOWED
DOWN TO A MUCH SMALLER LIST

AND IS VERY TELLING

AND MADE A LITTLE
FORMAL TRIPARTITE GARDEN

THAT THE APARTMENTS
LOOKED OUT ONTO.

HER COMPANION, CLEMENTINE,
LIKED HOT COLORS,

SO CLEMENTINE LOOKED OUT
INTO THE HOT GARDEN,

AND BEATRIX'S SITTING
ROOM LOOKED OUT INTO
THE COOL GARDEN.

I LOVE THAT.

MILLER: HERE SHE HAS A VERY
SIMPLE RECTANGULAR SPACE,

AND EVERYTHING IS SMALL.

I LOVE THAT YOU CAN SIT ON
THE SOFA AND SEE WHAT SHE SAW.

THIS IS WHAT SHE CHOSE
AFTER A LONG,

EXCITING, AND
COMPLICATED LIFE.

DIETZ: SHE DIDN'T STOP.

I MEAN, ONCE SHE GOT
TO HER LITTLE COTTAGE,

SHE MADE A NEW GARDEN,

AND SHE KEPT HER STANDARDS
RIGHT TO THE END.

VERY ASTONISHING WOMAN.

MILLER, VOICE-OVER:
BEATRIX FARRAND LIVED ON

AT GARLAND FARM
FOR 4 YEARS.

SHE RECEIVED
AN HONORARY DEGREE

AND THE RANK OF PROFESSOR
FROM YALE UNIVERSITY,

A DOCTORATE OF LETTERS
FROM SMITH COLLEGE,

AND THE GARDEN CLUB OF
AMERICA GAVE HER ITS
MEDAL OF ACHIEVEMENT.

SHE DIED AT HOME
ON FEBRUARY 27, 1959.

BEARDSLEY: YOU CAN GO
INTO ONE OF HER GARDENS

AND LEARN ABOUT
THIS NECESSITY TO ADAPT

TO CHANGING CLIMATE,
CHANGING TIMES.

SHE HAD LONG-TERM
ASSOCIATIONS

AND OVER TIME MADE SURE
THAT THOSE LANDSCAPES
WOULD ENDURE.

CLEVES SYMMES: IN HER GARDENS,
PEOPLE EXPERIENCE NATURE

AND ART AT THE SAME TIME,

JUST THE SAME WAY THEY
WERE 100 YEARS AGO.

DIETZ: SHE CAME OUT OF THIS
VERY SOCIETY BACKGROUND,

AND SHE STRUCK OUT ON HER OWN
AND BECAME SOMETHING MODERN.

AND THAT'S--THAT'S
WHAT A PIONEER IS.

IT'S SOMEBODY
WHO BREAKS THE MOLD.

MILLER, VOICE-OVER:
"GARDENING IS A GENTLE
ART," FARRAND ONCE WROTE,

"AND YET IT NEEDS
IMAGINATION, STRENGTH,

"AND PERHAPS MORE THAN
ANYTHING ELSE,

"THE VISION THAT SEES
THE FUTURE THROUGH THE PRESENT

AND BRAVELY WORKS TOWARD
THAT VISION."

♪