For many people who are planning a garden, the most exciting and challenging part of the process is choosing the plants. It is not simply a question of going to the local garden centre or nursery and filling up a trolley or shopping cart. Each plant has its own characteristics, situation and soil preferences, and you need to consider how the plants that you want to use will relate to your garden. As every site is different, there is no standard solution.
To design with plants, you need to know them—not just from photographs in a reference book or catalogue or by keeping a plant notebook (see page 277), but most importantly from frequent observation and, if possible, from growing them yourself. However, a collection of plants does not necessarily make a good garden. This chapter gives you guidelines for choosing plants that will create memorable, lasting groupings. Consideration is given to the importance of outline shape and also the texture and patterns of foliage.
Colour can be provided in both foliage and flowers, but flowers are fleeting and subject to seasonal change. Enduring far longer than flowers, foliage is often secondary in consideration to flower colour. A memorable planting scheme usually relies on outline plant shape, texture of leaves, colour of both leaves and flowers, and the relationship between each individual plant and neighbouring plants.
Much effort, time and money may be spent on the garden layout. Now the planting should be planned to harmonize with it and set it off, softening and contrasting with the harsher lines of man-made materials. It is usually the planting that most people remember.
You probably associate planting with bringing colour into your garden, which is a perfectly acceptable expectation. However, as plants play many more functional roles, such as providing a garden with structure, colour should not be the first consideration. Examining the different roles planting can play will help you identify your own planting objectives.
While developing the garden layout plan, you considered certain aspects of the planting, such as using plants to create the garden structure. For instance, you should have decided already which trees to include, and the location and type of any hedges. In shaping the various spaces, these decisions need to be taken early on in the design process because structural planting is as important as hard landscaping.
Plants chosen for structure are usually trees or shrubs which will provide height and bulk throughout the year, but remember that there are also many large herbaceous perennials that can dramatically affect the structure of the garden. Some taller perennials can reach the staggering height of 2 m (6.6 ft.) during the growing season, before dying right back to the ground in winter. Try to think through the effect of seasonal change in relation to the structure and height in your garden. The bare winter appearance will be very different from high summer when the flower-filled borders are at their peak.
There should be sufficient structural planting to enclose and shape each individual space, creating a series of garden “rooms” which can be enjoyed during the different seasons.
For a garden to read as a unified whole, the plants should work in harmony with the hard-landscaping features. Plants may be used as focal points, such as an ornamental tree at the end of a vista, or a topiary feature drawing attention to an alcove. Plants can also be used to direct movement through a garden, either by forming impenetrable masses or by marking a change in direction.
When choosing plants to function closely with hard structures, they should be of appropriate size, shape and growth potential. Avoid using vigorous plants for quick effect, which may result in narrowed paths, obscured views, and much thinning out later.
Whether in an urban or rural setting, you can use plants to unite the garden with the landscape beyond. In a country situation a garden can appear to merge with the local landscape by repeating native plants, or their ornamental forms, within the garden. In city gardens the shape of neighbouring buildings can be echoed or contrasted through the selection and arrangement of the plants.
In Chapter 1 the importance of considering a garden’s setting to determine its style was emphasized. There are many different styles of planting, or ways of combining plants for different effects. Often, the climate, soil and aspect will rule out inappropriate styles. To take an extreme example, a woodland garden would not be appropriate, or even survive, on an urban rooftop. There are certain styles of planting that, although possible, would be out of character with the house and its surroundings. In a country setting particularly, the view for others may be spoilt if your planting detracts from the surrounding landscape. Think about the prevailing conditions of your site, and try to ensure that the chosen plants share the ability to thrive in them. Drought-resistant species that are able to cope with dry, hot seasons and desiccating winds will not live happily beside woodlanders that need shade from overhanging tree canopies and moisture in the soil.
Plants alter as they mature and adapt to the changing seasons. Just as a bare winter garden may look very different in summer when it is in full flower, a newly planted garden will look very different twenty years later.
One of the greatest challenges of designing with plants is to arrange combinations that create successional interest throughout the year. Seasonal changes can be dramatic, but try to take advantage of this by capturing the energy and rhythm of the seasons in your choice of plants.
Probably the greatest role that plants play in a garden is their visual appeal, particularly when well grouped to provide an appealing arrangement of forms, textures and colours, but they also have other important qualities that should not be overlooked when choosing plants.
For most gardeners, scent is an important attribute. Some people have a strong sense of smell, and for them, too many contrasting scents in a small space can be disturbing. To the uninitiated it may be assumed that all roses have a scent, but the strength of the scent will vary from plant to plant, and this may affect your selection.
Not all scents are welcome in the garden. While flower blossom often has a sweet or perfumed scent, leaves and bark may be aromatic, some plants have a strong odour to attract flies, and others have an unpleasant pungent scent. Salvia sclarea is nicknamed “hot house maids” or “smelly socks” for a reason.
Plants may produce sounds through their movement, such as the rustle of bamboo leaves in a breeze, and through the wildlife that inhabit them, such as the song of birds attracted to the garden. The bird population can increase rapidly as a garden matures, especially if the garden can be planned as a wildlife habitat.
For children in particular, the enjoyment of touching plants can give great pleasure. Feathery plumes of grasses, silken catkins and rough-textured bark are just a few examples. Other plants, such as the yucca with its spiky leaves, are an obvious deterrent.
Fruit, vegetables, herbs and nuts can make a garden useful as well as pleasurable. Distinguishing between edible and poisonous plants is crucial in designing gardens for young families. Organic produce is relatively expensive to buy and it is far more pleasurable to grow your own, even in a small space.
Plant material can also be used to fulfil particular requirements. Rather than focusing on different kinds of plants, concentrate on their general qualities of scale, form, colour and texture. Try also to sustain plant interest throughout the year, and match plants to your own site conditions while still giving them enough space to develop.
The scale, or outline shape, height and spread of plants that you choose for a particular site can have an enormous influence on the mood of the garden. It is vital to get this right, because if plants are too large, a space may be claustrophobic, and if they are too small, the space may be exposed and unprotected. The scale of the planting should relate to adjoining buildings, to the size of the garden and to the scale of the human figure.
To achieve a sense of harmony in a garden, different groups of plants should relate to, or be in proportion with, one another, both in scale and number. Try to achieve a balanced rhythm of different sizes and effects. If, for instance, you decided to place a large shrub on one side of the garden, you would need to balance this on the other side. An obvious thing to do would be to place another of the same on the other side, but if you wanted to use a smaller type of shrub, one would not be enough to balance the visual weight of the large shrub, so you would have to use several, perhaps three or five. Odd numbers create a natural effect, while even numbers can be more formal.
In this typical suburban plot, the neighbouring houses are very intrusive.
The same plot with some planting added. The tree helps to enclose the garden and give some privacy, but the other plants are too small, allowing the fences to dominate the scene.
Here, where the scale of the planting has been increased, the atmosphere of the garden is vastly improved. The trees relate well in scale to the size of the house and the shrubs are human-scaled. A good balance of enclosure and openness has been achieved.
If plants are too large in scale for the house, surroundings and size of plot, the garden may feel rather airless and cramped.
To achieve a sense of balance in the planting, one plant, or group of plants, must equal the mass of another.
Here, a large shrub is counterbalanced by a group of smaller shrubs.
A tall slender tree, with low ground cover beneath, is balanced by a mass of shrub planting, which is intermediate in height.
