Selecting Exceptional Plants

The next future plants? Or not quite garden-worthy?

How great plantsmen use superior plant selection to elevate their designs 

Let’s face it: it’s entirely possible to create an elegant garden out of everyday plants. The highly sculpted gardens of the Belgian landscape design firm Wirtz International almost flaunt the fact that a large, diverse plant list is not necessary to create great design. Their serpentine coiled hedges, dreamy cloud-shaped boxwoods, and fluffy grass-covered mounds are an artistic declaration that less can indeed be more. No cutting-edge plants here: just boxwood, yews, hornbeams, and the occasional ornamental grass.

Even at a less grand scale, simple can be beautiful. I can think of no more elegant space than a simple gravel terrace underneath a beautiful tree. Who can ask for more than dappled light, the sway of a branch, and the change of seasons?

But at the same time, some of the best plantsmen in the world achieve success in part through discriminating taste in plant selection. They seek out not only the most vigorous plants, but also the most interesting selections. This discerning eye is one of the qualities that unite a diverse group of plantsmen such as Karl Foerster, Mien Ruys, Beth Chatto, Wolfgang Oehme, Henk Gerritson, Piet Oudolf, Fergus Garrett, Dan Hinkley, and Roy Diblik. Their gardens are legendary in part because of their ruthlessness in plant selection. And as a result, they made us see their plants (and gardens) in a new light.

Renowned plantsmen known for their discriminating plant selection

Consider Piet Oudolf: he is known for his rigorous trialing of plants before ever using them in a design. In the preface to Dream Plants, an excellent reference book by Piet and Henk Gerritson of the toughest plants, Noel Kingsbury describes Piet’s process, “Over the years he has grown a vast range of plants from seed list, collected seed in the wild, trialled innumerable plants bought in nurseries as well as those given him by friends and colleagues. Only a tiny fraction of these are judged good enough to be used in the gardens that he makes.” 

So is it possible to develop a discriminating eye for plants? One that will improve your own plantings? This fall I am looking at the flaws in my own garden. Many of the changes I will make focus on plants that just didn’t perform in my small space. So in order to learn a few lessons, I’ve been pouring over the planting plans and lists of several of these designers. The takeaways I list below are definitely more suited for the horticulturally adventurous rather than the casual gardener. But whether you consider gardening a quiet escape or an extreme sport, some of these points are worth pondering:

Gardening After the Apocalypse

The very nature of nature is changing. What then about our gardens?

Derek Jarman's Prospect Cottage at Dungeness. Photo by Michael Peters

I’m no doomsday watcher. I scoffed at Y2K, ignored the Mayan calendar, and can’t even bother to keep a Homeland Security-endorsed emergency supply list. But lately it has become increasingly hard to ignore the fact that something is stirring in the waters.

First, there are the climate-related problems: the continuing drought in the Midwest; hurricanes like Katrina and Sandy; and the fact that 13 of the warmest years on record have occurred in the past 15 years. Zone maps are changing, species invasions are increasing, and extinctions are rising. I don’t care whether you believe climate change is man-made or just some temporary blip; there simply is no normal anymore. Gardeners more attuned to seasonal changes are the first to notice a difference. In my own garden last year, I noticed several bugs I have never seen before; I lost several perennials because the winter was not cool enough; and my daffodils started to emerge in December.

Throw in some global political instability (the American fiscal cliff, the European debt crisis) and there’s only one reasonable conclusion one can make about the future: the only certainty is a whole lot more uncertainty.

Ok, ok, so maybe the sky is not falling yet, but it is reasonable to say that the threats we hear about in the news lately are particularly ominous. Perhaps more catastrophic in nature. Globalization has linked us in many wonderful ways, but it has also exposed the fragility of world systems. Thus, a single financial firm (Bear Stearns) declares bankruptcy, and the global economy collapses. A water shortage along the Mississippi River causes food prices to skyrocket in China. Volatility breeds volatility.

It’s with this context in mind that I think about gardening. What does it mean to garden in an era when the threats we face are apocalyptic? The very nature of nature is changing. What then about our gardens?

Or to put the question more pointedly: Do we continue to grow marigolds even as the emergency sirens blare?

Garden Design Trends 2013

Once again, Cleve West's Best in Show Chelsea garden shows what themes will dominate design in 2013

Oooh, goody!  The 2013 Garden Trends report is out at Grounded Design.  Another post where I stare into my glass ball and pretend to be an expert prognosticator.  Trend predicting is, of course, utterly obnoxious. But I love trying to articulate the zeitgeist without any real accountability (everyone forgets the trends one week later).  With that confident assertion, here are my predictions for 2013:

1. The New Romanticism, Simplified

Yes, I know this was last year’s theme for my trends, but the the romantic mood that has swept over garden design will persist in 2013. As Western states teeter on the brink of bankruptcy, and we increasingly experience the world through our smartphones, people will turn to their gardens for a spiritually authentic, but emotionally-soothing experience.  We crave something real from our gardens, but not too edgy.  This year’s romanticism will be simpler and less fussy than previous romantic periods in history.   Historic revivalism (a la Downton Abbey ) will continue to influence designers, particularly Victorian gardens (check out Cleve West’s Best in Show Chelsea Garden last year for an example), but these styles will manifest themselves in simpler, sleeker ways.  The elegance of the past gardens is stimulating, yet comforting.  Other romantic trends such as exoticism, a renewed interest in the emotional experiences of gardens, and the glorification of wildness will be big themes in designs this year.

2. Nostalgic for Nature

Nigel Dunnet's Olympic meadows were a game changer for planting design

Nature has always inspired garden design (see my recent post on "nostalgia"), but gardens in 2013 will express a particular longing for certain iconic naturalistic scenes: meadows, prairies, forests, and wetlands. The meadows at last summer’s London Olympics are an excellent example of the kind of stylized natural scenes that will trickle into gardens and landscapes this year.

Garden Designer's Roundtable: Memory and Plants

NOSTALGIA: The idea that a plant or group of plants can evoke certain emotions based upon an evolved memory of the landscapes they are associated.

I’ve been thinking a lot lately about our emotional experience of landscapes.  Why do some landscapes make me feel relaxed and contemplative, while others make me nervous or uncomfortable?  Landscape architects, designers, and gardeners have long explored the aesthetic experience of landscapes, but rarely the emotional experience.

I was delighted that the Garden Designer’s Roundtable topic for the month is “Memory and Plants.”  It is the perfect excuse for dwelling a bit more deeply on a concept I’ve articulated before, but only partially.  I want to write about “nostalgia,” a word I’ve used to describe our emotional reaction to planting design. 

Why does this matter?  For me, understanding our emotional connection to plants and landscapes holds tremendous potential for all those who design or garden.  First, it pushes landscape design past the endless (and tiresome) pendulum swing of geometric vs. naturalistic (or formal vs. informal) design.  This fundamentally formalistic concern has distracted us from exploring the full potential of landscape as a dynamic art form.  Second, it offers designers a framework for understanding how to create emotional experiences within gardens and landscapes.

Plants, Memory, and Emotion

We are all likely to have very personal and subjective reactions to specific plants.  The scent of orange blossoms remind me of a winter afternoon I spent in a Dumbarton Oaks conservatory; Southern Magnolias remind me of a giant tree on my grandmother’s property I played in as a child.  These personal memories are poignant connections to plants, people, and places; but these subjective responses are not what I’m interested in here.