R OYA L H O RT I C U LT U R A L S O C I E T Y

E N C YC L O P E D I A O F

GARDEN
DESIGN EDITOR-IN-CHIEF
C H R I S YO U N G
Contents
6 Foreword
Chris Young, Editor-in-Chief

10 How to design
A comprehensive guide to the principles of garden design
and how you can apply them to create a design of your own.

12 First questions 80 Designing with plants

20 First principles 100 Assessing your garden
56 Choosing materials 112 Creating a plan

130 Choosing a style

From formal and foliage to Modernist and Mediterranean,
explore the history and key ingredients of these major design
styles and find inspiration for your own garden.

132 Garden styles explained 196 Productive gardens

136 Formal gardens 206 Family gardens
146 Cottage gardens 216 Natural gardens
156 Mediterranean gardens 226 Urban gardens
166 Modernist gardens 236 Country gardens
176 Japanese gardens 246 Cutting-edge gardens
186 Foliage gardens

256 Making a garden

All the practical information and step-by-step guides you need
to bring your garden designs to life.

260 Building garden structures 278 Planting techniques

290 Plant and materials guide

Expert advice to help you choose the perfect plant for any
situation and the right materials for your design.

292 Plant guide 352 Materials guide

366 Understanding hardiness ratings 371 Acknowledgements

367 Suppliers and useful contacts 378 Index
370 Designers’ details 391 About the contributors
 Foreword

Have you ever sat – just sat – in your garden, thinking, looking around, taking in the
view? Not really looking at anything in particular, but thinking about anything and
everything to do with your garden, asking yourself, “what if I planted a tree there?”, or
“if I moved those paving slabs, what would I put in their place?”. Whether you were
aware of doing this or not is, in a way, immaterial because what you have been doing
is visually making this piece of land your own, and coming up with thoughts and ideas
for improving your outside space. Welcome then – whether it be for the first or fiftieth
time – to the world of garden design.
The concept of garden design is nothing new: when Man first cultivated land, and
enclosed his arable crops and livestock, he was delineating usable space to its best
advantage. This may not be design as we understand it now (obviously, aesthetics
were of no practical value then), but he was making spatial relationships based on
need. He was designing his environment to suit his individual daily, monthly, seasonal,
and yearly requirements.
Since that time, the process of creating a garden has evolved according to style,
fashion, prowess, skill, aptitude, wealth, travel, experimentation and history, but it can
all be distilled down to that first need. In essence, garden making is all about a human
being exerting some level of control over his or her own surroundings. And, really, that is
all garden design is today.
As is set out by my fellow authors in this book, creating a garden can be an intricate
and time-consuming process, but the fundamental starting point is to remember that
garden design is about creating an outside space that you (or your client) want. Many
discussions will ensue after that initial thought – from what style you want, to working
out how sustainable your garden might be. But don’t let the detail bog you down too

Welcome in
Successful garden design
is about creating usable,
attractive, and well-made
spaces that suit the
owner’s personal needs.
8/9 FOREWORD

much or too early in the process. Of course detail is essential for a successful garden,
but holding on to that vision, that desire, is a key part of the process. This book will
help you, not only with the nuts and bolts of garden making, but also to focus the
vision and, I hope, help make it become a reality.
So why is there still a need for an encyclopedia such as this? In truth, because
designing a garden can be something of a lonely experience. Even though we are
constantly bombarded with images, suggestions, and information (books, internet,
social media, and magazines), it is rare to be able to look in one place for everything
– from plant selection to gravel colour, from fence posts to tree heights. The very
nature of having so much choice can render the designer/gardener/client more
than a little confused as to what they actually want from their garden. The activity
of making a garden can also be influenced from so many quarters – by plants
or hard materials – that a designer needs a refuge of sorts, where questions are
answered and problems resolved. I hope this book will be that refuge in this ever-
crowded, information-heavy world.

▽ Plan your plan ▽▽ Good form Personal space

Putting your ideas onto Successful designs use Good design should reflect
paper, or computer, is flower colour, leaf shape the wishes, likes, and
an essential step when and tree stems to create a dislikes of the garden
designing your garden. balance of colour and form. owner – regardless of the
country or climate.
 Often, coming up with an overarching vision for what you want your garden to be like
is the easiest part of the process. It is translating that vision into a reality that takes the
bulk of the time: working out how parts of a garden can sit together, how planting
interest throughout the year can be sustained, deciding on hard landscaping materials
that will work in all weather conditions, and so on. These are the stimulating – and at
times frustrating – aspects of the process, but they make the difference between an
unusable piece of land adjoining your property and a beautifully designed garden.
The chapters in this book take you through these very stages of garden design,
helping to demystify the unknowns and clarify the unclear. I sincerely hope you
enjoy it and, as a result, make the best garden you possibly can.

Chris Young
Editor-in-Chief

Considered style ▽ Urban jungle ▽▽ Sense of scale Eye of the beholder

Successful spaces are Using foliage plants of When creating a plan, Sometimes, beautiful
created when planting different types and heights working to a scale allows design expressions can be
colours and combinations can help to provide privacy you to be sure that all created by mirroring
complement the hard from neighbouring views structures and details will shapes, like this sculpture
landscaping materials. and offers useful shelter. work well on the ground. and round-flowered Allium.
HOW TO DESIGN
12/13 How to design
FIRST QUESTIONS

What do you want to do in your garden?

Your garden is an extension of your home and it how you want to use the space, and not just at the
should provide a place for you to enjoy life to the current time but in the future as well. This can range
full. When thinking about any changes that you plan from keeping very busy, to doing as little as possible.
to make to the garden, it is important to consider Ask yourself a series of questions about the garden’s

GET INVOLVED

ENJOY THE PLANTS AND WILDLIFE ENTERTAIN AND HAVE FUN

The room outside

Gardens are often
described as “outdoor
rooms” and can be
planned as extensions
of the house. Ensure
continuity with features
such as stylish furniture,
screens, painted walls,
canopies and planters.
An open-air room can be
used for entertaining and
socializing, while also
offering children space
for energetic play.
The active gardener
Digging, sowing and planting bring great
rewards as plants grow and change
throughout the seasons. Colours and textures
evolve, and there is something new to see
each week. Plants attractive to birds, bees
and butterflies bring borders to life.
many roles. Do you want a space for entertaining, significant changes to the garden in the future as
a play area while the children are young, or do it establishes and matures. Ideally, come up
you simply want a peaceful but beautiful garden with flexible ideas that can be adapted. A range
in which to relax? Bear in mind that your needs, of different requirements might suggest the
and those of your family, are likely to change with creation of separate and possibly hidden areas
time, and that it may be more difficult to make within the same garden.

RELAX

APPRECIATE THE PICTURE RELAX AND UNWIND

A peaceful space
One of the special joys of
having a garden is that
you can simply sit, doze,
read or do nothing in the
open air, surrounded by
the sounds and scents
of plants and wildlife.
Gardens designed for this
purpose can provide the
perfect antidote to the
stresses and strains of
everyday life.

Simple solution
Gardens for busy people need to be easy to
maintain, but they can still be lovely to look
at. They require simple design solutions with
a strong overall concept and a pleasing
layout for long-term appeal, allowing
owners to sit back and enjoy the view.
14/15 How to design
FIRST QUESTIONS

How do you want to feel?

Gardens stimulate emotions: upon entering a space diversity, or striking features to excite and energize.
people immediately respond to it. When planning a Or you might want a place for quiet reflection and
new design, you may choose to be bombarded with contemplation, or perhaps even a space for therapy
sensory stimulation, a riot of vibrant colour, textural and healing, such as a calm, simple garden with

ENERGIZED

EXCITED AND UPBEAT REJUVENATED

Refreshing space
The presence of water,
creating sunlit reflections
and offset by natural
plantings, can help to
evoke a feeling of energy,
growth and rejuvenation.
Soft colours and a
complementary selection
of natural materials
enhance the mood. These
are places for “recharging
your batteries” after
a long day at work.

The dynamic garden

Exciting, stimulating sensations can be
created using vibrant, hot colours, spiky
plants, sharp lines, challenging artwork,
varied textures, and bold use of lighting.
But be warned: strident garden designs
can be overpowering.
evergreen trees and bushes, and a reflective pool. enhance the atmosphere of each area through
If you have enough outdoor space to play with, layout, distribution of paths and spaces, and light
it may be possible to demarcate different areas touches of detail and decoration. Colour, shape,
for different moods by making effective use of fragrance, and foliage will also affect the tone, and
screening or tall plants. Creating a new design for by using these elements you can help to foster
a garden provides an opportunity to change or positive moods and emotions.

RELAXED

A SENSE OF WELL-BEING PEACEFUL AND CALM

Restoring health
These gardens should be
private, unchallenging
spaces, and are often
characterized by culinary,
therapeutic and medicinal
plants, such as herbs with
their appealing scents, or
healthy crops such as fruit
trees. They provide a
reassuring, relaxed and
restorative environment.

Contemplative moods
Cool colours, simple flowing shapes, delicate
scents, and restricted use of materials and
planting will create a calm and peaceful mood
in the garden. Simple focal elements, waterfalls,
and carefully chosen lighting help to enhance
these uncluttered spaces.
16/17 How to design
FIRST QUESTIONS

What will your garden look like?

Garden visits, shows and plant nurseries, as well as But remember, the key to successful design is not
magazines, books, television programmes, social just collecting ideas and trying to combine them
media, and websites, will provide anyone wishing in your design. Rather, it is a process of reviewing
to change their garden with a wealth of inspiration. and editing a range of ideas, with the aim of

TRADITIONAL

FILLED WITH FLOWERS A TROPICAL RETREAT A HINT OF HOLIDAYS

Grow your favourite flowers Sculpt with plants Recreate a summer break
Your garden can be a horticultural Bold-leaved plants bring a sense of the Why limit your holiday to a fortnight, when
extravaganza, or a setting for favourite exotic and can be used to create a lush, you can pretend to be on a summer trip all
plants. These gardens are seasonal and enclosed garden with a subtropical feel. year? Adapt ideas seen on your travels: for
offer change and continuous involvement. Choose plants carefully to ensure that example, fragrant lavender beds and
Try to work to a clear overall concept in they will not get too big and are suited window boxes brimming with ivy-leaved
terms of colour, texture, and structure. to your site’s soil and climate. geraniums for echoes of southern France.
developing a coherent overall appearance for and plants that combine to produce a unified
your garden, whether you are revamping a mature composition. Make notes, collect pictures, sketch
plot or starting with a blank canvas at a new house. ideas. Some starting points are given below, from
A good way of approaching this is to have a clear the traditional to the modern, to the imaginative
image of the look you are hoping to achieve and and quirky. Use them as a prompt to see which
to carefully select elements, features, materials style suits you best.

CONTEMPORARY

A SPACE TO REFLECT CHIC AND MINIMAL FUN AND FUNKY

Make a sanctuary Cut out the clutter Show your creative side
A tranquil setting, characterized by Restrict yourself to no more than three Perhaps better suited to show gardens
straight lines, simple shapes, subtle complementary materials and a muted or temporary installations, these quirky
lighting and a coherent layout, provides colour palette, but combine them gardens are attention-grabbing but
a comfortable space for retreat from beautifully. A large, dramatic water require artistic flair and confidence to be
modern-day life. Avoid clashing materials feature or sculpture adds a dynamic successful. Not for the shy or retiring, but
and keep planting simple. quality to a pared-down design. they can be great fun while they last.
18/19 How to design
FIRST QUESTIONS

How much do you want to do?

The amount of time you have to devote to your very simple, easy-care garden, with hard landscaping
garden on a daily, weekly, or monthly basis should be and evergreen planting, the list of tasks normally
a major consideration when thinking about an overall changes seasonally, with less to do in the cooler
design and its future maintenance. Unless you have a winter months. In a high-maintenance garden with

GET INVOLVED

EVERY DAY ONCE A WEEK

Regular upkeep
Most small gardens will
not need attention more
than two or three times
a week at most, although
a plot filled with lots of
containers will require
daily watering in hot, dry
spells. Generally, larger
gardens with lawns, mixed
borders, a diverse range
of plants and productive
growing areas will take
up more of your time.

The weekend gardener

This is the most common category,
especially for people who only have
spare time at weekends. Formal lawns
require weekly mowing and edge-
trimming in summer, and weeds need to
be kept in check throughout the garden.
mixed flower borders, lawns, fruit trees and a you want, but be realistic about how much time
vegetable plot, spring and summer are very busy you can spare to keep it looking good. Working
seasons. Lawn-mowing, hedge-trimming, pruning in your garden, watching it mature and admiring
and feeding fruit trees, sowing and transplanting the results, is immensely pleasurable, but do plan
vegetables, plant propagation and ongoing for maintenance in advance, and budget to bring
cultivation, all take time. This may be the garden in help if necessary.

LOW MAINTENANCE

TWICE A MONTH SIX TIMES A YEAR

Keep it practical
Most shrubs, climbers, and
perennial plants require
attention at intervals.
Seasonal pruning may
be required in spring and
autumn, borders need
weeding and feeding,
and flowering plants such
as roses should be dead-
headed regularly. Lawns
are impractical in this
category, although
meadows are an option.