Once you have established the scale of your planting, you should consider the shapes and forms for your plant groupings. At this stage, think about the plant outline rather than the shape of a particular leaf or flower. Drawing elevations (projecting your planting plans onto a vertical plane) is a useful way of trying out different ideas (see page 228). What you are aiming for is a group of contrasting forms that combine to form a balanced whole, just as if you were composing a still life grouping for a painting. For inspiration, observe the garden’s surroundings. Are there any obvious shapes, such as distant hills or rounded clumps of trees that you may like to echo or contrast? If the surrounding area is flat and dry, it might be better to use fairly low clumps of planting, occasionally interrupted with a taller architectural shrub or eye-catching cactus.
Within the border, tall upright forms contrast with more rounded forms of different sizes, providing accents and rhythm to the composition.
Plan the planting with groups of plants rather than individual plants. A single iris, for instance, could not balance a large rounded shrub, but a large group of irises could do so effectively as the volume, or mass, would be similar.
When planning the outline form of your planting, be sure to repeat effects across the garden to relate one area to another. Repeating plants is one way of restricting the variety of plants used in a plan, usually resulting in strong, bold effects as opposed to the “dot” approach (one of this here, one of that there) which always looks restless.
Try to plan the planting in layers, whether horizontally or vertically. Make beds that are large enough to accommodate more than one plant’s width, so that plants can be placed in front of, or behind, other plants. This layering effect, where some plants are partly obscured by others, will give your planting depth.
Where space is at a premium and beds are narrow, plants can be layered vertically, similar to the way they sometimes coexist in nature. In woodland, for example, the plants arrange themselves in several “storeys”, with the foliage of large trees at the top, smaller trees and shrubs directly beneath them, and herbaceous plants and bulbs at the bottom. Planting that is planned in this way can occupy the same area of ground for several effects, since both spring and autumn flowering bulbs may be planted between herbaceous plants. Above these, the shrubs and overhanging trees may each have two seasons of interest, enhancing the overall composition.
Imitating the layering of natural plant groups works effectively to create depth in the planting plan.
Texture follows on from deciding on the shape and form of the planting, and is mainly defined by the leaves of a plant. Like fabric, plant leaves have varying qualities of roughness and smoothness, from very coarse to extremely fine, and as many different finishes. Their surfaces may resemble such materials as fur, velvet, suede, sandpaper, leather and plastic. To show off the textural qualities of a plant to greatest effect, contrast it with another of very different texture. In some plants, the underside of the leaf contrasts markedly with the top side.
Plant textures create interest particularly when contrasted with one another.
Texture affects the quality of light reflected or absorbed by a plant. The leaves of some plants are shiny and light-reflective, while others are matt and light-absorbent. A mass of bright glossy leaves can bring life to a dark corner, while a plant with matt leaves may provide a perfect foil for more colourful or decorative subjects.
Experiment with using different textures in your garden, varying the proportion of rough textures with smooth, metallic with furry and so on. It is usually best to allow one texture to predominate, repeating it across the garden to relate one area to another.
The concept of colour in a garden always seems to be associated with planting, although all hard-landscaping features, such as walls or paving, will also give colour to the overall composition. Although you may prefer a certain colour palette in planting, it may not suit the existing hard-landscape colour. Often it is wiser to consider the backdrop first and then choose your colours to complement or contrast with this.
Using plant colour to influence perspective
Dark foliage plants “move towards” the viewer.
Light foliage plants “move away” from the viewer.
Dark foliage plants provide an effective background for light foliage plants.
Medium-tone greens can act as a transition between dark and light greens.
The overall design can be accentuated by using plant colour. For instance, it can be used very effectively to influence perspective. Cool colours, such as pale blues, pale browns, whites and greys, introduced at a distance, will have the effect of lengthening a view, while hot colours, such as strong reds and vivid oranges, clamour for attention and tend to advance towards the viewer. For this reason you should avoid using strong colours in the path of an important view, as the colours will compete with the view and distract attention from it. However, if something needs to be hidden, strong colours will arrest the eye, distracting it from the scene beyond.
Although flower colour seems to be most people’s primary concern, when you are designing with plants, you should concentrate on more permanent colour, particularly in leaves, bark and stems.
Leaves have a wide range of colours. Within the green range alone there are yellow-greens, grey-greens and glaucous or blue-greens, not to mention purple, crimson and yellow foliage. Leaves may also be variegated or have margins that are a different colour from the main leaf. In some plants the emergent leaves are a fresh pale green, yellow or even pink, but as they mature they dull down. Consider seasonal colour variations as an unexpected asset. Particularly with plants partial to acid soils, autumn leaf colour can vary from bright oranges through vibrant reds to rich purples, and can transform the appearance of the garden towards the end of the growing season when rich, vibrant tones show up the autumn sunlight.
Some plants, particularly certain deciduous trees and shrubs, can have the additional attraction of coloured bark and stems to provide interest in the winter months.
Our perception of colour is affected by light, which is why painters traditionally opt for studios facing north, where the light variation is minimized. As light intensity increases, all colours tend to fade, but stronger hues, such as vivid reds and oranges, retain more brilliance than muted colours, which may be completely “bleached out” by the fierce sunlight typical of tropical countries. In the bluish light of temperate climates, colours are perceived differently—muted colours tend to glow, while stronger colours can look garish. As evening approaches and the sun begins to redden, bright colours tend to be enriched and then deepen to violet and black. Paler colours, particularly white, will continue to glow long after the brighter colours have faded. This effect can be applied to planting in shade. Whites and pale yellows will tend to gleam, while warm reds, greens and blues will become darker. Use paler shades if the garden is mainly to be used in the evening; stronger colours, such as reds and purple, tend to disappear as daylight fades.
As well as being modified by light, the hue of a colour is affected by its neighbours. When you place one colour next to another, both colours will be affected by each other’s presence, and the difference between them will become more exaggerated. This applies not only when colours are seen simultaneously but also when one colour is observed immediately before another. This is why white gardens, filled predominantly with white flowers and grey foliage, appear more intense if approached through an area of hot colour.
Colour affects people in different ways, but in general, reds are associated with warmth and stimulation and blues and greens with coolness and tranquility. You can use these associations creatively to change the perception of a space. For instance, a hot courtyard, on which the sun blazes down, can seem cooler if planted with silvers, cool blues and harsh whites, while a cold, north-facing area can be enlivened by flame, orange, apricot and yellow. In deep shade, however, these strong colours will darken and disappear. You can make a rather sunless area appear brighter with yellow flowers or foliage, much of which will thrive better in shade than in direct sunlight.
The easiest, but nonetheless very effective, way of using colour in planting is one that frequently occurs in nature—to have a mass of one type of plant providing the colour statement at a given time. Far from being boring, the eye often appreciates a rest from being besieged with colour.
Single-colour schemes are particularly effective if used with foliage of a contrasting or complementary colour. Good examples of this technique include yellow flowers or leaves combined with grey foliage, and red flowers with bronze or purple foliage.
An extension of the single colour theme is to use a combination of plants with the same basic colour but subtle variations of hue and intensity. This can be very striking, and there is a tremendous amount of plant material available. For success, try to achieve a balance of deep, medium and pale shades.
Broadly, all flower and foliage colour is based on either blue or yellow. In the blue range are the hard whites, all the bluish pinks, magentas, crimson-reds and purples, as well as the true blues. In the yellow range are warm whites, yellow, orange, orange-pinks (apricot, salmon and the sunset shades) and all the scarlet-reds. If either range is used alone, there will never be a clash, since all the colours derive from a single base. Sometimes a good clash is needed to enliven a space or to stimulate our colour appreciation, preventing a bland effect. Lead up to a clash with an arrangement of less demanding tones, allowing a good stretch of neutral colouring before introducing another clash.
