Cultured Magazine

Summer 2012

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Adam Lindemann and Amalia Dayan's sprawling Montauk property, which was featured in Assouline's tome, Hamptons Gardens, became a canvas for Brooks' meandering walk- ways, hedges and native grasses—all punctuated by one very large Urs Fischer teddy bear sculpture (opposite). was a 23-foot-tall yellow Urs Fischer teddy bear that ended up facing out to the sea in a "big green room," as she puts it. But even though Untitled (Lamp/Bear) stands so tall it can be seen from al- most everywhere, there is no direct view of it from the Lindemann home. "There's a tunnel of undergrowth," Brooks says, "a very indirect way to the house." Designer and client have a mutual admiration: Lindemann refers to her work as "a natural beauty," and then adds, "So is she." In turn, she says, "He's so used to working with artists, he treated it like that. 'This is what your concept is. I don't want to alter it.' I've never had a client like that." She has done urban gardens for other clients, including her own "tiny little place" in Brooklyn, a place she deems "very French." She has tackled Italian terraced gardens, olive groves and palm walks in Spain, herbaceous borders in England. One of her favorite tropes is a rather messy-looking country lane (less formal than an allée) ending in a rustic wattle gate. She did that in an ongoing project for a client on Long Island who bought one house, and then the adjoining house and more land 10 years later. "So there are lots of walks, to get from one house to the other, different places where you meet, for tennis, or lunch in the greenhouse," Brooks says. "You are always moving between places." Since her clients often live near the sea, moving toward the water is one of the most important approaches. For the Long Island project, Brooks said, "One big allee gets you to the beach. It's quite organic, an amazing little strip of sand that goes out, if the tide goes right, covered in swans." Just as Ms. Brooks' descriptions sound like an English fairytale, her wa- tercolor landscapes would be apt illustrations. She does final sketches as presents for her clients, when "a job is finally done," she said. Guaranteed, that will never be in April. The Tripod, 1949, also known as the Chistera, is considered one of Motte's masterpieces. CULTURED 75 PHOTOS BY DOUG YOUNG PHOTO BY ANNA BUSSOLOTTO

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