Minimal maintenance
Gardens requiring infrequent attention will
exclude lawns and hedges. Plan for “low”
rather than “no” maintenance. Many trees
and shrubs need only an annual tidy-up,
and hard landscaping just occasional
attention, such as sweeping or cleaning.
First principles

Designing your garden is all about finding solutions. It can seem daunting at first, but if
you start with a clear idea of your aspirations and practical needs, your basic design will
soon begin to take shape.
Begin by pulling together all your inspirations, using magazines, photographs, and online
sources to create a book or folder of ideas. Your images may include plants and landscapes
you love, and perhaps furniture or art you admire. To help clarify your thoughts, you could
then draw a simple bubble diagram that identifies areas for different activities, such as
eating, seating, or play space for the children.
The routes of paths, shapes of structures, and the spaces between
elements all have an impact on the look and feel of a design, and need
to be considered before you draw up a finished plan. For example,
sinuous paths and organic shapes combine to create relaxed and
informal designs, whereas straight paths and symmetrical layouts convey
a formal look.
Every site will have its own particular challenges, whether your garden
is on a steep slope and needs terracing, or if it is tiny or an awkward shape.
Whatever the problem, an understanding of how to use lines,
shapes, height, structure and perspectives will help. You can also
employ a range of techniques to lead or deceive the eye, creating
A strong pattern unifies
an illusion of space in a small garden, or diverting attention to focus different materials.
on specific features.
When it comes to creating atmosphere and mood, the colours,
patterns, and textures that you choose have a powerful impact.
Colour also affects the impression of size and space in the
garden – cool blues and whites tend to make an area feel
bigger; warm reds and yellows make spaces appear lively and
more compact. Pale colours and white reflect light into gloomy
plots. Texture can be used to great effect, too, creating exciting
contrasts by combining rough with smooth, or shiny with matt.
There are no rights or wrongs in the world of garden design, so
have fun and experiment. Plans help you to organize design ideas.
22/23 How to design
FIRST PRINCIPLES

Understanding plans
A plan is a two-dimensional representation of a three-
dimensional garden and provides a useful thinking tool.
It allows you to develop and share ideas easily with
others about how your space can be organized and
where various elements should be located. You can
produce a simple sketch or a more detailed, scale plan
to illustrate your design; the plans shown here explain
the different types and how to use them.

Working plans
These plans don’t need to be accurate or drawn to scale, but they
can be used to experiment with ideas, especially the relationship
of horizontal surfaces (built and planted) with the locations of The finished garden
Sara Jane Rothwell, owner of the design practice London Garden
walls, screens, trees, and other main features. They can also Designer, produced both an overhead and a planting plan
include connecting elements such as paths and views. (opposite, top, and middle) to show clients the new design.
Explore how
best to create
perspective by
siting elements
such as trees PLANTING

Think about
whether you
want to
replace existing DINING WOODLAND
elements, like
this fence
LAWN

Consider whether
vertical features,
such as a wall
and steps, will Explore suitable sites for the Simple labels provide a
work well different areas of the garden quick reference point for
more detailed plans

Overlaid photos Bubble diagram

Perspective drawings are difficult to master, so cover A basic bubble diagram helps you explore relationships
a photo of your garden with tracing paper and sketch ideas between areas within the garden. It is an ideal way to
on top to give a three-dimensional view of the changes. experiment quickly before drawing a more detailed plan.

Garden plan symbols PLANTING LANDSCAPING

These common symbols for plans form
a visual design language that enables
builders and other professionals working
Brick – Brick – Uniform Square-cut
in your garden to read the plan quickly basketweave herringbone paving stone
New tree
and understand what is being proposed. Conifer
Existing tree
The symbols illustrated here are those
that are most often used and most widely
understood, and can be reproduced Wall shrub
in black and white or colour. Brick – Decking Granite setts Random-cut
stretcher bond stone
WATER Bulbs

Climber Perennials

Still water Fountain Water Cobbles Gravel Rough grass Mown grass
around rocks Shrubs Hedge or pebbles
Finished plans
Plans that have been drawn to scale and show accurate need to be read and understood by builders or contractors who
arrangements, locations, and dimensions of proposed structural use them to measure areas and lengths (for costing purposes), and
elements, planting, and features are known as finished plans to identify exact locations on the ground. Changing ground levels
(see pp.114–121 for detailed advice on how to draw a plan). These are shown as separate cross-sections, or by annotating the change
plans are intended mainly for construction purposes and will of level on the overhead plan.

Overhead plan Include the site

boundaries and any
An overhead plan should show relevant buildings,
the correct sizes and locations doors, and windows
on your plan
of all proposed elements, such
as horizontal surfaces, areas of
planting (topsoil), locations and An overhead plan
alignments of linear elements needs to include the
correct materials and
(walls, fences, screens, hedges), measurements of all
and singular components (trees, hard landscaping
features
specimen shrubs, pools,
stepping stones, steps, lights, Adding the details
drainage points, and so on). In small-scale overhead plans, the
individual materials can be shown;
larger scale plans usually illustrate
these materials more symbolically
(see also p.118).

Planting plan
There is no symbol for
A planting plan is important for a lawn, so label the
calculating the correct number areas on your plan that
LAWN you want to be turfed
of plants in the garden and
identifying their exact locations.
It also shows the position of
Link shrubs of the
larger specimens, as well as same type with rules
When including new
plants and trees, check
groups or drifts of the same how far they are likely to
species. This plan is most useful, spread and indicate this
on your plan, so you can
and needs to be most accurate, space them out accurately
when planting is being carried
out by a contractor without the
designer present. If you are
doing the planting, a plan can Drawing up a planting plan
Garden plan symbols can be
help you accurately calculate the reproduced by hand or by using
number of plants you’ll need and special design software (see also
Garden plan symbols p.121). If you are less experienced
show how to set them out prior (see opposite) ensure
that the planting in reading planting plans, you may
to planting (see pp.122–129 for plan is as precise prefer to reproduce these symbols
more on creating a planting plan). as possible in colour.

Cross-section This plan shows the

elevation of the garden
If you have a sloping garden and and the side view
of the boundary wall
want to make changes to it, you
may need a plan to show the
impact of these alterations. For
steeply sloping gardens, employ
a land surveyor to draw a
cross-section, or elevation plan.
Cross-section plan
This will show the significant A cross-section must show existing
levels before and after any and proposed levels so that the
changes. More complex slopes differences are easily located.
may need additional plans.
24/25 How to design
FIRST PRINCIPLES

Gathering inspiration
How do we find ideas for our outside spaces? For most of us, inspiration may initially come from other
gardens, whether they are our friends’ or pictures we have found online or in books, magazines, or
newspapers. While this is a good starting point, and probably the best stimulus for anyone who is still
developing their confidence in making design decisions, it can ultimately constrain the creative process.
Most successful designers look outside their own discipline for other influences to help develop their
concepts and push the boundaries, so seek inspiration from a variety of sources or select a theme.
You can then create a “mood board” of appealing ideas to help you develop your own unique design.

Finding inspiration
By focusing on aspects of experiences that
you like – for example, places you have
visited on holiday, natural landscapes that
you love, the work of favourite artists or
architects, interior designs, or ideas you
have seen on websites, such as Facebook,
Pinterest or Houzz, or TV programmes
– you can build up a picture of a garden you
will enjoy. Also scroll through nurseries’
websites for images of plants that you favour,
and make a note of these too.
You can collate your images and ideas by
Bright colours and sculpture – mosaics?
printing out pictures and sticking them into
a notebook or onto an A3 sheet of paper to
create a mood board. Alternatively, source Mediterranean fishing boat – blues and greens
a website that allows you to upload your
images to make a mood board online, which
you can then easily refer to on your phone,
tablet, or computer. Whichever method you
choose, continue to build up your portfolio
of images until you are ready to start the
garden design process.
Remember that you do not need to
include all of your design influences in your
final plan. In fact, professional designers
Beach-themed garden – props?
often start with the bare bones of an idea
and build on that, rather than cramming
Coastal wild plants Pebble pathway idea
in everything on their, or their clients’
wishlist from the start.
Also narrow down your plant list to about
20 key varieties (you can always introduce
more at a later stage), and look through your
images for colours that appeal, again keeping
to a simple palette – see the information on
Introducing colour and the colour wheel on
pp.46–7 for guidance.

Using a mood board

Collate photographs, images from websites,
and pictures from magazines to create a
mood board of creative and planting ideas.
You can then use these as the inspiration
for a totally new garden design or a starting Beach hut style – storage? Yellow flowers for an accent colour
point for the renovation of an existing plan.
Case study: a seaside theme
A coastal theme is a natural choice for developing a design is not about copying
anyone who has been inspired by a holiday exactly what you have seen elsewhere, nor
by the seaside. Study scenes, plants, and is it combining all your ideas into one busy
other features while you are away, and area. Good design evolves when a theme is
start compiling a sourcebook of ideas, carefully adapted to suit a planned space. So
photographs, and even pressed flowers consider all the elements that inspire you and
that capture the essence of the garden see whether they work together well before
you want to create at home. you draw up your final plan.
Also look at colours, shapes, and You may also find it useful to sketch a
materials that reflect the location. These bubble plan (see p.22), marking the different
may include the turquoise water, local areas and functions you are planning for your
costumes, or landscaping materials used for new garden. Then file your inspirations under
houses or walls. However, remember that those headings, as shown here.
△ Main inspiration
An inspiring holiday by the sea will provide a wealth
of ideas. Here, the light through the trees adds a
romantic ambience.

◁ Seaside planting sources

Recreate coastal shallow soils and drought conditions –
for example, with gravel borders – to mimic the
environment in which these plants would naturally grow.

▽ Seaside furniture
Furniture that is in keeping with the overall mood, such
as these casual deckchairs, helps to create a coherent
look, as well as providing a welcome area of relaxation.

Devising play areas ▷ Sun and sand

A practical play area
Sand and water continue the seaside theme, combined with an organic
and are obvious magnets for children. layout and seaside plants
makes a delightful feature.
A micro-environment that includes these
elements not only makes a great play area ▷▷ Swinging idea
that will provide children with hours of fun, it If you have room in your
also looks attractive when not in use. If you garden, allocate a space
for a swing. Use recycled,
have very young children, you may prefer to hardwearing rope and
avoid the potential danger of open water and driftwood for the seat,
just install a sand pit. If you are wary of vast and cover the ground
beneath with bark chips.
quantities of sand ending up in the pool (or
in your house), substitute small rounded
pebbles to make your “beach”.
26/27 How to design
FIRST PRINCIPLES

Shapes and spaces

Choosing the basic ground shapes for your plot is a good
starting point for a design: one simple shape is best for small
gardens, but larger areas can accommodate a variety. How you
fill the spaces between the shapes also determines the final look.

How to use shapes

When choosing squares, rectangles, or circles for a design, also consider the size,
shape, and location of the surrounding buildings and boundaries. Experiment
with different options: try layouts based on existing features, the structure of
the house, and the way the garden will be viewed and used. In general, shapes
with straight sides are easier and cheaper to build than circles and ovals.

Right-angled shapes Large planting Several large

A variety of these straight-sided shapes spaces for interesting triangular
trees or shrubs spaces for planting
easily divide the garden into separate
areas, provide a strong sense of
The full width of the
direction and exploit both long and garden is defined by
short views. A long axis running straight the tilted shapes
Planting may
down the garden will lengthen it not work in
narrow areas
visually; a diagonal layout creates more
interest; blocks laid across the plot Straight lines The long view
foreshorten the garden and take the This design has a strong A diagonal layout
linear axis. The shapes directs the eye towards
eyes to the sides, making it feel wider. and planting spaces are the corners. The overall
simple and unified. design evokes energy.

Circular shapes Large spaces for

planting or use as
Circles are unifying shapes, and while a practical area Moving circles to one
combinations can create pleasing side allows for a larger
planting area
effects, they do leave awkward pointed
junctions that can be difficult to plant Dominant larger
circle could be either
or designate. Work with geometric Awkward area
lawn or hard surface
needs to be taken
principles: for example, a path should into account
lead you into the centre of the circle;
if set to the side, the design will appear Diagonal line C-shaped curve
unbalanced. Ovals have a long axis, The three overlapping The restricted access
circles are aligned along and pleasing asymmetry
providing direction and orientation. a diagonal to provide a of this design create an
strong design axis. enticing space to explore.

Mixing shapes
Use planting or
Combining various shapes creates A focal point here will a focal point to
draw the eye down provide a visual
more interest, but throws up problems the central axis full stop
when a curve and a rectangle meet, or
different materials connect. Generally, Planting partly
obscures the
keep the layout simple, experimenting Planting separates different areas
with scale and proportion to work out the different shapes
how many opposing shapes can be
employed. Planting can be used to Classic match Simple approach
“glue” the shapes together, and to blur A traditional symmetrical Changing the size and
layout, mirrored along orientation of a shape
the joins between awkward junctions. a central axis, is the basis delivers a dramatic and
for a formal design. imposing layout.
 Using spaces
Densely planted spaces, using height and
filling the garden’s width, will create an
enclosed space, while sparse, airy planting
hugging the boundaries gives an open,
spacious feel. Spaces can also be used to
disguise the size and shape of a garden. For
instance, a jungle effect in a small garden
can imply the existence of more space by
blurring the edges, but exposed boundaries
Clean lines may make it appear smaller. Conversely, in a
Interlocking, steel-edged
rectangular “trays” are large country garden, open spaces can blend
the basis for this simple seamlessly with the surrounding landscape,
design. The metal cladding making the plot appear even bigger. Consider, Mixed moods
on the building creates This garden is densely planted by the house, allowing
a focal point and an too, existing planting and structures and work close inspection of the flowers and plants, and then
effective visual full stop. with the spaces they create. opens up on to a spacious lawn, creating two moods.

Open aspect
Larger
planting
A narrow space between
areas are tall boundaries will be
limited claustrophobic and Low planting allows
oppressive. Here, in a the surroundings to
become integral
design dominated by A central flat to the design
a lawn or hard landscaping, area draws the
low vegetation creates an eye down
A narrow area exposed to more light,
access longer views, and with
creates a connection to the sky
intrigue above. It will feel open, but
Full width
A series of parallel divisions, with offset intimate areas may be lost.
gaps for planting or practical structures,
forces movement and views around the
garden. The design draws you in.

Enclosed feeling Planting of various heights will

The same space filled with Trees create an mask areas and invite exploration
overhead canopy
Large vegetation of different
planting heights will be darker,
pockets much more enclosed,
and with no views to the
Long axis sides. The path will appear
directs as a corridor through the
the eye centre and can lead to
different parts of the
garden, divided by the
planting into separately
designated areas.
Smooth flow
Using ovals instead of circles adds a
smoother flow to the layout because the
eye is taken along their lengths, rather
than in all directions as in a circle.