In the fashion trade, colour preferences come and go, and there are similar fashions in planting. To make an occasional very bold statement in your planting, contrast form, texture and colour at the same time. Be careful not to overdo it, however, or the statement will lose impact and become irritating.
To achieve well-balanced seasonal effects you need to consider your proposed planting throughout the year. To do this you should observe plants in every season. The effect of spring foliage is just as important as flower colour, berries and autumn leaf colour, while the colour and texture of winter stems and twigs may be a greater asset than the heavy foliage produced by these plants in high summer. To observe plants in intimate detail, there is no substitute for growing them yourself. Even failing to grow them satisfactorily will teach you something about their needs! But if this is impossible, you should at least regularly observe the same plants over the seasons in your local park or botanical garden.
You may find it a challenge to introduce and arrange plants to provide interest throughout the seasons. In some gardens, or in parts of gardens that are only used at certain times of the year, this may not be wanted, but most people will want at least one part of the garden to have some interest in the winter. Avoid scattering little bits of interest throughout the garden; although this may provide something in bloom every month of the year, the overall visual result is rarely effective. Far better to designate a particular season of interest to different areas, so that each area in turn holds the attention, while the remainder of the garden forms a quiet green background, awaiting its moment to perform.
The level of seasonal change differs throughout the world. Some are very extreme, some almost constant. In temperate areas, there are four clearly defined seasons that present four distinctively different pictures (unless the planting is entirely evergreen).
Small elevation sketches will help you to consider the effect of the seasons on a planting plan.
In spring, trees and shrubs will be covered in developing foliage, with the branch and twig structure still clearly visible, while herbaceous plants of varying height begin to appear through the ground. In both cases, leaves may predominate and be at their most attractive when young and fresh.
Summer shows solid outlines of texture, with herbaceous plants gradually becoming taller as the summer progresses. In many gardens, the flowering season is at its peak in late spring to midsummer. Individual plants tend to merge into groups, and it is hard to reconcile the overall abundance with the bare winter scene. From midsummer to late summer, this abundance becomes less interesting, many plants having “gone over” and no longer flowering but still providing greenery in the foliage. By early autumn, interest is rekindled as late-flowering plants come into bloom, often set off against a background of richly coloured autumnal foliage.
Although gardens are mainly dormant in winter, they can still look beautiful. Often this is because the bones of the design, which give a garden its strength, are only revealed as the foliage recedes. Most herbaceous plants and many ground covers will have gone below ground. Trees and certain shrubs will have a skeletal outline, while other more twiggy shrubs will still appear very solid. Evergreen plants will retain their bulk and outline. Plants that appear quite recessive during the other seasons (a light-absorbent conifer, for instance) may now become the dominant feature. An appealing winter garden relies heavily on structural plants that are selected for their outline shapes, helping to maintain interest year-round.
Although there are numerous plants to choose from when you are designing a garden, the physical conditions of a site—the soil, aspect, exposure and climate, for instance—will restrict what can be grown in a particular place. Unless your plant knowledge is good, you will need to do some research to check on individual plant preferences.
To understand these individual preferences, try to find out where plants originate, be it Japan, Switzerland, South Africa or the Mediterranean. By planting them in conditions that are as similar to their natural habitat as possible, they should have an increased chance of thriving. If you cannot offer such conditions, do not try to grow the plant. Lavender, for instance, found in dry, sandy soils in the Mediterranean would never do well in shady, damp conditions. In addition to plants that originate in foreign countries, there are many native wildflowers and shrubs that are garden-worthy and may be easier to grow than introduced species. They too need the appropriate type of soil and growing conditions. Although we all want to place our plants where they will look attractive, it is even more important to plant them where they will thrive. Choosing plants that will only succeed by undertaking artificial fertilizing, watering and other unnatural conditions is always a mistake, as they will look out of place even if they do survive, and will use up a great deal of resources in the process.
What is hardy in one area may not be elsewhere.
In a seaside location salt winds can desiccate plants.
Plants must be chosen for their tolerance of given conditions. Many plants can tolerate the fumes and pollution of a traffic-side location.
You may wish to retain certain existing plants, which can either be moved or kept where they are. Mature small trees or shrubs may need to be root pruned six months prior to the move, and the overall height and spread reduced by a third. Root pruning is achieved by digging around the plant while it is in its existing position, to reduce the spread of the roots. This process encourages the plant to send up new, smaller rootlets that will adapt more readily to the subsequent new position. Reduction of the overall height and spread reduces the amount of energy a plant must use to support its overall size, and as it is smaller, this reduces the likelihood of root damage caused by wind rock.
An existing plant will often look out of proportion in association with newer plants, but with careful pruning to reduce the overall bulk, the plant can be more easily integrated. Existing clumps of herbaceous plants may be split up into several smaller clumps and reused elsewhere in a planting scheme. If you are replanning a mature garden, the kitchen garden could perhaps be used as a temporary holding area, allowing you to dig up the existing plants, line them up in close knit rows and then replant them in new borders later.
Existing clumps of herbaceous perennials may be suitable for dividing.
When drawing up a plan of your planting on paper, you will allocate spaces to be occupied by mature plants (a standard approach is to show them at their approximate height and spread after five years). On your planting plan, you will only need to show the spread, but you may also wish to draw an elevation, which will show both height and spread.
A mature shrub may eventually reach 600 mm (2 ft.) in height and 900 mm (3 ft.) in spread, but when first planted it may take up as little space as 150 × 150 mm (6 × 6 in.). Do not be tempted to overplant the remaining space by placing shrubs too close together. This can quickly lead to overcrowding as the plants grow, resulting in poorly shaped trees and shrubs. Far better to use filler plants that can later be removed as the main plant matures.
Ideal filler candidates include annuals and bulbs, as well as fibrous-rooted shrubs that not only grow quickly but also have a short lifespan. In five years or so, these plants tend to become rather straggly and can easily be removed. In the meantime, the slower-growing, longer-lasting shrubs will gradually fill in the lessened gaps. It is unwise to apply the same system to trees, since quick-growing “filler” trees take too much moisture and nutrients out of the soil. Vigorous ground covers should also be avoided, at least in the first two or three years, as they tend to compete with young shrubs for soil nutrients. Ground cover can always be added later, possibly when the infill shrubs are removed.
Close overplanting will rapidly lead to overcrowding and poorly shaped trees and shrubs.
Before you begin drawing up the planting plan, you should reconsider your original ideas for the garden. Now that the hard-landscaping decisions have been made, think how you will complement these with the plantings. Try to imagine that you are walking through the garden—beginning, for instance, at the terrace adjacent to the house—and ask yourself two important questions: What style of planting would be appropriate for each area? What season or seasons would you expect a particular bed to peak or perform at its best?
A clear idea of the style of planting needed to complement the garden layout plan may have evolved while you were working your way through the planning stage. Now you need to translate this style into its essential parts. This stage is rather like painting a picture. It is very difficult to paint something if you do not have a clear idea of what you are trying to paint.
We have already considered how the architectural and interior style should be repeated in the garden design, and you should adopt a similar approach when choosing your plants. House, garden and plants should work together as a unified whole, each enhancing the qualities of the others. In this way it is often the house or the location that will determine the planting style.
First decide whether the style should be formal or informal. Which is most appropriate to the house and its setting? Formal designs are based on straight lines, often with a strict pattern of clipped box or yew outlining geometric shapes of squares, rectangles or circles. An informal design may be based on the more natural lines of gentle curves and meandering paths with plants spilling over the edges. Consider also how your design will affect the surroundings and environment, using locally produced and sourced materials where possible. Think through the impact of the workload you are imposing on the site; maintenance, or the lack of it, may be a wise point to consider at the outset.
