The Rhythms Of Nature: Geoffrey Nimmer Landscapes Ecologically Inspired Designs

Few in the field of garden design bring the same depth of artistic insight as Geoffrey Nimmer, founder of Geoffrey Nimmer Landscaping, based in the Hamptons. Coming from modern dance, Geoffrey sees every project as an evolving choreography, creating gardens that combine dramatic style with environmental awareness. He also cut his teeth as an intern and then as estate gardener at the Watermill Center under Robert Wilson’s tutelage.

From the deliberate positioning of indigenous trees to the rhythmic interplay of plantings and structures, every environment he designs is a living work of art — one that develops in tandem with its environment and the people who live there. In this illuminating interview, Geoffrey discusses how a dancer’s awareness of space, rhythm, and flow became the base for a practice as mindful as it is artistic, thereby creating deeply resonant spaces with both the land and the lives they shape. 

You began your career as a modern dancer. How did that background shape your understanding of space, rhythm, and flow in garden design?

As a dancer, you are trained to be aware of how you move through space. And how juxtapositions of movement and stillness affect that space. I worked with a choreographer who, when asked once why there wasn’t partnering or touching in her dances, replied, “I touch the space.” That stuck with me, and I’m always looking for how my designs touch the space. I find it so satisfying to set up rhythms in my designs that I often refer to as choreography.

What inspired you to transition from performing arts to horticulture and eventually launch your landscape design firm?

It is hard to leave something as inspiring as being a dancer. I felt really lucky to have something else, landscape design, that I was equally passionate about. When I was still dancing, but transitioning to landscape design, people would always question how I could go from dancing to landscaping. My response was that they are more alike than they are different; they are both physical, they are both creative, and most importantly, they are both about time and space. I loved the look of understanding that I always received.

Your work is known for blending ecological sensitivity with lasting style. What does that balance look like in real-world projects?

For me, lasting style is a direct result of ecological sensitivity. When landscapes are designed with ecology in mind, by choosing the right plant material for the site conditions, they can thrive without a lot of intervention, particularly chemical. The landscape grows, changes, and becomes sustainable, which is its lasting style. While I mentioned earlier that landscape design is about touching the space, at the same time, being ecological or sustainable means touching the space with sensitivity and meticulousness, creating landscapes that naturally succeed over time. In the years that I have been in business, I find more and more clients understand and want that type of design.

You’ve said a landscape should be a work of art. What makes a garden feel artful to you?

Landscape design is the same as choreography in that it uses patterns, relationships, rhythm, and light to move you. I try to apply that idea to my work. I can set up a rhythm in a planting and then alter that rhythm in a way that can be whimsical, or sad, or challenging in some way. I can put a static object, a sculpture, or a boulder in a dynamic meadow, and the contrast can evoke an emotion. Just like any other art form, a landscape can be incredibly moving in a completely non-verbal way.

When starting a new project, how do you approach understanding both the site and the client’s personality?

I always try to apply the concept of genus loci to each of my projects. I look to understand the distinctive qualities of a place and try to design in harmony with its existing character. This relates directly to being ecologically sensitive, paying attention to the specific site conditions, and knowing what plants will thrive in those conditions. As well as taking into consideration architecture and how my landscape design can enhance it. Another way landscape design relates to choreography is that they are both processes. I enjoy getting to know my clients and their needs through the process, and I love the process over time. Both the time it takes to develop a master plan, as well as the time it takes to watch the landscape evolve.

What are some native plants or sustainable practices you find especially effective on the East End?

We have so many beautiful native trees here. I use Nyssa sylvatica, Juniperus virginiana, Magnolia virginiana whenever possible, and Liriodendron tulipifera is breathtaking. In a certain way, lawns are the enemy in organic landscapes, but people want and need some lawn. I have had great success promoting organic lawns through correct cultural practices. It is fairly easy and economical. There may be a need to let go of certain expectations about what a lawn should look like; there may be some clover, some dandelions, some moss, but in general, I find clients have been open to it. Particularly when they realize their lawn is safe for babies and pets to roll around in.

Have client expectations changed in the Hamptons over the years, especially since more people are living here full-time?

There has been a big change in how people view their landscape as a result of living out here full-time. It became very apparent during the pandemic. People had no idea what their property looked like in the winter, or how it changed from winter to spring to summer. They became more aware of the process, the growing, changing, evolving elements of their properties. This is what having a garden is all about.

What’s one project that deeply resonated with you — and why?

I have a few, but one that comes to mind is a meadow I created for the front of a really beautiful, modern, minimalist home. It was a bold move on the clients’ part to understand the concept of something other than a manicured lawn setting off the beautiful architecture. The meadow has its rhythm and softness, which play against the bold building, illustrating the juxtaposition I mentioned earlier, which becomes incredibly moving.

You often phase installations to be both economic and strategic. How do you ensure that beauty is still achieved at each stage?

With a thoughtful, considered master plan in place, the landscape can be developed over time based on budget. We can plant just one element of the design, a tree, for instance, creating some enhancement, knowing that as the property is developed over time, that element still makes sense.

Your time at the Watermill Center sounds formative. What did you learn there that continues to influence your work?

My time at the Watermill Center, as well as a trip to Japan, really illustrated that landscape design is an art form. I consider Robert Wilson such a great artist, and he was and still is so into his landscape. I loved being a part of that. From my time working with him, I learned to be very meticulous and pay attention to every detail. I know anyone who knows him knows what I mean. The Watermill Center also clearly illustrates the idea of time and change. I go there now and see things that I did (a long time ago), that are continuing to grow, change, and evolve.

How do you incorporate your yoga practice or sense of mindfulness into the way you design or interact with the land?

Yoga teaches us that we are not separate from the world around us; we are all connected and part of a bigger whole — the natural world. That is why I have always worked to promote being organic and sustainable, we need to respect this world we are a part of.

Collaboration is central to your approach. What makes for a successful creative partnership with a client or artisan?

I work with fantastic contractors, masons, and carpenters, who are artists themselves, and can interpret my concepts, solve challenges my designs potentially create, and are good at rolling with changes. My favorite client has ideas of their own, and at the same time, is open to my ideas and aesthetics. It is part of my creative process to be open to their ideas as well.

What are some of the unique challenges of working in the coastal environments of the Hamptons?

Deer.

Looking ahead, what excites you most about the future of landscape design here on the East End?

I am excited about the growing acceptance of the need to be sustainable and organic in the landscape. Clients are so much more interested in working towards that than they were when I first started my business. It is great to witness the ideals of a beautiful landscape, growing, changing, and evolving, in the same way that a beautiful landscape does.

To learn more, visit www.geoffreynimmerlandscapes.com.