A wooded glade
The path Balanced approach creates a more Trees with light
connects The same path now moved intimate area canopies open
and unifies to the side also creates a up the aspect
the spaces
corridor-like effect, but this
time views are allowed
Access under the canopy to the
could be right, across a narrower
via a patio strip of planting into the
or terrace
brighter space beyond.
To the left, secret, intimate
places can be created
Secret corners with a pergola or arbour
In this mixture of rectangles and curved amongst the mixture
hedges, only one part of the garden can of high and low planting.
be seen at any time. This allows the
hidden areas to have different themes.
28/29 How to design
FIRST PRINCIPLES

Routes and navigation

The location, width, pattern, and choice of materials of your path network will affect the way the
garden is used. The routes determine how the area is navigated, as well as revealing views and framing
spaces. Not all paths have the same role: some, the primary routes, will dominate the vista and dictate
the garden plan. The secondary routes are used occasionally, guiding you off the main thoroughfare to
access areas hidden from sight, whether for practical or design purposes.

Primary routes
The main route or pathway through the garden not only links by tall planting that obscures the view, adds mystery. To punctuate
together the different areas, but also determines the basic design. the end of the route, use a focal point, such as a bench, statue, or
For example, a main path laid straight down the centre suggests container, to create a visual full stop. By its nature, a primary route
formality, while a curved route snaking through the garden creates will be heavily used, so materials need to be durable as well as
the template for an informal plan. A wide path offers an open, inviting complementary to the overall garden style. Consider, too, how
entrance, welcoming in visitors, and a narrow winding path, flanked the shape and appearance of path edges fit into the design.

Central paths Winding paths Diagonal paths

Paths converge A container Path skirts a feature, Path leads to a destination – The straight path A circular patio
in the centre provides focus possibly a pond for example, a summerhouse lengthens the plot adds contrast
or seating area
Classic layout Enticing curves Illusion of size
A formal design is often built around a series of Routes that snake through the plot add a flowing Setting a path on a diagonal allows the garden to be
geometric and symmetrical paths. They are used sense of movement and an air of intrigue. They can viewed along its longest axis, thereby creating the
to frame planted areas and meet at a specific focal be used to move around or join up key elements, as illusion of greater space and depth in small spaces,
point. There is usually no opportunity to deviate. well as provide a few unexpected surprises. drawing the eye away from the back boundaries.
 Secondary routes
While primary routes can determine the style of a garden, secondary
routes should be less intrusive and subtly incorporated into the
design. They can be both practical and ornamental, providing
occasional access to a seating area, shed or compost heap, or leading
you off the main path on an intimate journey to view a concealed
corner. They can even cut through large flowerbeds, allowing you
to experience colours and scents up close. Access routes need not
be as durable as main paths, and can be created from softer, organic
materials, or mown through an area of grass or wild flowers.

Access paths
ROAM FREE While helpful in offering
Random paving with planted crevices creates access to other areas,
a slightly erratic, informal design. With no plan secondary routes
carefully and use
defined route, the eye – and body – can move sparingly to avoid a
in several directions across the whole area. maze-like confusion
of paths that make the
design look muddled.
They can be obvious
(as right), or hidden
Circular paths in some way, either
deliberately behind
planting (see below
left), or concealed
within the design
(see below right).

Path to shed

Path to patio

Practical solution Hidden approach

A path tucked away at the back of this formal The gravel to right and left of the path, while part
design is not obvious, but it provides a practical, of the design, also provides a direct, hard-wearing
hard-surfaced route to the shed and compost bins. pathway to the garden’s seating and play areas.

The circular path A pond, for example,

draws you on is framed by the path

Continuous flow
A circular path takes you on a journey around the Secret way Subtle link
garden. It can be planned to provide alternative Visually, it appears as if the main pathway stops at A path laid in the same paving material as the main
views of key features and different elements, the lawn, but concealed behind low hedging, a side circular route links the off-set dining area without
depending on the direction in which you travel. path takes you off to a secluded area of the garden. impinging on the cleanness of the design.
Scenic route
The journey through this urban garden has been
lengthened with a sinuous timber pathway that snakes
through the centre of the plot and traverses a rill.
A curved path helps create an illusion of greater space
and presents the garden from different angles by
obliging visitors to look one way and then another.
designer Adam Frost
32/33 How to design
FIRST PRINCIPLES

Creating views and vistas The bubble pool draws

the attention to the side
of the main path

Your garden may look out over countryside or

towards a block of flats, but either way, the views 3
within your space can be enhanced with careful 4
planning. A combination of framing and screening,
using barriers, archways, and pergolas, can create 1 2

HOUSE
a memorable experience as you move through
your plot, glimpsing the next view as you go.
5 6

Planning your route

One ingeniously planned vista is gratifying, but a sequence
of changing views is even more rewarding. Different views
can be devised by varying the size of open spaces, using
screens to mask change of use, and adding focal points. The paving here is
also used for the path
Circular table and
chairs for outdoor
From a second, more
secluded seating area,
Creating viewing positions by placing a seat or orientating through the garden, relaxation and the eye is drawn towards
providing continuity entertaining the bubble pool
a path along a vista will also direct attention. Remember
to consider the view looking back from the end of the plot,
as well as the main view from the house. Follow the blue
walking route through the plan (above right) of this long,
thin family garden, by Fran Coulter; the numbered
viewpoints correspond to the surrounding images and
help demonstrate how these ideas work in practice.

2 Eating outside
The table and chairs are near
the house, and are set against a
simple green hedge, which creates
a comforting sense of seclusion.

4 Looking through planting

From this angle, looking across the
planting to the seats beyond, the pergola
looks quite different and the garden takes
on a more organic, less formal appearance.

1 View from house

This is the most important view in the garden and
dictates the layout. The pergola reinforces and frames the
3 The tool shed
The slim shed on the patio
is both decorative and functional,
5 Water feature
A glance to the side reveals
another eye-catching feature.
view, and the inclusion of a flower-filled container as adding a focal feature to this Hostas and grasses frame a
a focal point in the middle distance draws the eye forward. area of the garden. discreet, low bubble pool.
 The play area is almost Borrowing beautiful views
hidden from the house by
judicious screening If you can see the surrounding landscape from your house, try
connecting it visually to your own garden. Consider framing a key
view, or opening up your garden, using a discreet barrier, such as a
low hedge or picket fence, to link it to the wider landscape. Think
about the view in different seasons and consider what it will look like
in winter when trees and hedges are more open. You may also need
to adapt your own garden planting to blend it into the landscape.
▷ Blending in
Here, there is no clear
8 boundary between the
9 garden and the land
beyond. One becomes
7 the other, and the garden
seems to stretch as far
as the horizon.

A container of KEY
white-flowering roses
stands on this brick circle, route through the garden
drawing the eye down the ▽ Framing a view
garden from the house direction of viewpoint This “window” to the
outside world is focused
on a tree-topped hill.

Disguising unattractive views

6 Shady corner
Beyond the pergola, the garden is Not all views are good. Within a garden, especially a small one,

8
more open and has a different character. Focal point there will be areas of utilitarian clutter, such as sheds or household
This area is hidden fromthe house, and Circular features break up and bins, which are not especially attractive and may need screening.
quite shady, providing the owner with soften long, straight lines. The large Neighbouring houses may overlook the property, spoil the view,
an opportunity to use a different range pot is a focus for this circular space
of plants, such as leafy hostas. and can be viewed from all sides. and compromise privacy. Tall planting or screens can help to hide
eyesores, but if these are not an option, try adding an attractive focal
point elsewhere in the garden to distract and lead the eye away.

△ Covering an old shed

Garden sheds are often unwelcome focal
points. This rambling climber is a good
summer disguise, less effective in winter.

7 Relaxing family area

This swing seat is tucked
around the corner, just beyond
9 Play area
The play area is hidden behind
a semi-transparent screen, which
▷ Screening neighbours
The tall bamboo screen blocks the
view to the neighbouring property
the pergola and faces towards the separates it, both physically and and provides an attractive backdrop
brick circle and the shade garden. visually, from the rest of the garden. to the planters.
34/35 How to design
FIRST PRINCIPLES

Geometric designs
Small, symmetrical, rectangular-shaped plots, often found
Descending planes
in towns and cities, are ideal for geometric layouts, although A progression of levels, low block
walls, rectangular beds, strip
some large rural gardens are also highly geometric. Most are lighting and matching recliners
based on simple combinations of rectangles and squares, with produces a series of parallel lines,
giving this contemporary garden
linear elements, such as walls, screens, hedges, and steps used a dynamic feel. The planting is
simple, so it does not detract from
to reinforce the formality of the design. the strength of the overall design.

Layering shapes
By adding a variety of layers above ground level to or angled so that the shapes above eye level have
offer different views and experiences, gardens can a different, but complementary geometry. Pergolas,
be made more visually exciting and functional. These clipped-tree canopies, and roof-like structures all
layers can be set directly above the ground pattern, offer opportunities to layer your design.

Canopies provide
shade and create
a layering effect

Raised decks
are quick and
easy to build

Screens
and hedges
provide height

Hard-wearing
paving is best
at ground level

Overlapping layers Level changes

The arrangement of elements in this small To create visual interest, introduce subtle
garden breaks up a dull rectangular plot, changes of level using a range of different
and creates different spatial effects. materials, including water.

Circular designs
Layouts based on circles, arcs, and radiating patterns Dominant shapes
can be softened
help to create spaces that are full of movement. However, by planting
they are difficult to build from hard landscape materials,
and getting the geometry wrong will look unattractive.
Organic layouts (see pp.38–39) should be considered as Circular shapes
an alternative, if this is likely to be a problem. draw the eye to the
centre of the garden

The converging lines

of the patio connect
the house to the lawn

Formal approach
A central lawn surrounded
by a radiating pattern
of low beds and clipped Directional design
hedges combines a sense This simple design focuses the eye on
of order with rhythm the centre of the garden. A container or
and movement. sculpture could be used as a focal point.
Shapes on a diagonal
A classic design trick for long, linear,
and narrow plots, is to rotate a rectilinear
geometric pattern so that it is orientated
along diagonal lines. These layouts on a
bias draw your eye down the garden and
encourage views to the sides.

Dynamic angles
The diagonal lines of staggered beds, patchwork wooden
decking, and a raised pool make a bold statement, and
direct visitors through the space.

Twists and turns

A diagonal path with steps traces a zig-zag line through
the garden, providing areas to linger and enjoy the wide
beds and colourful planting.

Triangular beds
provide depth
for a range
of planting

Angled
rectangles
offer diagonal
lines and views

Different
materials add
interest and
break up
the space

Defining shapes
Here, rectangles of hard landscaping,
set side-by-side and edged with planting,
make the garden appear wider than it is.
36/37 How to design
FIRST PRINCIPLES

Symmetrical layouts
Throughout the world (except in the Far East), from the middle
ages to the early 18th century, gardens were not only geometric,
but also symmetrical. Inspired by Islamic and classical designs,
they transformed the landscape into a controlled work of art.
These formal layouts complemented classical architecture and
reinforced the belief that beauty derives from order and simplicity.

Contemporary symmetry ▷ Perfect harmony

This sophisticated garden illustrates
Contemporary layouts can adapt classical classical symmetry and demonstrates
symmetry to meet the requirements of the importance of proportion and scale.
modern living, such as creating space for
outdoor entertaining or for growing herbs Create a striking central
feature to accentuate
and vegetables. Good design also involves design symmetry
an understanding of a wide range of hard
landscape materials and the way in which
they can be combined to make a simple
and elegant framework for the planting.

Cool control Formal framework

A chequerboard of white paving and emerald A combination of rectangles with block
grass against a dark hedge offers a modern planting gives a strong structure that
interpretation of a traditional format. works well in a contemporary setting.

Informal planting Use a focal point to

draw the eye to the
Lush planting
can be used to
Symmetrical layouts are often less obvious end of the path soften edges

when viewed from eye level, especially when

taller plants are used. A variety of forms,
textures and colours will also soften hard
lines and sharp edges. The combination of
formal design and more relaxed, informal
planting is a tried-and-tested formula, but
requires skill and discipline if it is to work
well. The balancing effect of a restricted
colour palette and repeated plants, perhaps △ Softened lines
mirrored along a path, help to develop and The subtle haze of herbaceous planting spills
out from flower beds onto the path and contrasts
reinforce the symmetrical theme. with the formal garden layout.

Mirror image ▷ Repeated planting

In a symmetrical garden, dominant shapes Leading the eye through the garden, this long, airy
are repeated and guide you through avenue of grass demonstrates the compositional
a sequence of harmonious spaces. power of symmetrical planting.
Traditional and formal
Traditionally, it was the symmetrical pattern points, such as ornamental pools and
on the ground, such as a parterre of low fountains, dramatic sculptures or large urns,
hedging laid out around a central axis, that were added to enhance key points and to
dominated garden layouts. These geometric make the pattern more interesting from eye
designs are still popular in vegetable and level. Nowadays, when many planting styles
herb gardens today, where they allow easy are used, the geometric approach works
access to tend the beds. In the classical best when the overall design can be viewed
gardens of large estates, a sequence of focal from a terrace or house above.

Planting can be Crossing paths

changed seasonally lend themselves to
for different effects Islamic-style gardens

Planting edged
with dwarf
box hedging
reinforces the
formal pattern

Visual journey Circles and squares

Well-positioned focal points, such as this nautilus Reminiscent of a celtic cross,
sculpture, create a strong sense of direction. The this layout divides the garden into
domes of box and clipped yew lining the path quadrants with a central focal
accentuate this effect. area, ideal for an ornament.

Permanent patterns
This formal layout of box-edged beds is
infilled with spring flowers, which will
be replaced as summer approaches.
38/39 How to design
FIRST PRINCIPLES

Organic shapes
Organic shapes and layouts work well in large gardens and are Simple curves
Generous curves, wide
especially suited to rural or semi-rural locations, but they can beds, and the addition of
a pinch-point draw the
also work in small spaces. They are characterized by flowing eye around the garden.
lines, soft curves, sympathetic use of landscaping materials, and
relaxed planting schemes. These naturalistic gardens evolve
over time as planting matures, blurring the original layout.