Many people feel more comfortable creating a formal garden, reassured by the simplicity of the style. It is still possible, within the strict geometric shapes, to have luxuriant groups of flowing plants set off or framed by the formal scheme to create a romantic effect. The simplicity of a formal design is not only confined to historical associations but also blends well with modern minimalist buildings. Repetition of plants and a limited number of genera is often the hallmark of a formal garden.
Informal gardens may imitate the bends and curves of nature, but in nature there is usually a reason for the bend or curve, such as to avoid a tree, large rock or pool. Curves should be generous, allowing you to move around them slowly, and should be emphasized at the widest point by a tree or group of shrubs. Any curves may be created by cutting the border outline around a garden hose laid out on turf. Unless you make your curves generous, not only will they look unnatural and self-conscious but the wiggles will also be emphasized when viewed in perspective from the house. Informal planting allows the use of many relatively modern plants such as grasses and herbaceous perennials, or hostas, ferns and other woodland plants.
The romantic style is perhaps personified by the cottage garden, often appearing to have a simple and tender charm where roses, honeysuckle and lavender mingle with fruit and vegetables. Our current popular perception of a cottage garden is an idealized version of a style that evolved from the need to survive on what could be grown on a small holding. Then and now the planting is insubstantial and only performs for a limited season. Romantic gardens tend to have curves, hidden seating, framed vistas and plants whose scent is seductive or nostalgic. Planting in romantic gardens relies on old favourites such as roses, honeysuckle (Lonicera), catmint (Nepeta), phlox and other scented plants.
Natural gardens, now enjoying a resurgence of popularity, were originally the concept of the Victorian gardener William Robinson. Through the developed world, our current positive movement towards conservation has resulted in a style of wildflower gardening that mimics natural habitats, working with nature and with plants that would occur organically in these conditions. Poppies, cornflowers and the semi-parasitic yellow rattle (Rhinanthus minor) all combine for the natural effect.
Japanese gardens fall into two distinct categories: the “borrowed” garden, a landscape garden that incorporates distant scenery as part of its design, and the “small courtyard” or “tea” garden, an enclosed space where carefully placed stones, gravel, trees and shrubs combine with lanterns and water basins. Space, illusion and the careful control of natural elements are part of the Japanese culture. They can be very effective in a small space and work well with modern or minimalist buildings. Many of our favourite plants originated in Asia, and include a wide range of shrubs such as bamboo, camellia, hydrangea and viburnum.
Modern-style gardens can be very functional and are an antidote to the traditional English image. These are usually gardens in which Perspex, steel tubing or other modern material is used instead of traditional brick or timber. They might incorporate walls painted in strong contemporary colours that combine with plants in complementary or contrasting colours. The cone flower (Echinacea), eryngiums, sedums and other herbaceous perennials and grasses are appropriate in a modern setting.
In areas where drought or times of water shortage makes growing plants difficult, it makes sense to grow plants that will survive with less water, using those that are not only drought tolerant but that also look attractive. A 6-in. (150-mm) minimum layer of gravel or a similar mixture of eighty percent grit and twenty percent loam allows for drainage during wet periods, and this can be topped by a 2-in. (50-mm) mulch of crushed stone, glass chippings, sea shells or other sustainable locally sourced (carbon-neutral) material. Planting is usually best done just after the autumn downpours, when the soil may stay reasonably moist until the spring, allowing the plants to establish their roots without being dependent on watering. Use plants that provide food sources and habitats for animals, and that take minimal management. Drought-tolerant shrubs include Skimmia, the castor oil plant (Fatsia japonica), holly (Ilex) and Euonymus fortunei. Perennials may include spurge (Euphorbia), hardy geraniums, ice plants (Sedum), sea holly (Eryngium) and many bulbs.
Few types of gardening are as rewarding as growing your own vegetables, herbs and fruit. A productive garden is a simple step towards a more sustainable lifestyle, and it can be surprisingly easy and satisfying.
Even a small space can be productive, either by interplanting ornamental vegetables such as carrots and parsley between the flowering plants, planting thyme (Thymus) between cracks in paving, growing tomatoes and other crops in growbags or containers, using decorative wooden or metal tripods to support climbing runner beans, cucumbers or gourds, devoting an area of the garden to kitchen crops or taking on an allotment where possible. The cabbage family do best under netting, the smaller butterfly netting preventing birds and the cabbage white butterfly from laying eggs (which eventually turn into hungry caterpillars) on the leaves. Slower-growing crops such as cabbage can be interplanted with faster-growing ones such as lettuce or radish to ensure you make the most of the space. Three- or four-year successional crop rotation will be necessary to prevent exhausting the soil and to avoid disease such as club root on cabbages.
Soft fruit such as raspberries and currants are best grown under netting to deter birds. Fruit trees can be very decorative and one or two will produce enough fruit for the average family. A decorative potager, perhaps edged with box (Buxus), wild strawberries or parsley, looks very attractive and need not take up much space.
Arid environments must rank as the most challenging to the existence of plants. Typically arid areas are baked by the sun during the day, often freezing cold at night, buffeted by wind and parched by lack of rain. Plants that do well here have cleverly adapted themselves to cope with these conditions by leaf and root modification. Tiny leaves, such as those of thyme (Thymus), help to cut transpiration due to their small surface area; slim or incurved foliage like that of Pennisetum orientale and many other grasses serves a similar purpose. The thick, fleshy leaves of Sedum and Agave store food and moisture as a thick, sticky sap. Silver foliage, like that of lavender (Lavandula) reflects the sun, and hairy leaves trap any moisture in the air, even if the plant is growing straight out of rock as in the case of Saponaria.
Lower-growing plants are less likely to be uprooted by wind, especially during their formative years. Many plants survive by putting down a tap root, searching deep for water and nutrients, storing the food and moisture and locking the plant into the soil at the same time.
Coastal gardens are usually buffeted by salt-laden wind, with tree branches and other taller vegetation being swept in the leeward direction. Often frost free, this climate allows a wide range of plants to thrive. Trees and shrubs are most likely to succeed if planted firmly when small, allowing their roots to grip the soil before they become tall enough to be affected by the wind. Silver plants, such as Buddleja and Crambe and evergreens like Arbutus and Choisya should do well, as will Hydrangea, Hebe and Fuchsia.
A burgeoning popular interest in biodiversity and encouraging wildlife has been leading many gardeners to seek out more natural-looking plants whose pollen- and nectar-rich properties are attractive to indigenous wildlife. Many of these are wild plants not necessarily native to Britain, continental Europe or the United States; often they have been selected and propagated or bred from the wild for their garden-worthiness. They may not be able to take the place of native flora in providing food sources for many invertebrates, such as butterflies, which depend on specific food plants such as lady’s smock and hedge mustard. However, in providing some native species among the ornamentals, even a clump of stinging nettles, you will encourage a wider range of wildlife. Make sure that any native plants bought have been legally sourced, and try to obtain locally propagated stock; otherwise the plants may not have the same genetic characteristics.
In the naturalistic style of gardening, plants are selected for their similar cultural requirements so that they can grow together with minimal human intervention. The principle of “right plant, right place” is central to this movement; rather than placing dry sun-lovers right next to plants that prefer a nutrient-rich soil and plenty of water, plants are placed in the garden spots where they are most likely to thrive naturally. Many of the plants commonly used in this style have either occurred in the wild or been bred to retain their toughness while enhancing their foliage or flowering qualities. As naturalistic planting requires less watering and maintenance, it uses fewer natural resources and is a sustainable alternative to more traditional planting styles.