Interlocking circles The top of the garden

provides an open
Developing two areas of the garden, expanse for a lawn
separated by a pinch-point, leads the eye or area of gravel

from one space to another, and offers both

open and enclosed areas. The organic layout
provides a setting where some shrubs and
trees can be allowed to grow to their natural Where the lawn
narrows it draws the
size, creating a backdrop for lower plants at eye to the centre
the front of the beds. The narrow space
between the circular forms can also be used Smooth outline
to bring colour and interest into the centre of Use flowing lines for an
the design (right). This figure-of-eight layout organic and natural design,
and avoid fussy ripples or
makes the garden appear larger, as all areas sharp corners that will
are not visible from a single vantage point. interrupt the continuity.

Fluid lines
A simple device to draw the eye along the a path, the spaces at the top and bottom
garden, and to give the illusion of movement are ideal for planting, a seating area, or an
and space, is to adopt an S-shaped design. ornamental feature, such as a pool. If these
Two circular areas are connected by a single two areas are different in size, the path may
fluid line, which can be developed into be tightly coiled at one point and then more
a snaking path or a flowing lawn. If used as relaxed, providing contrasting experiences.
◁ Serpentine path
A coiling stone path leads An ideal spot for a pool
through robust planting to or feature to be viewed
a cave-like chamber in this from a winding path
children’s play garden.

▽ Curved decking
The sinuous lines of the
deck and lawn complement
the subtle shades of the
surrounding foliage.

Meandering route
This curvaceous shape provides many
different views and vistas as you move
through the garden.
Sweeping curves
Curved lines may evolve to avoid an obstacle,
such as a tree, pond or building, or added
to make a path that leads to a particular
destination. These are the fluid lines found
in the natural world and lend an organic
character to shapes and forms. They are
Use gravel or
frequently used to create calm, relaxing, bark for a soft
and unchallenging garden designs. organic look

Bold statement Gentle arc

Curving round a bench, this dynamic Wide curvilinear paths create generous
raised bed adds colour and momentum space on either side for deep planting
to a paved circular terrace. beds or expansive water features.

Continuous journey
This C-shaped gravel path guides the
visitor between still water and soft planting.
The view around the curve is partly
obscured, which adds a sense of mystery.
40/41 How to design
FIRST PRINCIPLES

Multi-level layouts
Sloping sites provide an opportunity to create beautiful
spaces full of movement and drama. Working a plan
around the site’s natural slope will create a more
natural effect, while terraces offer structure and shape
for formal and contemporary designs. Drainage is an
important consideration, as any changes to slopes will
affect the movement of water (see pp.104–105).

Terraced slopes ▷ Steep terrace

Tiered wooden sleepers
Terracing makes a dynamic statement and behind a low wall provide
can be used to extend the architecture of perfect conditions for
sun-loving plants.
buildings into a sloping landscape. Retaining
walls and steps are solid, permanent additions
and a long-term investment. Measuring and
building them are skilled jobs at both the ▽ Tree platform
design and construction stages. Wooden Decked platforms are
easier and less costly to
decking is a cheaper solution; materials are build than terraces, which
lighter, but not as long-lasting. involve major earthworks.

Gentle slopes
Gentle changes of level in a garden offer
visual interest and depth to the design.
For practical purposes, gardens with only
a slight incline can be treated as a flat site.
However, if completely level areas are
needed, for example, to accommodate a
table and chairs, it will be necessary to level
the ground and carefully consider the route
between changing elevations. A combination
of walls, steps, ramps, and terraces can be
introduced as required, to suit any design.

Gradual progress
Shallow steps, with space for decorative
pots, bridge a small pond and provide an
easy route up to the seating area beyond.
 Designing with steps
When building steps, the proportions of the tread
(horizontal) and riser (vertical) are both important.
Generally, they are more generous outdoors than
inside a building, with treads 300–500mm deep
(12–20in) and risers 150–200mm high (6–8in).
Materials should complement those used elsewhere
in the garden, especially adjacent walls.
retaining wall
tread
Steep steps
These are a good
option if space is
limited, or when more riser
drama is required, but
they hinder fast
movement and can be
dangerous, so install
a handrail too.

Shallow steps
Although they take up
more space, shallow
steps allow a relaxed
progress through the
garden. The depth of
the treads also
provides space for
decorative pots.

Stepped ramp
A stepped ramp is
easy to negotiate and,
if shallow enough, can
accommodate wheeled
transport. It can be
useful where there is
not enough room for
a ramp.

Continuous ramp
Invaluable for
wheelchairs, bikes, etc,
ramps also provide a useful
route for wheelbarrows.
They need seven times
more horizontal space
than steps.

Natural hillside SAFETY ISSUES

The best advice when dealing with a hillside
Regulations state that any
garden is to change a natural slope as little
surface higher than 600mm
as possible. The soil is likely to be shallow (24in) above surrounding levels
and held together by the existing vegetation. must be enclosed by a barrier
Drainage will be complex and removing 900mm (36in) high; railings, walls,
the native plant material may result in soil or fences are suitable options.
erosion and landslides, as the soil-binding
roots are lost. Try to work with the unique
contours of the landscape and make small, Adding a landing
thoughtful interventions over time rather A landing is desirable
at the top of a flight of
than significant alterations all at once. steps, and to provide a
resting place every ten
Nature’s way or eleven steps within
Uneven, weathered stone steps meander a long flight. It is also
romantically up through a secluded and Decorative restraint required when there is
naturalistic woodland setting. a change of direction.
42/43 How to design
FIRST PRINCIPLES

Using height and structure

The plants or features that give height and structure to a scheme greatly enhance the way a garden is
perceived and used. This is especially true of a straight-sided, horizontal plot, where introducing different
heights will create movement and dynamism. There are certain principles to bear in mind, such as the rules
of perspective, and it is useful to remember that the closer you are to a structure, the larger it will appear.
Use hard landscaping and planting to create the effects you want.

Height levels A see-through

It is practical to think about height levels in trellis distracts
the eye from
terms of how they relate to the adult human a shed
body, which affects how they are viewed and
experienced. Anything below knee height is The tree lifts
viewed from above. Waist-high elements are the gaze
upwards
seen at an angle and form a screen, partly
blocking views to anything immediately A painted,
behind them. At shoulder and head height, rendered wall
forms the
dense or opaque elements (such as closely boundary
planted tall shrubs, hedging or high screens)
Low walls
will completely block a view. Structures double as
above head height, for example a tree canopy, seating

can create a sense of seclusion as the sky

and nearby buildings are obscured. Hard The lowest
plane is lawn
landscaping provides fixed elements but all
further interest comes from planting. Indeed, Planting
combining plants of different heights is one is repeated
at intervals
of the key aspects of a successful garden. Few to provide
rhythm
built elements can compete with a mature
tree for interest and drama.

An outer wall
gives a sense
of enclosure
▷ Varying heights
This multi-level design shows the clever relationship Stones add
between the fixed height of the parallel low walls, a change of
and the natural variations achieved with perennials, texture
grasses, shrubs, and trees.

▽ Height levels explained

This diagram shows the relationship between the human Planting at A see-through The highest element
waist height screen stands is the rendered wall,
form and height levels within the garden. Planting, hard is seen at Low walling above head creating a backdrop
landscaping, and screens have all been planned to vary an angle around height
viewing angles throughout. The three low walls interrupt knee height
punctuates An area laid to Paving adds Planting breaks
the planting but do not obscure the view beyond. the space lawn creates a different up the flat
open space in texture at expanse of wall
the scheme ground level
Above head height

Head height

Waist height

Knee height

Ankle height
 Introducing height Temporary screens
A range of height levels gives variety and While pergolas and other built structures
interest to a garden, whatever its scale. provide height and solid overhead planes,
Elements that create instant height include they need support and can fill small gardens
barriers (walls, fences, screens, or trellis), with posts. If uprights would be a problem in
overhead structures (pergolas, arbours, your garden, consider suspending temporary
or canopies), and play equipment, such as canopy screens to create shade and make the
a child’s swing. Planting options are varied garden feel more intimate. Sail-like screens
and include trees, many shrubs, bamboos, are a good solution and they can be taken
climbers, hedges, and perennials for down when not required. They need to be
seasonal variation. Bear in mind that young attached securely, but can be an excellent
trees and shrubs need not be expensive, way of creating privacy in a small garden.
but take time to gain height. Built structures
cost more, but are quickly realised and
make permanent features.

△ Contrasts of height
The stature of these elegant olive trees is given greater
emphasis by the low planting below.

▷ Shielding neighbours
A combination of trees and shrubs behind trellis screens
provides partial screening and privacy from neighbours. Nautical screen
The painted frame adds height and structure to what A lightweight and elegant sail canopy provides shade,
would otherwise feel like a small space. does not clutter the garden with posts, and conveys
a feeling of intimacy to small urban gardens.

Using perspective
There are two important principles to of art, for example, may look too dominant Transparent screens
consider when using perspective (the way in placed in the foreground, but in proportion Trellis, glass, and other transparent and semi-
which objects appear to the eye). The first is sited farther away. By carefully positioning transparent screens help to separate garden
that parallel lines in the viewer’s sight appear elements of different heights in the garden, spaces without diminishing light. They are
to converge at a point in the distance, known the rules of perspective can be exploited. useful in smaller plots, where they allow visual
as the “vanishing point”. The second is that It is even possible to produce slight optical connections to be made, while breaking up
objects nearer to the viewer appear larger illusions, for example, by repeating motifs the space into different areas, and adding a
than those further away. A large tree or work at intervals to make a garden look longer. change of mood. Transparent screens also
make attractive features in their own right.

Repetition of this broad,

shallow curve makes the
garden seem longer and
wider than it actually is

The sculpture at
the far end makes an
appealing focal point
in the distance

Tricking the eye

The use and orientation Versatile trellis Glass panels
of parallel lines, and the The open latticework of This patterned glass panel
repetition of shapes, trellis associates well allows light through but
draw the eye forward with plants and climbers slightly obscures the visual
to the sculpture, creating and may be left open or connection to the next area
a sense of depth. screened with evergreens. of the garden.
44/45 How to design
FIRST PRINCIPLES

Choosing structural elements

Boundaries are the frame within which your
garden sits and form the backdrop to the
space, especially in a newly planted garden.
Screens allow you to divide the garden into
smaller areas, and come in a variety of forms
and materials, while some garden structures
may even be works of art in themselves.
Boundary options
The main boundary choices are walls, fences or hedges.
Walls are an investment, making a permanent addition to
the property, and can connect garden and house visually.
Fences are cheaper but shorter-lived, so bear in mind
that they will need replacing in time. Hedges take time to
grow, and need clipping, but form a soft, natural boundary.
▷ Wooden screen
A trellis clad in clematis
makes an inexpensive
decorative screen.

▷▷ Mixed materials
Panels of concrete, painted
timber, and a planted
living wall create striking
textural contrasts.

◁◁ Bright squares
The mix of brightly
coloured opaque and
transparent screens
makes a bold statement.

◁ Green colonnade
An interesting alternative
to a traditional continuous
hedge, these tall clipped
conifers form a strong
background feature.

Internal screens
Adding screens and panels within the garden divides it
into smaller, more intimate spaces. They are especially
useful in predictable rectilinear plots where they can add
interest and heighten mystery. Panels below waist height
allow views across the garden, taller screens separate
different areas, and gaps allow tempting glimpses of
the garden beyond. Consider the effect of opaque and
transparent screens and introduce colours and textures
to add visual contrasts. Supports and other frameworks
should form an important part of the design and, if well
planned, will help to reinforce the overall composition.
 Using natural forms
Structural elements can be introduced using planting alone. A range
of trees and shrubs can be trained to form hedges and screens with
great results. Patience is needed while slower-growing plants
mature, but this is a rewarding process. Natural forms suit
traditional gardens, but are not out of place in a modern design,
where clipped shapes, such as “lollipop” trees and sculptural plants
like bamboos, add spheres or lines to a design. Accentuate the
vertical lines of small trees by placing low-growing plants at the base.
◁ Bamboo screen
This bold planting of tall
Phyllostachys sulphurea
f. viridis is reflected in
the pool in front.

◁◁ Clipped trees
Here clipped “lollipop”
bay trees emerge from
box-framed lavender beds,
demarcating the dining
area. The slate terrace
lends textural contrast.

Sculptural structures
Screens and garden dividers of all kinds can be decorative in their
own right and, equally, a work of art can play a dual role and have
a structural function in a garden. By introducing a strikingly different
material, such as glass or metal, into a design filled with plants, you
can add exciting accents and heighten the drama. Glass may be
frosted or clear, printed with patterns or moulded in different ways,
although even toughened glass may not suit a family garden. Metal
adds gleam and reflection to an otherwise matt series of surfaces.
Site sculptural structures where they can be fully appreciated.

▷ The path ahead

This unusual elliptical,
wire mesh tunnel, a work
of art in itself, invites use
and functions as both a
screen and a walkway.

▷▷ Frosty looks
The image printed on the
transparent and frosted
screen acts as additional
“planting”. Both the screen
and the seat appear to
float within the garden.
46/47 How to design
FIRST PRINCIPLES

Introducing colour PRIMARY

Colour is a powerful tool in garden design, influencing our Y T ER
IAR TIA
senses and the way in which we respond to the environment T ER
T RY

around us. Colours can also convey an atmosphere, mood

or message: warm, vibrant colours generate a feeling of Secondary Secondary
immediacy, liveliness, and excitement, while cool colours
create a calm, spacious, often tranquil atmosphere.

T E R T I A RY

T E R T I A RY
Colour wheel
The language of colour is best understood using a colour wheel –
a device employed by many artists and designers to explore the PRIMARY PRIMARY
visual relationships between colours and the effects different ones
can create when placed together. In particular, it helps us to see why TE
RT RY
some combinations work better than others, and why one colour IAR TIA
Y T ER
can dramatically influence another to produce a startling contrast Secondary
or confer harmonious continuity.

Primary colours Primaries blue Hues, tints, shades, and tones

Red, blue, and yellow, the largest and red produce The true colours or “hues” are
secondary purple
slices of colour on the wheel in the third ring of this wheel.
above, are primary colours, from The two central rings are
which all other colours derive. light “tints”, which are
These three hues cannot be mixed with white. The
mixed or formed by combining outer rings show how
other colours. adding black makes
darker “shades”.
Secondary colours If grey were added,
Two adjacent primaries will it would make
create a secondary colour a “tone”.
when mixed together. These
secondary hues are green, Primaries red and
orange, and purple. yellow produce Add black to
secondary orange create a shade
Tertiary colours
These are made by mixing
adjacent primary and secondary Primaries yellow
colours in different quantities, and blue produce Add white to True
secondary green create a tint colour
until the wheel becomes a
or hue
circular rainbow.

Introducing colour in the garden

Planting combinations Hard landscaping Paint

Creating a variety of colour combinations with plants When nothing is in flower, hard landscaping can Earthy tones, derived from natural pigments, work well
and flowers is exciting. You can alter the palette to provide colour and interest. The effect is consistent, in more natural contexts, while bright, bold colours
produce changing colours for each season. although weather conditions may affect the colours. create a feeling of energy, excitement and optimism.
Combining colours successfully
The opportunity to combine different tints and shades of various best effects. The key concept involves working with harmony and
colours makes garden design an exciting challenge; using a colour contrast to develop a visual experience to engage the viewer. Those
wheel can help our understanding of which combinations create the colours allocated the most space in your design will become dominant.

Opposite colours
Two colours from opposite sides of the wheel are
considered to be complementary, for example, yellow
and purple, and red and green. The high contrast of these
colours creates a vibrant look, but they can cause eye
strain, too, and should be used sparingly.

Adjoining colours
Harmonious colours, selected from adjoining hues (also
called analogous colours) match well, are pleasing to the
eye and create a sense of order. Choose one colour to
dominate, and others to support it. Adjoining colour
groups create a “warming” or “cooling” effect.

Triadic colours
Selecting three colours that are evenly spaced around
the wheel can instil a sense of vibrancy. This works
best with flower and foliage colour rather than with hard
landscaping materials, where triadic combinations can
be overdone and appear chaotic.
48/49 How to design
FIRST PRINCIPLES

Colour effects
In a garden, colour is never perceived in isolation and
should always be considered as part of an overall design
composition that includes form, line, texture, and scale.
Other elements, such as the intensity of sunlight and
shadow, can also influence how colours are seen in an
outdoor space. It is important to understand how and
where to use different colours in your design to achieve
the best effects.

Colour influence ▷ Shorten a view

A dominant colour (red)
You can use colour to attract attention to placed behind a recessive
a particular feature or area; the more an object colour (green) will bring the
background forward. This is
contrasts with its surroundings, the more visible it particularly effective if they
becomes. Hues (saturated colours) are dominant are complementary.
and offer the highest level of contrast when placed ▷ Lengthen a view
together. Darker shades or lighter tints contrast less, If a dominant colour (purple)
although small areas of light against dark, or vice is in the foreground with
a harmonious recessive
versa, can create an accent. Recessive colours, like backdrop (green), the
cool blue or green, give the illusion of distance. garden appears longer.

Outline Red on green Green on red

Without colour, the outline of When red is placed on its The intensity is the same, but
this tree doesn’t stand out complementary, green, the as red is dominant, the green
from the background. colours appear to “vibrate”. tree is less clear.

Creating highlights
You can achieve some bold effects in a garden
using colour highlights. Try contrasting one
hue against another, or combine adjoining hues
in close proximity (see p.47). For example,
plants with complementary colours (red and
green, purple and yellow) will intensify the
brightness of each other when placed together,
while plants with hues that are close to each
other on the colour wheel (see p.46) (purple,
red, and pink) blend to form a harmonious
effect. The introduction of a single, intensely
coloured plant against a recessive background
(such as green or blue) will make the bright
△ Warm contrasts ▷ Bright white plant stand out. Combinations of warm and
This group of yellow flowers While purple and green are
is highlighted against the closely related on the colour cool colours can also result in eye-catching
dull red brick wall. The drift wheel, adding white creates compositions that highlight the more dominant
of mauve flowers in the a stronger composition. As colour. (Note that white may appear recessive
distance contrasts with pure white reflects the most
the dark woods behind light, these pots stand out or dominant depending on the light.)
and the lighter green field. against the purple wall.
 THE PROPERTIES OF COLOUR
Warm colours (reds, yellows, and oranges) can
make spaces appear smaller and intimate. Cool
colours (blues, whites) make areas look larger
and more open. Green is a neutral colour.
REDS
Reds and oranges suggest excitement,
warmth, passion, energy, and vitality. They
stand out against neutral greens, and work
best in sunny sites but, if over-used, can
be oppressive.
YELLOWS
Yellows are sunny and cheerful. Most are
warm and associate well with reds and
oranges. Greenish-yellows are cooler and
suit more delicate combinations.
BLUES
Deep blues can appear very intense, lighter
△ Colour boosting sunlight blues more airy. Blues suggest peace, serenity,
The strong sunlight has a brightening effect and coolness. Purples carry some of the
on the yellow wall, and on the sizzling
intensity of the red flowers in pots and on characteristics of both reds and blues.
the hedge in the background. GREENS
The most common colour in the plant
kingdom, green comes in many variations,
ranging from cool blue-green to warm
Light and shade yellow-green. Greens suggest calm, fertility,
Responding to colour is a sensory reaction, and freshness.
like smell and taste, and the way in which
WHITES
our eyes read a colour is dependent upon White is common in nature. It is a
the amount, and intensity, of light that is combination of all other reflected colours,
reflected from that colour. Sunny areas and suggests purity and harmony. White
make colours appear bolder and more spaces seem spacious; the downside is they
concentrated, while shaded areas reflect can feel stark.
more muted hues. This means that flat BLACKS/GREYS
areas of colour – for example, a painted Blacks and greys are the absence of colour,
wall – may look quite different depending when light rays are absorbed and none are
upon their aspect and orientation. Similarly, reflected back. Black is glamorous when
△ Nature’s neutral colours the hues of flowers and leaves will change used sparingly, but depressing when
Beautiful effects can be achieved by combining a variety
of soothing greys, blues and greens with light-catching depending on their location, the degree of extended over large areas.
whites and yellows, which brighten up a shaded area. shade cast on them, and the time of day.

Tints, shades, and tones

A general guideline to remember is that
pure hues or saturated colours are more
intense, while colours that have been mixed
together are less vibrant. Black and grey are
rare in nature, but they do exist in the form
of shadows. A tinted colour, which has been
“diluted” with white, will be lightened and
appear more airy and farther away. A shaded
colour, which has been “diluted” with black,
will appear to be nearer. Tones mainly occur
when a colour is cast into shade. However,
the quality of light in a garden, such as on
a bright sunny terrace or in a shady border Tints Shades Tones
Hue + white = tint. The more white Hue + black = shade. Darker Hue + grey = tone. Seen mainly in
at twilight, will affect the way that colours added, the lighter the colour. Tints shades advance. They are warmer shadows, tones are less intense
are perceived. recede, but pure white may advance. and appear closer than pale tints. and appear muted.
Theory in practice
The planting scheme in this garden demonstrates the
colour wheel in action. The palette is dominated by
oranges and blues, which, as opposite colours, produce
a brightly contrasting effect. Neutral whites and greens
help to soften the impact, while a steely grey backdrop
tempers the heat and picks up blue tones in the planting.
designer Catherine MacDonald
52/53 How to design
FIRST PRINCIPLES

Applying colour
We tend to be more adventurous with colour in the
garden than we are in our homes, perhaps because
the outdoor environment feels brighter and less
confined. The neutral greens of foliage and blues and
greys of the sky also have a softening effect on more
strident or clashing colours.

Vibrant colours
Strong colours can be used to dramatic effect in the garden: as bright
pinpoints that energize more subtle plantings, or surprise pockets of
colour separated by greenery. In a flower border you can build up
from quieter blues and purples to crescendos of fiery reds and
oranges. These hot colours will stand out all the more by combining
them with a scattering of lime green, dark bronze and purple foliage.
▷ Radiant hues
Use glowing flower shades
for hot, sunny aspects
where the colours will
really sizzle in the light.

▷▷ Hot seats
The colours used in this
seating area create an
upbeat atmosphere – the
ideal setting for stimulating
lively conversation.

Relaxing colours
The muted greys, purples and blue-greens typical
of Mediterranean herb gardens create a restrained
atmosphere, perfect for a contemplative retreat. Plantings
that pick up the heathery colours of distant hills make a
space appear larger. However, a calming palette doesn’t
have to be muted; it can also include fresh greens and
pastels, which will work well in most settings.

◁ Refreshment
Fresh white, lemon, and
green combine with
a brighter pink to create
an uplifting but essentially
restful planting. Perfect
for an intimate seating
area tucked somewhere
away from the house.

◁◁ Country calm
The lavender and purple
sage add to the serene
colour palette of this
formal garden with
a Lutyens-style seat.
 Neutral colours
Earthy browns and biscuit tones are reminiscent of harvest
time and appear warm and nurturing, contributing to a
calm, relaxed atmosphere. Weathered wood elements
are perfect for gardens with a country look. In urban
locations, you can feel closer to nature by utilizing
reclaimed timbers, wicker and bamboo for screens, raised
beds, and furniture. For flooring, consider sandstone
paving, decking, or a shingle beach effect with pebbles.
◁ Muted tones
As they die back, perennials and grasses
continue to inspire, creating winter interest
and a harmonious palette of browns.

△◁ Rustic simplicity
Basket-weave stools and a table made
from a tree trunk blend seamlessly with
a rustic-style garden.

◁◁ Nature room
Blocks of wood provide a muted backdrop
for birches and the intermingling greens
of the grasses and foliage plants.

Monochrome colours ARTIFICIAL COLOUR

Hard and soft landscaping in a restrained palette of black, grey and
Colours that are rarely seen in nature
white, with the addition of green foliage, produce refined, elegant ▽ Spring whites tend to be the most attention grabbing.
designs. The approach is perfect for smart period gardens with This elegant scheme
Contemporary designers use Day-Glo
a formal layout. White blooms and silver foliage also work well comprises white forget-
me-nots, tulips, daisies coloured materials and lighting to give a
with metallics in a chic city courtyard. Use cream or white flowers to and honesty with hostas space a more futuristic or avant-garde look.
enliven shade, and combine with variegated and lime-green leaves. and silver astelia foliage. You can include these colours with furnishing
fabrics, Perspex screens and LED lights.

Day-Glo colours
Bold, cartoonish colours, such as bubblegum pink,
lime green, orange and turquoise are so vivid they
seem to glow. Attention grabbing but use sparingly.

△ Black diamonds
Flanked by crisp green woodruff and
a low clipped box hedge, this stylish Painting with light
grey and cream gravel pathway with LED lighting is available in any colour and can also
a black pebble mosaic, makes an be programmed to create a sequence of changing
eye-catching focus for the small hues to produce spectacular effects in the garden.
front garden of a town house.
54/55 How to design
FIRST PRINCIPLES

Integrating texture into a design

It is easy to be seduced by colour when selecting plants and materials for the garden, but form and texture
are equally important. Whether the design is a success or not depends on how well you combine the various
shapes and textures, not only on a large scale but also at a more detailed level. To emphasize the contrasts,
try to visualize in monochrome the hard and soft landscaping elements you are considering using. Also pay
particular attention to how light affects different forms.

Types of texture
Experiencing different textures in the garden there may be more surprises in store as you contrast. There are a number of basic
is a crucial part of our sensual enjoyment of explore. Certain forms and surfaces invite categories describing texture, some of which
the space. You can often tell what something touch and the visual and physical effect is relate to how something feels and others to
is going to feel like just by looking at it, but heightened when there is great textural how light affects a material’s appearance.

Rough Smooth Gloss Matt Soft Hard

For rough textures Choose flat or rounded Shiny, mirrored surfaces Ideal for combining with Impossible to ignore, soft, Non-pliable solid surfaces
choose stone chippings, surfaces like concrete include many evergreens, glossy elements, matt felted, furry-leaved plants can be matt or gloss: cast
dry stone walls, wattle cubes and spheres, plain polished granite, stainless surfaces include cut are irresistible to the touch, metal, stone and concrete
hurdles, peeling tree pots, smooth bark and steel, chrome, still water timbers, galvanized metal as are fluffy seedheads and walling, flint, granite setts
bark, or prickly plants. water-worn cobbles. and glazed ceramic. planters and sandstone. grass-like stems. and terrazzo pots.

Combining textures
To introduce a variety of textures, combine contrast between two elements by making ▷ Textural contrasts
plain with patterned surfaces, shiny with matt, the difference marked. Pair strongly vertical Combinations of textures create the visual
smooth with rough, and so on, but don’t plants with horizontal decking, for example, excitement in this harmonious design.
Horizontal lines on the planter echo the
overdo the number of materials or the garden or a glittering, stainless steel water feature lines of irregular stones bedded in concrete,
could end up looking too busy. Accentuate the with matt-textured ferns and hostas. while the rill provides a glittering contrast.

Rough with smooth Gloss with matt Soft with hard

This walled courtyard marries gravel and rough-cut stone Shiny glass and metal doors echo the visual qualities The wooden walkway, circular terrace and snaking wall
with smooth spheres to dramatic effect. The dry stone of the swimming pool. These elements are separated are perfectly opposed by luxuriant “soft” plantings of
water feature cuts the sheer rendered wall in half. by the smooth paved terrace and matt rendered wall. hostas, irises, grasses and marginals.
Choosing materials

It is not just planting that defines a garden. The texture and shape of the hard materials you select,
whether for surfaces, boundaries or structures, are an integral part of the design. Different materials
add shape, colour and movement, to lure you in and to determine where the eye is drawn, while
materials sympathetic to the house or the local environment produce a more pleasing aspect.
When making your selection, consider the view from the house. Do you want to soften large
areas of hard landscaping by incorporating a mixture of materials – slate with gravel, or wood with
crushed shells, perhaps? Paths that are heavily used need to be solid, but a secondary walkway
can be constructed from gravel, bark, or stepping stones. Using the same material for a path and
a terrace creates continuity; a change further along will suggest a
different area of the garden.
Laying materials lengthways or widthways draws the eye onwards
or to the side, and obscuring paths invites exploration. Walls and solid
screens shut out the vista, while open screens and apertures provide
teasing glimpses of what lies beyond.
Furniture should be in keeping with the style of the garden. Ensure
any timber pieces carry the Forest Stewardship Council (FSC) logo to
show that the wood comes from sustainable forests. Also consider the
siting: if you want a large dining table and chairs, you may have to
Tall metal containers form
build a terrace big enough to accommodate them. a divide in a gravel garden.
Many gardens will have a spot for
a water feature, as well as a piece
of art. If you plan to include lighting,
the electricity supply and cables
must be installed by a qualified
electrician; photovoltaic lighting has
to be accessible to good light levels.
Outdoor heating is popular, too,
but consideration should be given
to its environmental impact. Permeable materials provide environmentally friendly parking.
58/59 How to design
CHOOSING MATERIALS

Materials for surfaces

Large areas of paving or decking are visually dominant
features, and have a significant impact on the appearance
of a garden. Select materials that reinforce your style,
complement the colours and textures used, and mix
different types to develop patterns and lead the eye around
the garden. (See also pp.352–363 for more on materials.)