The large-scale plantings of Piet Oudolf and James van Sweden using grasses and herbaceous perennials have been hugely influential in promoting a naturalistic approach, but the scale can easily be broken down to fill a much smaller space. For instance, billowing perennials such as Echinacea, Persicaria and Helianthus might be combined with grasses such as Miscanthus, Panicum and Stipa. With the plants growing together, there is no need to stake individual plants. This “prairie” style attracts wildlife and provides pollen and seedheads; best from summer until early frosts, the seedheads themselves provide winter interest. Naturalistic planting and design may look haphazard, but to get it right demands skill and attention to detail.
Of all the elements deployed to increase sustainability and biodiversity in gardens, water is of the greatest benefit, attracting a wide range of creatures from those that live in or on the water to occasional visiting animals that may use it to drink or bathe. Unless their numbers are strictly controlled, ornamental fish have a tendency to consume other smaller water inhabitants, disrupting the natural balance. A wide range of pond plants will increase the presence of wildlife and create a natural appearance. These plants can be divided into three groups: submerged, bog and marginal plants. Submerged plants and oxygenating species include the water hawthorn (Aponogeton distachyos) and water lilies (Nymphaea), which create shade and help prevent algae from growing; bog plants such as the yellow skunk cabbage (Lysichiton americanus) and the umbrella plant (Darmera peltata), which provide cover for amphibians to get in and out of the water, as well as providing a leafy edge to the pond; and marginal plants, such as the marsh marigold (Caltha palustris) and the yellow flag iris (Iris pseudacorus), which bridge the transition between the water’s edge and the bog plants. Always ensure that the pond’s edge includes a small semi-submerged level area to allow wildlife to get in and out of the water.
Once you have decided on a style, you can begin to select plants to carry the theme through. Always do this with conviction, keeping in mind the effect that you want to create, rather than allowing yourself to be seduced by some pretty but inappropriate plant that you have just discovered in a catalogue.
Base your decisions on how the garden is going to be used. If it is unlikely that you (or the garden owner) will stroll down to the far end of the garden in winter, think of placing plants for winter interest near the house, where they can be enjoyed from an indoor window on a winter day. Similarly, scented plants should be placed where they will be most appreciated, such as surrounding a paved terrace or on top of a low retaining wall, where the scent will be nearer to your nose as you pass.
You may intend to plant the garden yourself, or you may ask a contractor or nurseryman to plant it for you, but in either case a detailed planting plan will be necessary. A planting plan is a working drawing—it will be taken onto the site, and each plant will be set out on the soil in the position indicated on the plan. Often this work takes place in the wind or rain, so the planting plan must be clear, legible and easy to understand. Plant names should all be written at the same angle, with spacing and numbers clearly indicated. If the garden is large, several smaller planting plans for small areas are more easily handled than one large sheet.
The planting plan is drawn up on a simplified form of the garden layout plan. It shows, using symbols, the planting position and spread of every plant (after about five years’ growth) that you intend to include in the garden, labelled with its precise Latin name (genus, species and cultivar or variety), correctly spelt, and the exact number of plants in any grouping. The plan will also include any existing plants, in their original positions or sited elsewhere. In the accompanying plant list, all the plants will be grouped according to category—tree, shrub, climber and so on—and then arranged alphabetically, with the precise number of plants required in each case. Since the objective of compiling a plant list is to enable you to place an order for the plants, it will be appreciated by the supplier or nursery if your list follows the same format as the catalogue pages. Most nursery catalogues categorize plants as follows:
– Trees
– Shrubs
– Climbers
– Roses
– Herbaceous perennials
– Ferns
– Bamboos and grasses
– Bulbs
– Annuals and half-hardies
The plan must be drawn up so that the positions, names and numbers of the plants are clear, legible and easily understood by whoever may be carrying out the planting. With so much information to communicate, it is always quite a challenge to produce a plan that is well labelled. In many text books this problem is circumvented using a key or number system in which, to identify a particular plant or plant grouping, the reader must consult a separate list. This approach is both tedious for whoever is studying the plan and difficult to follow when planting. It is far better to label each plant as near to its symbol as possible, ensuring that label lines do not cross.
Begin a rough draft of your planting plan, and try out ideas on a simplified version of your garden layout plan, perhaps also experimenting by drawing elevations to see the effect of contrasting heights. After you have finalized the selection and placement of all the plants you intend to use on a rough sheet, draw up the plan properly on a separate sheet. When all the graphic symbols are in place, carry out your labelling.
Small garden A simplified garden layout. The horizontal plane (the garden) and the vertical plane (the house) will be linked once the structural planting is added.
structural plants (trees and shrubs) are the first to be put in place. The trees and topiary give important vertical emphasis to the space.
The easiest way of working up a planting plan is to start with the largest items (including the trees from the final garden layout plan), then the structural and key planting, working down gradually towards the smallest plants. The stages of planning the planting for a small garden shown in this chapter demonstrate the way the different elements can be built up. These stages are structural planting (including trees), key planting, decorative planting and herbaceous planting.
Start with the structural plants (mainly trees and shrubs), and try to think through their seasonal effects. Consider the following questions:
– Are there any additional areas where you would like to see some permanent form?
– For these areas, would you like the plant or group of plants to be evergreen, or would you prefer a deciduous plant with a twiggy winter outline?
– Think about climbers and wall shrubs. Are there any parts of the garden that require these to emphasize the framework?
– Imagine the garden in winter. Will there be enough structural form to hold interest when many herbaceous plants have disappeared below ground?
While developing the structural planting, remember to repeat plants across the garden diagonally. This repetition will help link one area to another, acting as a foil for the more transitory seasonal or colour groupings. It will also provide continuity and prevent a restless effect.
Try shading in the evergreen plants on the plan. This will remind you to look for a good balance of evergreen and deciduous plants, such as one-third of one type to two-thirds of the other. It will also help you in the next stage to position the more decorative shrubs, whose delicate foliage or pretty flowers may be enhanced against an evergreen backdrop.
Trees, when viewed from a distance, are arresting perpendiculars that link sky, house and garden. Choosing a tree or trees for a garden is always an exciting task; most of us will not plant many trees or see them mature during our lives, so the long-term effect and consequences (of shade, for instance) must be considered. Planting trees can also offset carbon emissions, and provide shelter or a wildlife habitat.
The difference between a tree and a large shrub is often unclear, but for the most part a tree is a woody plant, evergreen or deciduous, that has had the lower branches removed at an early stage, resulting in a single clear main stem or trunk. A shrub has either several stems, or a main stem with branches along most of its length. The exceptions to this are multistemmed trees, which have two or even three main stems deliberately left for aesthetic effect. These can be very effective on a corner or to give a natural effect, the disadvantage being that as they mature, the leaf canopy becomes heavier and occasionally one of the stems or trunks breaks off, spoiling the effect and outline shape. Occasionally a large shrub, having outgrown its allotted space, may become too dense, casting heavy shade onto the space beneath the branches. Consider the effect of removing several of the lower branches—this way, the large overgrown shrub may be turned into a multistemmed tree or a specimen with a single main stem or trunk.
There may be existing trees in the garden, perhaps serving the purpose of screening or giving shade. The majority of trees mature slowly, and it may be wiser to improve the outline shape by tree surgery or by judicious thinning or pruning rather than removal or replacement. If the canopy of a mature tree is reduced by carefully removing up to thirty percent of its branches, more light will be admitted, often showing off the tree silhouette better and giving dappled, as opposed to dense, shade. Decisions on which limbs or branches to remove are best made when the tree is in active growth or full leaf, but the actual cutting or tree surgery should be left until growth subsides in late autumn or early winter. The offending branches can be clearly marked with paint and removed later. Dead branches should always be removed to prevent disease, decay or injury.