Paving and decking

A strong design statement, or simply a block of uniform colour, can
be achieved with large paved spaces. Bear in mind that when using
slabs, pavers, or bricks, the joints will form a pattern, too; the
smaller the unit, the more complex the pattern will be. Rectilinear
paving can be combined to form larger rectangles or grid layouts, or
use fluid materials, such as gravel and poured concrete, for curved
Decking with a twist
edges to make organic shapes. All paving must be constructed on Decking is easy to cut and a good option for both geometric and organic
a solid base, and should slope to allow drainage (see opposite). layouts, and intricate designs such as this, with its inlay of blue tiles.

mm
100
300mm
600mm

100mm
300mm

600mm

Large pavers may need cutting Small pavers fit tighter spaces Small units best for intricate designs
When planning an area to be paved, try to avoid cutting Smaller units provide greater flexibility, and are more Using small units or even mosaic tiles allows you to
by making the overall area an exact multiple of units. likely to fit exactly the dimension of your patio. They create intricate shapes and patterns more easily, but
If it is not, larger slabs may require more cuts to fit. are also easier to cut, when required. these designs are often very time-consuming to build.

◁ Textured surface
This random paving
pattern is framed by a
strip made from the same
material, giving a clean,
sharp edge. Although
difficult to construct, the
light-coloured textured
path works well against
the still water of the pond.

Paths and walkways

Paths are the arteries of the garden. Materials should be selected to
enhance the journey along the path, and to complement the planting
△ Horizontal paving on either side. Pavers, and the joints between them, can run
Bricks are used to frame the edge of lengthways to give a sense of motion, or laid perpendicular to the
this formal path, and stone slabs laid
horizontally shift the focus to the planting. direction of travel to slow walking pace, and attract attention to
the surroundings. Choose paving that matches the garden style:
◁ Bricks following direction bricks or gravel are good for a cottage-style garden, and more
The cottage planting is complemented
by a traditional brick path which leads up-to-date materials, such as concrete and composites – or traditional
the eye to the gate. materials used with a contemporary twist – suit a modern space.
Mixing materials Planting opportunities
Assorted materials, as well as different Plants add colour and texture when squeezed
textures and levels, can be used to dramatic into joints and crevices; take care to choose
effect in paving and decking designs. Use those that tolerate trampling, are relatively
different materials to highlight key features, drought-resistant, and ideally produce a scent
or to define and separate areas, such as a when crushed. Think carefully about joints
raised wooden deck over a stone-tiled floor. when combining paving and plants – a solid
Colours may be complementary or strongly foundation, while necessary for most paving,
contrasting, but it is best to select pre-sized, will also contaminate the soil.
coordinating materials to avoid extra work
and higher costs; more complex construction
techniques may be required when working
with materials of varying thicknesses and
where a different foundation may be needed.

△△ Wood and slate

This mix of hard and soft materials, with contrasting
colours but similar tones, has been combined on four
levels to great effect.
Plants between paving
△ Stones and mosaic Contrasting colours and textures are combined in this
Set on a concrete foundation, these small stone beautifully executed pavement, where mind-your-own-
blocks and mosaic tiles create a decorative pattern business (Soleirolia soleirolii) frames the paving.
around the trees and a foil for the gravel.

◁ Complementary textures Drainage issues

Four materials combine here – pebbles, granite,
slate, and gravel – to give interest and texture to All surfaces should slope to allow water
a threshold between two paths. to drain or be collected, and even gravel
surfaces may need extra drainage if laid on
clay-rich soil. Ensure that rainwater runs
Edging ideas away from buildings into collection points,
Most paving materials, except in situ (poured) concrete, such as gullies; water from small areas of
or those set on a concrete slab, will require an edge paving can be directed into planting beds.
to contain the material. The edge can be detailed or
functional depending on the style of your garden, and gully for
also connect or separate different materials, or areas runoff

of planting. However, you may not need an edge if you

intend to allow planting to invade your gravel pathway.
patio sloping away from house

▷△ Pebbles Slightly sloping patio

Loose pebbles make an Create a slope away from buildings towards a
informal edge between the collection point. Patios made from rougher materials
deck boards and the rill. will need to slope more steeply than smooth ones.

water
▷▷ Slate and setts runoff into
This bold design is created soakaway or
by slate paving butting up flower beds
to stone granite units.

▷ Gravel and paving Cambered path

Make a design statement Paths can be profiled to allow water to run off on both
with a clear, decorative sides, where it can be collected in channels, or allowed
edging pattern. to drain into planting beds.
60/61 How to design
CHOOSING MATERIALS

Materials for screens and boundaries

Walls and boundary features, and the materials they
are made from, have a major impact on the look of
a garden. Traditionally, boundaries were constructed
from local materials, such as stone, brick, timber, or
hedging, but today your options are much broader,
and modern gardens may make use of smooth
rendering, metal screens, or reinforced concrete.
If you share a boundary your choice may be limited,
but if not, you can make it as subtle or as dominant
as you wish, and add a personal touch with your
choice of material, colour, shape, and texture.

Walls and solid screens

Brick, stone, or rendered walls enclose spaces ▷ Stone
Well-constructed stone
and form a framework around the garden. Solid walls should last for ever,
foundations and specialist construction skills may but require an expensive
initial investment.
be required, and these boundaries can demand
a large proportion of your building budget.
The colour of stone and brick walls is best ▷ Brick
Brick has been used for
left unaltered, so take this into account when centuries and is durable
making your choice. Consider the size and and useful for creating
shape of the units, too, which can range from patterned designs.
random rubble to expensive dressed stone
blocks. Man-made materials, such as concrete, ▷▷ Rendered
offer almost endless possibilities in terms of For flexibility and quick
and easy construction,
both colour and shape, providing clean lines consider using rendered
or fluid structures. concrete walls.

Enhancing walls UNUSUAL MATERIALS

Once you’ve decided on a material, think render, or clay bricks, benefit from capping
As long as walls are stable and shed water,
about any details you could add, whether for or coping to frame the top of the wall and
most materials that are suitable for outdoor
aesthetic or practical purposes. You could allow water to run off. However, ensure that use can be used. Visit websites, look at
consider adding colour to all or some of the it is in proportion to the size of the structure. books, or visit trade shows, but remember
wall, depending on the material. Masonry Planting in crevices is another possibility, but that specialist construction techniques
walls, especially those made with mortar, select species carefully. may be required.

Planting pockets Rendered coping Textured wall

Plants will soon establish in pockets of soil at the top or Coping keeps the body of the wall dry and protects it The walls of this small urban garden have been
on the face of a wall. Limited water will be available to from frost damage. It also forms an important visual covered with old billboard vinyl, for a dramatically
them, however, so choose species that can survive and element and can make a useful horizontal surface for individual, textured look.
flourish in dry conditions. a decorative effect, or for seating.
Fencing and trellis
Timber and metal fences do not require strong strip
foundations or heavy building materials, and so are
usually cheap and easy to build. Most are made from
strips of material, and you should think about a design
based on a combination of these “lines”. To unify the
design of an existing garden, it may be best to simply
repeat or copy the original fencing styles. However, for
new designs you can create patterns using different
lengths, widths, and shapes of timber. In exposed
areas, leave gaps in the fencing to allow some wind
to pass through (see diagrams below).

Effective windbreaks
Solid screens do not allow any wind to pass through
them and create turbulence on the leeward side. Use △ Solid fence
a perforated screen, such as a trellis, to solve this problem. This tall, close-boarded
Perforated fence creates privacy,
Turbulence screen allows Wind speed
Wind forced created on this wind through is reduced and has been stained
up and over side of fence on this side grey to enhance the
solid screen overall composition.

▷ Perforated fence
The strong pattern of
this fence complements
the garden, and acts as
a decorative windbreak.

Gates and apertures

While screens and boundaries enclose space, they also create barriers
that restrict movement and views. Punctuating these with doorways,
gates, windows, and other apertures allows access or visual links to
other parts of the garden. Importantly, these features provide further
opportunities for attractive details, and should not be dismissed as
utilitarian access points. Choose complementary materials and
consider how apertures can frame vistas and views. Also, design
doors and gates that look attractive when both open and closed.

△ Picket fence
When closed, this picket gate blends
in with the rest of the fence; the only
breaks in continuity are the posts and
braces required for structural stability.
◁ Classic doorway
A traditional ledge-and-brace door makes △ Modern aperture
a beautiful contribution to this old brick This perforated, reinforced concrete screen
wall, as well as providing access. When would be difficult to construct, but the
left ajar, it gives an enticing glimpse beautiful results link the contemporary
through to another part of the garden. structure to the natural planting beyond.
Windows on the world
Dividing an outdoor space into different “rooms” helps to
make it look larger, but solid screens can be imposing and
create unwanted shadows, especially in a small garden.
Sliding glass panels are used to separate the spaces in this
ingenious design, bringing the architecture of the house
out into the garden with a deft lightness of touch.
designer Pip Probert
64/65 How to design
CHOOSING MATERIALS

Materials for slopes and structures

Raised beds, retaining walls, and similar structures that hold soil need to be constructed from water-,
frost-, and stain-resistant materials. Natural materials, such as stone and some metals, are obvious
choices, but rendered concrete and even sheet metal could be used for a more contemporary look.
For garden structures such as pergolas and sheds, choose materials that are lightweight and easy to
fit together, and that provide an opportunity to combine colours, textures, and patterns.

Retaining walls
Heavy or strong materials, such as stone, concrete blocks, bricks,
timber, sheet metal, or reinforced concrete, are necessary for a
retaining wall. Your wall needs to hold water as well as soil, and
will require a drain to relieve the build-up of water, unless you have
used a permeable material such as dry stone. You should consult a
structural engineer for advice on any impermeable retaining wall
above 1m (3ft) in height. Consider coordinating your wall with the
house, a water feature, or screen to help unify your garden style.
◁◁ Dry stone walls
A dry stone wall works well in rural
gardens. Place landscape fabric behind
the wall to trap soil but allow water to
pass through the gaps in the stones.

◁ Wooden walls
Timber walls are reasonably simple to
construct: the individual sections will
need to be screwed together for added
strength and stability.

Raised beds ◁ Contemporary beds

Although susceptible to knocks and dents, metal lends
Essentially low retaining walls, raised beds do a contemporary note to raised beds. Lighter coloured
not need to be as strong or as heavy as larger and galvanised metals do not conduct heat as well as
darker metals, and plants are therefore less likely to
structures. They can also be more elegantly suffer from scorched roots.
designed, rather than serving a purely
functional purpose. Line beds with heavy-
duty plastic (with drainage holes punched in ▽ Country charm
For vegetables and native planting, consider woven beds
the bottom) to retain soil moisture and avoid to complement your scheme. They are comparatively
leakage and staining. Also choose materials short-lived and will need replacing after a few years,
but add rustic charm to a kitchen or cottage garden.
that complement the plants you plan to use,
as well as the composition of your garden.

△ Elegant containers
Beautifully detailed and finished timber beds can add to
the quality of a crisp, modern design. The addition of a
gravel margin will keep the timber pristine.
Garden structures
Many suppliers produce pre-fabricated garden structures, or you garden. Hardwood is expensive but durable and does not require
may prefer a bespoke design if you have something specific in mind, treating, but ensure that you use only FSC-certified woods from
and your budget allows. If you have a small garden, a structure can sustainable forests. A cheaper option is softwood, pressure treated
dominate the space, so plan carefully to ensure that it makes a for durability and stained with a coloured preservative, or recycled
positive contribution to your design. The materials you choose for timber. Metal structures can be light, elegant, and contemporary,
the structure can reinforce a particular style. For a sharp, modern and galvanised steel, painted if desired, is a popular choice. Self-
look, combine clean-sawn timber with glass and stainless steel, or oxidising metals such as Cor-Ten steel and copper (ideal for roofs),
consider rough-sawn timber for a rustic shed in a woodland-style which develops a green patina as it ages, should last indefinitely.

△ Open structure
This pergola is constructed
using powder-coated
aluminium combined with a
wood trim (see pp.272–273
for more information on
constructing a pergola).

▷ Blending in
The choice of dark stain
allows this large garden
office to recede into the
background, while the
stainless steel staircase
gives a modern touch.

Step style
To prevent timber and metal steps rotting
or rusting, they need to be supported on
a solid framework above soil level. Stone
slabs can also be constructed in the same
way. Alternatively, solid blocks of stone,
concrete, or timber can sit directly on
the ground on a slope, or smaller units,
such as paving slabs, can be used with a
retaining edge. Consider the surrounding
planting – you can allow it to “intrude” on
to, or grow through your steps – and the Bound chippings Metal steps Wooden stairs
These stylish steps are made from Strong and durable, these stainless Timber steps supported on
material used for areas around the steps. galvanized metal risers and bound steel grid steps allow planting to posts and bearers, like these,
crushed CDs (an alternative to gravel). creep between them. can be built to any height.
66/67 How to design
CHOOSING MATERIALS

Materials for water features

When choosing and planning your water feature, make sure that it fits in with the composition of your
garden, perhaps using materials that feature elsewhere in the design. Water features can be complex,
so consult an expert or research water gardening in detail before planning one. Remember that you will
need to ask a qualified electrician to bring an electricity supply into the garden, and some specialist
water feature mechanisms and materials may also require expert installation.