Deciding between evergreen and deciduous trees may depend on whether something needs to be hidden or screened. Deciduous trees (those that shed their leaves in winter) will only be fully effective while leaves are in full growth. However, even a leafless tree in winter can interrupt and therefore dilute the full impact of what is hidden in summer. The eye will rest on what is in the foreground and often will not stray beyond. A line of deciduous trees can blur the vision of what lies beyond, as well as making it more difficult for neighbours to see into your property. There is usually a wider choice of deciduous trees, but if an evergreen variety is needed, the decision must be based not only on what tree is wanted but also the size of the foliage and whether the leaves are glossy and light-reflective or matt and light-absorbent.
Used judiciously to avoid an overpowering effect, conifers provide a year-round statement, and are effective in removing harmful particle pollution from the air. However, dense coniferous planting can appear alien to the surroundings and many conifers will grow to a great height unless kept under control; their thirsty roots tend to dry out the surrounding area, making it difficult to grow other plants nearby.
With careful pruning, a shrub can be trained to resemble a small tree.
Most trees live fifty to two hundred years or more, so it is vital that your decision takes into account both short-term and long-term effects. Consider the following points:
– Outline shape or form (for example, rounded, dome, pencil and weeping)
– Classification as deciduous or evergreen (this will depend on the desired effect and whether screening is needed)
– Leaf texture, shape and colour (including texture or colour on the underside of foliage and whether the tree is early or late into leaf)
– Flower shape, colour and scent, and the time of flowering
– Berry or hip shape, colour and attractiveness to birds
– Trunk or stem bark type and colour
– Winter silhouette (if the tree is deciduous, this varies enormously)
– Size at maturity (among the most important aspects to consider)
– Whether they blend in or contrast with the local landscape or other planting
The size of a tree and its outline shape are significant factors in choosing a tree.
Large forest-type trees, such as beech, ash or oak, should only be considered if there is plenty of space and if you are prepared to wait for the trees to mature. If the garden backs onto a beech wood, for instance, a copper beech or a red oak might stand out against the native varieties beyond. Many of these trees will eventually have a spread of 30 m (100 ft.) or more, their intrinsic beauty being in their outline shape. If planted too close to a building or to each other, the effect will be lost, and the roots may cause damage. Choose a smaller tree, or group of trees, in preference to lopping off oversized branches and spoiling the outline shape. Large mature trees can be found but are heavy to lift and plant, need support by staking and are expensive.
Medium-sized trees are usually preferable for most gardens and tend to grow more rapidly. With a wide variety to choose from it is particularly important to consider all aspects when making your choice. In a small garden a medium-sized tree must have all the attributes to earn its keep. Try to see mature specimens in a park or botanical garden so that the different features can be compared. Research the origin of the tree to ensure that local conditions are suitable, and bear in mind that trees also have preferences for acid and alkaline conditions. When bulk is needed, perhaps at the end of a drive or to give height at the end of a garden, a group of three, five or more of the same variety will look more natural than a mixed group.
Small ornamental trees are useful when used singly as focal points in smaller gardens and can also be grouped together to give a formal or informal effect.
It is always wise to inspect a tree before you order or buy. Many trees are raised close together in rows, sometimes under a polytunnel (hoop house), resulting in a deformed canopy which can take several years, if ever, to regain its classic outline shape. The tree, like many shrubs, may also be pot-bound or suckering from the base of the stem, or from where it has been grafted onto the parent stock. In their formative years all trees need staking to prevent wind rock until the roots spread and grip the soil. It is usually easier to order tree stakes and tree ties to be delivered at the same time. Less visually demanding native genera such as beech (Fagus) and oak (Quercus) may suit an informal design and are often more easily sourced.
Shrubs must be solid or structural enough in character to form part of the framework of the garden. Flimsy leaves and spasmodic flowers will not give a feeling of permanence and security. Ultimate size must be considered, but a solid effect can be achieved with tall columns of Irish yew, low-clipped balls of box, or other structural plants such as Mahonia or Choisya ternata. To be effective, structural plants often need to be repeated, either formally as “exclamation marks” through a border or as informal singles or groups. Structural plants usually need to be evergreen to retain their effect.
Use structural plants to emphasize the pattern or shape of your garden layout. A group of five, nine or more low shrubs, all of the same type, can frame the corner of a border or can lead the eye around a circle or curve, acting as a perpetual contrast to the other more ephemeral planting.
Key plants are those that will provide important focal points in your garden, and these need to be identified next. These plants have strongly defined outlines and can be used occasionally or repeatedly for accent. They will act as strong key elements on which the eye will rest before continuing to take in other plantings. Key plants should stand out from the rest of the plants with some distinctive quality, such as a strongly defined or contrasting shape, texture or colour. Key plants are often also structural, forming a link to the surrounding landscape, or they may act as pivots, emphasizing a change of direction in the hard landscaping.
Small garden Key planting is added to the structural plants. The strongly defined shapes of these key plants will allow the eye to rest before taking in the other plantings.
Key plants should be used sparingly in a garden or border. Use too many and they all vie for attention. Consider them like actors or actresses playing a starring role, not to be confused with the rest of the cast or chorus line.
Drawing Elevations: It is helpful to test out planting proposals by using sketch elevations of details of the planting plan. A sketch elevation can be drawn by translating the approximate measurements of the mature plants into an imaginary view of them on the vertical plane. Fully developed elevation or section drawings can be made from the plan (see page 258), and used to supplement the information.
Planting proposal 1: When drawn in elevation, the scheme looked “spotty” and disjointed.
Planting proposal 2: An elevation of a scheme that uses the same plants, but in different numbers and positions, reveals that massing the plants achieves a much better balance.
Small garden Decorative shrubs and climbers are added. These soften the stronger outlines, the criteria for choice being form, shape, texture and colour. Thumbnail sketches and elevations drawn from the plan help to visualize the effect of the planting.
Once the structural and key plantings are in place, more decorative elements can be identified. These are composed of shrubs and climbers chosen for a pretty outline or attractive flowers, foliage or berries. Use elevations to help you to visualize your ideas, bearing in mind the importance of contrasting shape and form, texture and colour.
Decorative plantings give balance and contrast to structural or key plantings and usually only demand attention for a short period of time. In working up your decorative plantings, it is helpful to consider four main points: leaf size, leaf shape, flower colour and time of flowering.
For many people, roses epitomize the English gardening style. Since the 1950s there has been a surge of interest in the older roses, mainly brought about by the influence of the English rose-grower Graham Thomas. Through his books and the rose gardens he has created, old roses and their hybrids have replaced many of the hybrid teas and floribundas previously grown. Catalogues list myriad different varieties, seducing you with their names, photographs and descriptions but rarely pointing out their disadvantages.
A distinction should be made between climber and rambler roses. Ramblers are much more vigorous and, as they often reach 9 m (29.5 ft.) or more, are not recommended for house walls, because they would need hard pruning and tying into a framework of wire. They should be grown through trees or to cover an unsightly building; in the wrong place, their long summer growth could be a nuisance.
Climbers have much stiffer stems, larger flowers and smaller trusses than ramblers. Pruning and maintenance is much reduced, as flowers are borne on the framework of mature wood which is more or less permanent. When choosing a climber for a wall, consider the flower colour and how it will look against the stone, brick or other backdrop.
Try to build up a repertoire of reliable and high-performance plants that you are confident about using in your plans. The main points to look for are as follows:
– Constitution. For a rose to be worth its keep in any garden it should be healthy, and some are more prone than others to black spot, mildew and other disfiguring ailments.
– Period of flowering. Generally roses either flower once, perhaps with a spasmodic later “flush” or occasional flower. In Britain once-flowering roses generally flower in late spring, usually in May or early June, or in summer from mid-June to the end of July. Other roses are recurrent or repeat-flowering, and some flower almost continuously throughout the summer. In the United States the time and period of flowering depend on the area. Several British rose growers have suppliers in the United States.
– Hips. Some roses have attractive hips, making them useful in the autumn border or as features in the wild garden where they attract birds.
– Foliage. Ranging from glossy green through to glaucous and reddish tones, foliage can be effective even when the flowers have faded.
– Other uses. Other useful types of rose are ground cover or procumbent roses, useful near terraces or at the front of a border, and hedging roses, such as Rosa ‘Fru Dagmar Hastrup’, whose flowers turn to colourful hips in autumn provided they are not deadheaded.
Shrub roses can produce an attractive informal hedge.
Herbaceous plants are generally, but not always, smaller in scale than the decorative shrub plantings. In a mixed border they look most effective planted in drifts, weaving in and out of structural and decorative shrubs to hold the composition together and provide some movement. Herbaceous plants vary enormously in shape, texture and colour; they can be strikingly architectural or rounded and soft in texture.
Avoid using too many different types of plants, which can result in borders that look restless and unbalanced. To give continuity, repeat certain important groupings. To help you decide which to select from the huge range available, herbaceous plants can be divided into those that give broad-brush effects (long-lasting shrubs and perennials) and those that create fleeting effects (short-season perennials and bulbs which will give flashes of seasonal delight).
Broad-brush plants provide not only large drifts of long-lasting colour but also attractive foliage. Some are chosen for their foliage, with any flowers being an incidental extra. The diversity of their outline, colour and texture allows you to counterbalance plants, contrasting spears of iris or crocosmia with the silver filigree of artemisia, for instance, or placing arching blades of grass against the glossy foliage of aconitum or the soft velvet of Stachys byzantina. Try to use plants that contrast both in the way they look and their texture. Herbaceous plants should be chosen for their varied outline shapes. Incorporate verticals, such as foxgloves or hollyhocks; horizontals, such as sedums and achilleas; spikes, such as iris or hemerocallis; and mounds, such as agapanthus or Alchemilla mollis.
Small garden: Herbaceous drifts and infill plants have been added. These hold the structural composition together and provide movement.
Fleeting effects create occasional interest or highlights that interrupt the longer-lasting broad-brush plants, providing finishing touches that enliven a border or group. They give a flash of seasonal interest and prevent plantings from being monotonous. Bulbs, annuals, half-hardies and short-lived perennials fall into this category and can be divided up seasonally. For example:
– Spring: snowdrops, tulips
– Early summer: lupins, poppies
– Late summer: cannas, tobacco plants (Nicotiana), lilies, gladioli
– Autumn: colchicum, cyclamen
Balancing the broad-brush effect with incidents of colour results in an ever-changing seasonal canvas that rarely fails to delight. Even in a small garden, broad-brush plants should be arranged in bold groups of uneven numbers, say five, nine, eleven or fifteen of one plant, giving a more natural and restful effect. Fleeting plants can be used in smaller groups of, say, three or five. Repeat the groups diagonally across the garden, weaving them through structural and key plants until the planting plan fits tightly together rather like a jigsaw, leaving no space, when mature, for uninvited guests such as weeds.
Bulb underplanting
Allium giganteum/10 - with Perovskia
Tulipa ‘Queen of the Night’/10 - with Achillea
Fritillaria persica/10 - with Foeniculum
Muscari botryoides/100 - with Iris/Acanthus/Geranium
Small garden: The planting plan, complete with plant names, planting positions (for trees, shrubs and climbers) and numbers of plants that are required. The numbers of each plant, or how many are in each group, are critical as the same plant may be used in several different positions.
1. Tape down the final garden layout plan over a graph-paper backing sheet on the drawing board. Tape a fresh sheet of tracing paper over the layout plan, then trace over the house and garden boundaries and any areas that will contain plantings (including containers such as window boxes or pots). Use a sharp pencil or pen (the latter will be easier to read through subsequent sheets of tracing paper). This should be a simplified version of the layout plan; avoid putting in all the detail so that you leave room for the plant details. 2. Remove the garden layout plan from the drawing board, and make sure the newly traced sheet (which will become the planting plan) is firmly stuck down. You will work up the planting plan on this sheet in draft form and transfer it later onto a final sheet of tracing paper. 3. Refer to the site appraisal (see page 62) to remind yourself of existing conditions, such as soil type, aspect and so on, and to help you define the function of different planted areas. 4. Begin the draft plan working in pencil, drawing shapes freehand. Start by drawing in any existing plants that you intend to retain, referring back to the symbols on pages 76–77. Label existing shrubs or groups of herbaceous plants (for example, “Existing Iris foetidissima: 4”). 5. Now draw in the main structural plants that you require for the plan (some of which will already have been identified on your garden layout plan), stating how many plants you require in each case. When planning a hedge, check a reference book for the recommended spacing between each plant, indicating with a dot the exact planting position of each. Do not forget to include any structural climbers or wall shrubs. 6. Decide on the key plants, then draw them in and label them. 7. Using a blunt pencil, shade in the evergreen plants. 8. Start to develop elevations (see page 228) for each planting area. First contrast shape and form, then texture and colour. You can experiment with different ideas as you develop the plan further. These elevations can be drawn either on the same sheet of tracing paper, if you have room, or in a notebook. Although they are intended to be experimental, it is important that they are drawn to scale, if only approximately. 9. Use the elevation sketches to help you decide on the decorative plants. Draw these in on the draft plan and label them. 10. Developing the elevations still further, decide on the herbaceous plants, broad-brush or fleeting, that you want for each area, designing these in drifts to flow around and between the structural and decorative planting. 11. When your draft plan is completed, check that you have a good balance of evergreen and deciduous plants, that there is a succession of interest in the garden, that you have repeated groups of plants diagonally across the garden and that the chosen plants are suitable for the site conditions. 12. When content with the draft plan, place it underneath a further sheet of tracing paper and stick it down. You are now ready to draw up the final planting plan on this new sheet. Remember to leave space for your information panel and title block. Your plant list will occupy the information panel. Trace over the draft plan and draw (in pencil or ink) all the plants, using the appropriate symbols. On this same sheet, label each plant (as shown in the examples on pages 232, 236 & 237). Give the full botanical name and, in each case, the number of plants in each group, even if there is only one plant. You may wish to use labels cut from a printout generated by your computer. These look very professional but are also time-consuming to cut out and stick onto the plan. 13. If you have space, your final planting plan could show an elevation. This will need to be titled, showing the view from where it will be seen but there is no need to label the plants themselves, as this information is on the planting plan. 14. At the top of the information panel, before the plant list, it is sometimes helpful to include a note on the reasoning behind your choice of plants, such as the style or colour combination that you are trying to achieve. List the plants according to category (trees, shrubs, climbers and so on), and arrange them in alphabetical order within each category. Give the full botanical name of each plant and the number of plants in each group, even if there is only one plant. When there are several groups of the same plant, they should be subtotalled, as shown on the opposite page and on the planting list of the model plan on page 236. This information should be put onto the information panel, either handwritten or as a printout from your computer in the same style as the rest of the plan. 15. Fill in the title block information, remembering to include the north point and the scale to which you have drawn the plan. 16. After double-checking that you have included all the necessary information, remove the planting plan from the drawing board. 17. Keep the tracing-paper original plan safe. The planting plan will be invaluable both for ordering your plants and for placing them in their allocated positions on the soil. You may need to refer to it at a later stage if any alterations need to be made to the final planting plan. Make at least two copies of it, either dyeline prints or photocopies. You can add colour to one of these. |
The completed sheet shows the planting plan, elevations and plant list.