Containing water
Waterproof masonry, such as concrete, will seal in the water in your
feature, whether it is a raised or sunken pool. Any material with
joints, such as bricks, will leak, so add a specialized render to the
inside of your pond, which can then be coloured or clad with tiles;
alternatively, line it with a waterproof membrane, such as butyl.
Take care not to add any decoration that could puncture the
waterproof layer or liner, and ensure that any joints where pipes
enter the pool are fully watertight.
◁◁ Raised pool
A pond like this can be created with a
pre-formed fibreglass liner, and enclosed
with brick walls that match other garden
features or the house.

◁ Wildlife pond
Covering the edge of a butyl liner
with flat stones will protect it, but
ensure that they are smooth-edged
to prevent punctures.

Edging and lining streams

Natural-looking water features, such as required rooting depth for your chosen
artificial streams or wildlife ponds, are aquatic plants (see p.98). Streams require a
usually irregularly shaped, and lined with “header pool” or reservoir at the top of the
flexible butyl (see p.276). Ensure that the slope, into which water is pumped from
pond is deep enough in places to allow the the lowest pool. Cover the edges of your
The pump hose must sit
pool or stream with planting or flat stones
above the water level to conceal the waterproof membrane.
A “spill stone” creates Choose smooth, rounded
mini-waterfalls at each pebbles to prevent
change of level damage to liner

Water is pumped into

the “header pool”
from the lowest pool

Lining a stream
A stream with waterfalls, like this one, can
be created in most gardens, as long as The watercourse should
be lined with sand
there is a slight change of level between before the liner is laid
the upper and lower pools. A pump will Naturalistic waterfall
keep water flowing around the stream, Make sure you buy This artificial pond is on two levels and has been lined
a pump with enough
maintaining a healthy water system, and power to deliver with a membrane covered with flat stones; large stones
rocks and pebbles can be used to disguise Butyl liner laid over water back to the overhang the edge of each level to protect the liner from
the waterproof membrane (butyl liner). the whole watercourse top of the slope damage and to create mini-waterfalls.
Design materials checklist
The following table will allow you to quickly compare various materials, and their KEY
general suitability for the garden design and features you have in mind. This is intended Durability Cost
as a guide, and you should consult other sources (especially product websites) for w low £ cheap
ww medium ££ average
more comprehensive information when making your choice of materials. www high £££ expensive

MATERIAL USE DURABILITY IMPACT ON COST CONSTRUCTION

ENVIRONMENT
POURED Simple construction easy; can be highly
Foundations, walls, pools, surfaces, steps www High ££
CONCRETE specialist
PRE-CAST Paving units, blocks, building units, Easy, but requires skill to achieve
www High ££
CONCRETE reconstituted stone high-quality finish
DIY possible, but skill required to achieve
RENDERING Joints, surface finishes ww Medium–high £–££
high-quality finish
Paving, foundations, drainage, decorative
AGGREGATE www Depends on source £–££ Easy, except wall finishes
finishes
DIY possible, but skill required to achieve
BRICK Paths, surfaces, walls, retaining walls www Medium £–£££
high-quality finish
EARTH DIY possible, but skill required to achieve
Walls, retaining walls www Low ££
CONSTRUCTION high-quality finish
Variable: irregular stone needs skill for all
LOCAL STONE Paving, walls, structures www Medium £–£££
but basic walling
Variable: irregular stone needs skill for all
IMPORTED STONE Paving, walls, structures www High £–£££
but basic walling
DIY possible, but skill required to achieve
CERAMIC TILES Decorative finishes Mostly www High £–£££
high-quality finish
SOFTWOOD Construction timber, fences, gates, decks, Easy, but requires skill to achieve
w – ww Low–medium £
TIMBER paving, structures, furniture high-quality finish
HARDWOOD Decorative details, fences, gates, decks, High if from DIY possible, but skill required to achieve
www ££
TIMBER paving, structures, furniture unsustainable source high-quality finish
NATURAL WOVEN Quite easy, but requires skill to achieve
Fences, hurdles, planters w Low £
TIMBER high-quality finish

MILD STEEL Fences, railings, fixings, structures

ww if not Medium ££ Difficult – requires specialist skills
protected

STAINLESS STEEL Fences, railings, fixings, structures www High £££ Very difficult – requires specialist skills

SPECIAL STEEL
Fences, railings, fixings, structures Mostly www Variable £££ Very difficult – requires specialist skills
ALLOYS
DIY possible, but skill required to achieve
ALUMINIUM Lightweight structures, greenhouses www Medium ££
high-quality finish

COPPER Pipework, decorative cladding www High ££ Difficult – requires specialist skills

ZINC Planters, decorative cladding www Medium ££ Difficult – requires specialist skills

Screens, barriers, windows, surfaces,

GLASS ww High £££ Very difficult – requires specialist skills
glasshouses

PLASTICS Pipes, furniture, fixings, decorative facings ww High £ Variable – DIY possible

PERSPEX/
Screens, structures, windows ww High ££ Difficult – requires specialist skills
PLEXIGLAS
68/69 How to design
CHOOSING MATERIALS

Designing with furniture

A well-placed bench, lounger, or chair is an invitation
to spend time relaxing in the garden. Whether
permanent or temporary, garden furniture can have
a marked effect on the look and feel of an outdoor
space. The sculptural qualities of a particularly eye-
catching or stylish piece of furniture could even be
viewed as garden art. Of course, looks aren’t
everything, so do ensure that your chairs and
tables are comfortable and practical.

Matching your garden style

Furniture has the potential to strengthen a design and create focal
points within it. When the style of a plot is distinctive, such as in a
Japanese garden, it’s best to choose elements that follow the theme
faithfully or that have a strong visual relationship to it. For example,
cottage garden seating is likely to have a softer, more rustic and
homespun feel. You might use wicker or Lloyd Loom chairs or
reclaimed farmhouse kitchen furniture. In contrast, seating for
contemporary settings works best if it has sleek, minimalist lines and
is made from modern materials and fabrics, such as aluminium, plastic △ Secret corner
Simple foldaway furniture, light enough to carry around,
or synthetic rattan. The architecture of the house often influences is ideal for making use of different areas of the garden.
garden style and in the grounds of a period property, pieces from the Consider painting it to create highlights.
wrong era can stand out like a sore thumb. You don’t have to source
originals however: many companies offer quality reproductions.

Integrating furniture into a design

The size and shape of the available space will influence the type of
furniture you choose; intimate corners surrounded by planting may,
for example, only have room for a couple of foldaway seats. For
outdoor dining, carefully calculate the size of table and chairs you
can accommodate, to ensure a comfortable fit, and select furniture
that mirrors the shape of your terrace or patio – a round table on
a circular patio not only fits perfectly, but also accentuates the curved
layout. A decorative seat can make an excellent focal point.
△▷ Minimalist lines
Large pieces of furniture, like this modern
sunlounger, need space and a simple
backdrop to allow their sculptural qualities
to be fully appreciated.

▷ Integrated design
Try to match furniture to your design.
This quirky, rustic site is enhanced by the
bespoke wooden bench seat constructed
from reclaimed materials.

▷▷ Space to lounge
Consider the size of the available space
before buying furniture, or design your
garden around chosen pieces. This sofa
fits perfectly beneath its modern canopy.
Practical considerations Environmental factors
If you want to keep your furniture outside all Tropical hardwoods like teak have long
year, check before you buy that it is resistant been used to manufacture garden furniture
to rain and UV damage. Modern synthetic because of their natural durability. However,
rattan furniture and plastic or resin pieces this type of timber is not always obtained
often come with guarantees, but while sofas from a sustainable source, and uncontrolled
and chairs with all-weather cushions will dry logging is having a devastating effect on the
quickly after a shower, it is a good idea to environment. Always check the source before
cover them when they are not in regular use you buy; temperate hardwoods such as oak
– an outdoor storage locker could prove or more durable softwoods are likely to be
useful for this. To retain the original patina “greener”. Also look for furniture that has
on wooden furniture – which weathers and been manufactured from reclaimed wood,
may change colour if left outside all year – which can add a rustic quality to a design.
clean, oil, or varnish it regularly, and, if
possible, cover it during the winter.

△ Outdoor sitting room

Buy plush, upholstered furniture with fade-
resistant, shower-proof covers, and ensure
that the frames are sufficiently durable for
outdoor use. Protect heavy pieces in situ.

◁ Dining in style
Hardwood, aluminium, and synthetic woven
mesh combine in this stylish yet durable
dining table and chairs for a contemporary Greener options
urban garden by Wilson McWilliam Studio. Check for Forest Stewardship Council (FSC) certification
on wooden furniture, to ensure that forests have been
managed in an environmentally responsible way.

STORAGE IDEAS
In small urban gardens in particular, the lack of
space available outdoors to store items such
as gardening equipment, furniture cushions,
and children’s toys can present a real problem.
One option is to choose garden seating that
also provides storage, such as benches with
hinged lids for access. Use a liner inside your
storage to create a waterproof area to keep
more delicate items safe. Alternatively, buy
garden cupboards and boxes specifically
designed to store cushions over winter
from specialist furniture suppliers.

Storage lockers double as garden seating.

70/71 How to design
CHOOSING MATERIALS

Furniture styles
Larger garden centres and DIY stores stock outdoor furniture through spring and summer, and you can
often pick up bargains by waiting until later in the season to buy at sale time. However, if you cannot find
what you are looking for locally, check out magazines and newspaper adverts, or search the internet for
furniture specialists. Once you start looking for furniture you’ll realize that the choice is vast, so persevere
to find pieces that fit your garden style perfectly.

Traditional rustic
In more relaxed country- and cottage-style
gardens, sleek furniture could well look out
of place, though modern pieces with organic
forms based on natural shapes may be
appropriate. Quirky, reclaimed furniture
is worth seeking out, as well as woven and
wicker sets. The latter will weather rapidly,
so you’ll need a convenient storage place,
such as a summerhouse or shed. Don’t be
afraid to mix and match country styles with
classic pieces: lightweight, portable foldaway
tables and chairs made from wood and
metal can work well in period gardens with Simple style Willow weave
Traditional, hard-working or utilitarian Though not as durable as wood, wicker
authentic-looking reproductions, such as designs add to the relaxed atmosphere furniture, like this circular tree seat, adds
Victorian fern seats or Lutyens-style benches. of a cottage- or country-style garden. romantic charm to an old-fashioned plot.

Chic modernist
A seating area dressed with designer furniture makes a strong
statement, particularly in urban courtyards and on roof terraces,
where the garden often functions as an extension of the house.
Modern, minimalist items made of steel and synthetic mesh fabric
or man-made rattan can add style and comfort to a contemporary
design, while all-weather beanbags add colourful highlights. This look
is about bringing interior style outdoors, so cushions and matching
light fittings and containers play an important linking role.

◁ Sixties model △ Inside out

This up-to-the-minute design echoes the Only glass doors separate the house and
styling of the 1960s. The doughnut form garden, while the deck, with its stylish
contrasts well with the sparse backdrop. furniture, blurs the boundary further.
Contemporary looks Integral seating
It’s hard to put your finger on why certain seating shape is updated for the 21st century You can create impromptu seating simply
furniture styles have an up-to-date feel, but, using hi-tech materials; sometimes designs by utilizing steps, sunken areas, and the
in general, clean lines and plain, neutral- from previous decades experience a revival. walls of raised beds: just add a few cushions,
coloured fabrics coupled with man-made Today’s designers are increasingly developing and you can accommodate a large group of
elements like steel, glass, and chrome appear the architectural role of furniture, as well as people with ease. Elsewhere, a seat or table
modern. Sometimes a traditional item or working on integrated or site-specific designs. could follow the contours of a landscape
feature, such as a serpentine wall.

△ Spiral appeal
This curving, raised walkway culminating
in a seat that “floats” on transparent glass
is a piece of sculpture in its own right.

◁ Samurai seats
The Japanese influence in this modern
set, with its minimalist lines, helps create
an atmosphere of calm in a green oasis.

Built-in beauty
Furniture as art Integrated seating can have an intimate feel. A cosy
nook for relaxation could be created in a wall alcove,
There’s no doubt that the sculptural qualities as here, or perhaps carved into a tall hedge.
of certain furniture items, typically in wood,
metal, ceramic, or resin, puts them into a
different category from everyday functional Temporary seating
seating. You can order sculptural furniture As your garden changes through the year,
online and find artists via their websites, but different areas will become more or less
it is also worth visiting the studios of local attractive or accessible. A portable seat,
craftspeople, as well as gardening shows and such as a director’s chair, allows you to
galleries, to commission bespoke items. If △ Modern abstract ▽ Sleek in steel take advantage of particular settings, or
possible, allow the artist to see the garden The organic form of These boldly sculptural to follow the sun around the garden.
and the site for the piece, or provide as many snail shells has been the chairs are constructed
inspiration for this original from a perforated steel
photographs as possible, as this can really bench with a carved that softens their impact
affect the success of the design. wood seat. in the overall design.

Deckchair classic
The wonderful thing about collapsible furniture is that
you can easily move it to where it’s needed, and view
the garden from different angles.
72/73 How to design
CHOOSING MATERIALS

Integrating sculpture into a design

When choosing sculpture, you don’t need to be limited by what’s on offer in your local garden centre.
Many objects take on sculptural qualities when placed in a garden, including beautifully shaped ceramic
vases, driftwood, rounded boulders, or even pieces of disused machinery, so be as imaginative as possible.
Think carefully about the relationship of your sculpture to the rest of your garden, where you will position
it for best effect, and how its appearance will change over time.

Choosing sculpture
The appeal of a sculpture depends largely
on your emotional response to it. You may
prefer abstract shapes for the garden,
especially if the style of your plot is sleek
and modern, but wildflower gardens or
woodland can also provide an exciting setting
for a contemporary piece. Equally, classical
statuary can add an element of surprise in a
modern rectilinear layout, and will enhance
an urban space. In cottage gardens, try
figures of domestic animals, beehives,
or rustic farm equipment.

▷ Plant form
This rusting iron sculpture, reminiscent of a flowering
plant, works well in the Mediterranean-style setting.
As the surface weathers, the patina will subtly change.

△△ Figurative
With one toe dipping into the water,
this figure adds a relaxed and humorous
touch to this contemporary landscape.