Small garden: The completed plan sheet for this garden includes the planting plan and two elevations. The planting list is positioned in the information panel of the plan sheet, giving the details needed to allow the garden to be planted according to the plan. If space on a plan is limited, use a separate sheet of paper for the plant list.
Planting Plan (Model Plan)
Evergreen shrubs (shaded on the plan) will give structure during winter months, while scented plants will attract birds and butterflies to the garden.
Sculptural evergreens provide a strong framework against which a succession of flowering perennials provide a long season of summer interest.
In this green- and white-themed area, structural clipped box plants are clipped to the same height and width as the stone cube.
Box and clipped Irish yew frame the planting in this traditional rose garden. The fountain provides a central feature as well as a cooling influence.
In this damp and shady border, the strong foliage contrasts of a large-leaved hosta and rodgersia are highlighted by slim blades of the variegated grass Phalaris arundinacea ‘Picta’. Flower colour is of secondary importance here.
Instead of being removed, an old tree may be clipped to form a focal point. Without the tree as a vertical feature, this garden would be less interesting.
A double border where shrub roses are interplanted with clipped fast-growing variegated buckthorn (Rhamnus alaternus ‘Argenteovariegata’). Trained into columns, they provide evergreen interest against the backdrop of a yew hedge.
Ferns and hostas are congenial companions, enjoying similar soil and aspect. The intriguingly twisted, white variegated foliage of Hosta undulata var. undulata draws attention to the change in level.
In a natural setting, a tree house and swing invite children to play creatively. Steep steps add to the excitement, and binocular use is encouraged to record birds and other wildlife.
Made entirely from reclaimed materials, this front garden provides vegetables and herbs for the whole family. The non-slip path is made of old, hard-wearing stable paviours.
A naturalistic garden need not look messy. Colours are random, but varying heights, foliage shapes and scented plants planted in groups create a sense of order. Bulbs and late-flowering perennials will extend the seasonal display.
A woodland edge planting where plants have been chosen for their leaf texture, contrasting foliage and ability to survive dry shade. The unplanted pot collects rainwater.
In this vegetable garden, raised beds with added compost allow soil manipulation where needed. Beans and cucumbers can be trained up stakes, while straw mulch prevents soil damage to strawberries.
Rammed earth walls surround this dry garden which is planted mainly with agaves and sedums. Spaces between the permeable stone paving slabs accommodate low-growing plants.
This waterside planting relies on contrasting shape and texture of foliage as opposed to flower colour.
Water lilies should be selected according to the depth of water, and planted in metal baskets inlaid with upturned turves.
This garden stream has been designed and planted for a natural effect. The water flows over a series of shallow steps and the small structure above the waterfall acts as a focal point.
Natural water is a bonus to be exploited in any garden. The huge leaves and flowering spikes of Gunnera manicata depend on a damp environment to perform well.
This early summer colour scheme in restful blue-purple and white has been carefully coordinated, with pots and raised planters coloured a darker blue. The small, horizontally branched dogwood Cornus florida ‘Welchii’ (syn. ‘Tricolor’) shields the view from the house.
A “hot colour” border is set off by the red backdrop. Use of these vibrant colours can bring a dark area to life.
The symbolic and studied placement of rocks and trees and absence of colour evoke calm in this Japanese garden.
The aromatic foliage of purple-leaved sage (Salvia officinalis ‘Purpurascens’) is enhanced by the varied pink tones of these shrub roses. Both plants enjoy sunny, well-drained conditions.
An informal planting of tall shrub roses highlights this meandering grass path, while the lower herbaceous plantings interplanted with bulbs give gentle relief to the colourful scene.
Our perception of flower colour and tone is affected by the quality of light. Yellow foliage and flowers can bring life to a dull or dark area.
A decorative stone urn is framed by blue catmint and the dark red foliage of the Rosmarinus ‘Rosemary Rose’). The blue tones of Hosta ‘Halcyon’ frame the planting and play up the colour scheme.
The hot colours of red-hot pokers, half-hardy dahlias and cannas are cooled by the surrounding green foliage.
Although the climbing rose that covers this arch has a slightly bluish tone, it is not strong enough to clash with the hot colour planting beyond. Nasturtiums and other annuals mix through the perennial planting.
This two-colour border concentrates on blue and apricot. The spikes of the kniphofia complement the rounded forms of the other plants.
Herbaceous clump-forming perennials such as Paeonia lactiflora ‘Pillow Talk’ are a useful addition to an early summer border. In spring, the deep reddish emergent
The sharp spikes of the variegated New Zealand flax (Phormium tenax) contrast with the bulbous purple flowering garlic (Allium cristophii). Both cope with drought conditions and are easy to maintain.
In this courtyard garden, yellow- and white-flowering plants are set off by a clipped box hedge. Topiary in pots adds interest around the pool area.
The lower petals of Monarda ‘Croftway Pink’ match the dark purple foliage of Cotinus coggygria ‘Royal Purple’. These purple tones will contrast later with the sealing wax orange hips of Rosa moyesii ‘Geranium’.
The large glaucous foliage of Macleaya x kewensis and the deep red leaves of Cotinus coggygria ‘Royal Purple’ are a foil for the tall spikes of Eremurus ‘Shelford Hybrids’.
Spikes of Eremurus bungei (E. stenophyllus) or fox-tail lily draw the eye to the variety for plants in this border. The rampant deep blue herbaceous Clematis heracleifolia needs supporting at an early stage, although it is not a climber.
Although the pale flowers are set off by the dark foliage, the planting is too busy to be effective. The large-leafed hosta in the background will be more evident when some of the taller flowering spikes are removed.
Old-fashioned roses and alliums are a useful partnership. After the flowers have faded, allium heads still look decorative.
The strap-like leaves of the phormium are an effective contrast to the rounded leaves of Hosta sieboldiana. Dark foliage and flowers help show up the scented flowers of Rhododendron luteum.
A very tactile plant, beloved of children, this grass, Pennisetum villosum, stands out against other plants until late autumn.
Flowering grasses bring life and movement to a border in summer and early autumn. These flowerheads create a fountain-like effect but be careful as some grasses are invasive.
Flowering from midsummer to early autumn, the long-lasting, upright, spiky thistle (Eryngium ×oliverianum) is an essential architectural element in dry, well-drained areas.
Easily grown in sunny areas and tolerant of poor but well-drained soil conditions, the architectural Euphorbia wulfenii (spurge) is long lasting. When cutting, avoid coming into contact with the latex-like sap—it is a notorious skin irritant.
The delicate, dissected foliage of Acer palmatum is outstanding in autumn.
Foliage that develops good autumn colour should be included in any garden. Here, the leaves of Vitis coignetiae reflect the rust tones of the brick wall.
Bulbs bring the garden to life during long winter days. The orange-red tones of the strong upright-stemmed Tulipa ‘Ballerina’ are accentuated by the grass (Anemanthele lessoniana) in the background.
As shrub roses develop, their flowers often become paler. Some roses only have one period of flowering during the growing season, while others, such as the china rose (Rosa ‘Perle d’Or’) offer recurrent or continuous bloom.