△Topiary
Clipped greenery, a type of living
sculpture, has many forms and includes
Japanese cloud pruning.

◁ Abstract
The rectangular leaping salmon wall art is
perfectly balanced here by the tall, narrow
sculpture set amongst the planting.
Positioning sculpture Commissioning a piece
Take time to find the right spot for garden You may discover someone whose work
art and to integrate it into your design. Some you admire by visiting national or regional
pieces work best surrounded by reflective gardening shows, dropping in at an artist’s
water, or by plants in a border. Contrast studio open day, or checking sculpture and
simple, solid shapes with diaphanous grass land art websites. Help your chosen artist to
heads, for example, or view them through visualize what you have in mind with rough
a haze of lavender. Intricately detailed sketches and photographs and, if possible,
sculptures look best with a plain backdrop, organize a site visit for them. Agree at the
such as a rendered wall or clipped yew outset on the design, its dimensions, and the
hedge. Matt surfaces like natural stone or materials to be used, as well as confirming a
weathered timber create a foil for highly price and delivery date for the work.
polished metals, and you can use these
materials to mount smaller sculptures, too.
Materials and cost
There are often less expensive alternatives to
traditional sculpture materials. Reconstituted
stone, terracotta, or ceramic ornaments, for
example, are far cheaper than carved stone,
and bronze resin costs less than cast bronze,
while lead statuary reproductions are
relatively inexpensive. You may also find
artists working with driftwood or reclaimed
wood, rather than expensive hardwoods.

△ Focal point △△ Gazing skyward

This abstract piece appears to hover over the surface John O’Connor’s bronze child takes your gaze up to
of the pool, which also reflects its image, and makes decorative fretwork on a pavilion roof above, while the
an eye-catching focal point in this small garden. colour blends harmoniously with the timber frame.

Scale and proportion

A small piece of sculpture may be lost in a
large, open site, but bring it into an intimate
courtyard and you’ll find that it’s in perfect Hidden torso
Half-hidden by foliage, this weathered terracotta torso
proportion to its surroundings. Try appears to grow out of the landscape, and would be a
“anchoring” small ornaments by placing fraction of the cost of a bronze piece.
them next to a solid piece like a boulder,
a hunk of driftwood or an oversized vase.
Alternatively, mount decorative objects and
THEFT AND PROTECTION
plaques, fit them into alcoves in walls and Use common sense when placing your
hedges, or raise them closer to head height sculptures: try to keep them out of sight of
passers-by, and consider using alarms or
on plinths. To gauge the size of sculpture
security fixings. For a front garden, choose
required for a site – when planning a focal pieces that are too large and heavy to be
point at the end of a formal path or at the carried off easily, and keep them close to the
side of a pool, for example – use piles of house. Ensure that garden sculpture is covered
△ Space to perform cardboard boxes or plastic refuse bins to by your home and contents insurance, and let
The tall, cartoon-like figure of a girl striding briskly
across the garden creates focus, but needs a large help you visualize how the sculpture will your insurer know about new purchases.
area to convey her energy and momentum. fit into the proposed setting.
Garden gallery
As well as providing a decorative focal point, sculpture
can transform your garden more generally into a space
for art, imbuing it with deeper meaning. In this garden
themed around healing, the sculpture of a woman in a
striking pose looking upwards, set against a dark yew
hedge, could be interpreted as a symbol of hope.
designer Ruth Wilmott sculptor Rick Kirby
76/77 How to design
CHOOSING MATERIALS

Designing with lights

The beauty of installing creative lighting is that you can design an entirely different look for your garden at
night. Soft, subtle lighting, bringing just a few choice elements into focus, is relatively straightforward and
makes the most of differing textures and contours. More theatrical styling is possible with the wide range of
specialist lighting equipment available. There are important aspects of safety and security to be considered,
and you should always discuss your plans with an electrician.

Lighting in the garden

Flooding the garden with light from above garden illumination, and make the night-time circuits and plug points, and talk through
creates too harsh an effect, and can cause experience all the more enchanting. Draw your ideas with a qualified electrician or
nuisance to neighbours and add to the up a plan, taking into account the type of lighting engineer, preferably before
problem of light pollution. Avoid strong lighting required in each area, such as completing any new landscaping work.
lights that may shine directly into the eyes of recessed lighting for a deck, directional You can experiment with different lighting
an onlooker. By maintaining areas of shadow spotlighting for a barbecue, or underwater effects by simply using a powerful torch,
you can accentuate the theatrical effect of any lighting for a fountain. Work out cabling or torches, held at different angles.

Nightlife Ways with water Coloured glow

Outdoor rooms used for relaxation and entertaining can Moving water features such as cascades are easier In contemporary settings, restrained use of coloured
be lit in a similar way to indoors with low-level lamps, to light than static pools, as the surface disturbance lights can create stylish effects. Programmed, colour-
and mini spots to highlight decorative elements. masks the light source, while planting can hide cables. changing LEDs are an option for dynamic shows.

Practical considerations
Unless you plan to use solar-powered lights, transformer in a waterproof casing or locate switch so that you can turn the lights on and
you need a convenient power supply. Special it inside a building. A transformer reduces off easily. LED (light-emitting-diode) lights are
waterproof outdoor sockets must be the voltage from the mains to a lower level at both energy efficient and create no heat,
installed by a qualified electrician, and any which many garden lighting products work. making them particularly safe to use in the
mains cabling needs armoured ducting to The size of transformer you will need depends garden; you will find a huge selection available.
prevent accidents. When using low-voltage on the power and number of lights you plan to If an area is sufficiently sunny, solar-powered
lights that run from a transformer, house the use. Ask your electrician to install an indoor lighting is another good option.

Safe passage Path lighting Flickering flames

If you plan to use the garden at night, illuminate Post lights come in a wide variety of designs, including Candles, lanterns, and oil lamps create a magical
pathways, steps, and changes in level using low-level many solar-powered models, and sets that run from a atmosphere. Never leave them unattended, and take care
lighting, and angled recessed lights to avoid glare. transformer. Position in the border to light pathways. to keep naked flames away from flammable materials.
 Lighting effects
Tiny LED fairy lights running from a
transformer are simple to install, and create
a romantic ambience when woven through
climbers on a pergola. Mini spots are great
for uplighting an architectural plant or a
piece of statuary, or for highlighting textured
surfaces. Recessed, low-level lighting in
steps, walls, and decks casts gentle light
without glare, and coloured lighting can
be used to create contemporary effects,
floodlight trees or rendered walls, or to light
pools. For a contemporary look, try small
white or coloured LED spots set into
a decked area or a few underwater lights
to illuminate a clear, reflective pool.

△ Mirroring
A single source of illumination bathes this poolside
terrace in soft light and produces a perfect reflection
in the black, unlit surface.

▷ Uplighting
Matt black mini uplighters are inconspicuous during the
day, but can be angled to reveal the shape and texture
of plants, decorative elements, walls, and screens at night.

▽ Floodlighting △ Spotlighting
Bright, even lighting is mainly used for security and can Using a directional spotlight mounted high on a wall
be triggered by infrared sensors. LED spotlights can and angled in and down towards the subject, you can
also be used for dramatic up- or downlighting. highlight an area without creating irritating glare.

△ Backlighting △ Grazing
Low-level backlighting throws the foreground elements This term refers to the effect achieved by setting a
into relief and creates dramatic shadow patterns on the light close to or along a wall or floor. It can be angled
wall behind. You can also backlight decorative screens. to illuminate an area, and reveal texture and form.
78/79 How to design
CHOOSING MATERIALS

Choosing lighting and heating TYPE OF LIGHT

This table shows the
With such a wealth of creative garden lighting now available, it can be difficult to decide pros and cons of the
what’s right for you: this section looks at the relative merits of each option. Heating main forms of lighting,
but for most types it
systems are becoming increasingly popular and allow you to make more use of your is also best to discuss
garden in the evenings and during cooler weather. However, some heaters and fires are your requirements
with an electrician
not energy-efficient, so choose carefully and use them in moderation. or lighting engineer.

Types of lighting
Garden lighting has been revolutionized by the
introduction of efficient LEDs, and more reliable and
sophisticated solar-powered units. LEDs offer all kinds of
“designer” effects, including lights that change colour and WHERE TO SITE
systems that can be controlled via a smart phone. While
DIY stores carry an increasingly wide range, the largest
choice can be found online and via specialist companies.
With the exception of solar-powered lighting, and EXTENT OF
candles and oil lamps, all other illumination devices ILLUMINATION
need to be connected to the mains. Lights either work
directly from the mains or through a transformer that
provides a low-voltage current – ideal for a garden, as EXPENSE
water and direct current are a lethal combination.
Always employ a qualified electrician to install mains
lighting, to make connections to mains power, and to
INSTALLATION
fit new switches and plugs.

◁ Light show
This garden by Janine Pattison Studios is bathed in MAINTENANCE
light in the evenings, with subtle LEDs grazing the
walls and illuminating the modern water feature.

Heating in the garden

Introducing some kind of environmentally-friendly and make sure you read the instructions on appliances
heat source into the garden extends the use of the plot to check the type of fuel you can burn. Safety gloves are
into the cool of the evening or in spring and autumn. a must as fire grates get very hot, and make sure you
Wherever possible, burn logs and prunings cut from allow chimeneas to cool before covering them. Keep
your own garden. Never use treated or tanalized timber, a fire extinguisher handy, and use fireguards.

TYPE OF HEATING PROS CONS

FIRE PIT DIY build possible. Some designs portable. Needs space and safety screen. Ash may stain
Focal point, with potential for 360° seating. light surrounds. Poses a danger to children and
Heats and cooks. Burns garden prunings. pets – do not leave unattended.

FIREPLACE Many different models including cast-iron Larger models, including those made from
stoves. Stone and brick styles can form stone, take up space and are permanent
a major garden feature. Burns logs. fixtures. Cast iron rusts.

CHIMENEA Fits into a small space. Clay designs often Both clay and metal types can crack. Clay
very decorative. Easy to cover and protect may start to crumble after absorbing a lot
from weathering. of moisture. Tricky to clean out ashes.

GAS/ELECTRIC Convenient and no cleaning up afterwards. Burns fossil fuels. Very inefficient considering
Instant heat and/or cooking with flexibility; amount of energy used and heat produced.
easily controllable. Heavy cylinders for gas heaters.
 LED LIVE FLAME ELECTRIC SOLAR-POWERED

Almost anywhere in the garden. Can be Candles, oil lamps, and lanterns may be Fluorescent and halogen lights are used for Edge of pathways/patios; in ponds
used as pool lighting, recessed lighting, placed on the ground, in wall niches, on security, spotlights, and lamps, although (floating/rock lights); on walls; by plants.
fairy lights, spots, or for security. tables, hung from hooks, or floated. less extensively – LEDs are favoured now. Some types suitable as spotlights.

Very bright for the size of unit. Casings Low-level, atmospheric lighting. Varies according to fixture – halogens Units fitted with modern solar-powered
can enhance and focus light output, while Candelabras and lanterns are suitable can illuminate entire garden. Coloured LEDs can be quite bright. Strength of
diffusers help to soften it. for outdoor dining. fluorescents are for special effects. illumination depends on battery type.

Initial costs of units vary considerably, Candles, gel and oil lamps are inexpensive Relatively inexpensive to buy but running Costs vary considerably depending on
but the running costs are very low and compared to electric fittings, but do not costs add up, and the bulbs will need to be quality. Lights require no mains power
the bulbs can last for years. offer comparable lighting. replaced more frequently than LEDs. installation and running costs are zero.

The same as conventional bulbs – running Take care to site live flames safely on a Lighting can run off mains power or Safe and easy DIY lighting. Needs airy
off mains power or transformer. Useful non-flammable, level surface in shelter. transformer. Consult a qualified electrician spot to operate well. May not light the
for hard-to-reach areas. Never leave a candle or lamp unattended. for installation (see opposite). garden for as long in winter.

LED bulbs last many times longer than Trim wick to keep candle flame low and Replace bulbs when they burn out. Keep Photovoltaic cells need regular cleaning.
other types, and once installed require efficient. Extinguish with a snuffer. Do wall lamps and infrared sensors clean. Good quality rechargeable batteries
very little or no maintenance. not move candles when wax is liquid. can last up to 20 years.

△ Chimenea
The chimenea, originally a Mexican device for heating
and cooking, comes in several different designs. Ensure
that the fire is just below the opening to prevent smoking.

△ Fire pit ◁ Fireplace

An updated version of the campfire, This grand fireplace dominates the garden, creating
fire pits are a draw at social gatherings a dramatic outdoor dining area. Simpler, smaller models
and may also be used for cooking. for average-sized gardens are widely available.
Designing with plants

Plants perform at their best when provided with the correct combination of growing conditions,
and learning about their needs and the kind of soil they prefer will help you devise the right
planting scheme for your plot.
Including examples from a range of plant groups should ensure interest all year round. Trees
and shrubs give height, depth and shade, as well as the essential framework. Evergreens retain
their leaves, so are useful for all-year interest, and the shimmer of frost-covered deciduous plants
is one of the pleasures of a winter morning garden. Scented climbers, grasses, perennials and
annuals all have their part to play, while spring bulbs and biennials
bring a seasonal burst of colour, just when fresh novelties are most
needed in the garden.
Plants are very versatile. A structural plant can be a single
specimen, such as a stunning cardoon taking centre stage in a
border, or a group of plants, perhaps a box hedge clipped to enclose
a parterre. Focal plants attract and guide the eye. They don’t have to
be long-lasting: a lovely individual specimen with vivid flowers or leaf
Select plants like dahlias for shape as
tints works as well as an evergreen spiky Phormium or sculptural tree. well as colour.
Midrange plants include shrubs, grasses, and
herbaceous perennials, and they can help define the
style of your garden. Mix strong leaf shapes and flowers
and foliage with different colours and textures for a
dynamic display. Ground cover is another potential
element; choices range from a neat, evergreen carpet
to a blowsy show of flowers or scented drift of herbs.
From the heart-lifting first bulbs of spring, through to
summer blooms, and on to autumn foliage and
scented winter-flowering shrubs like Mahonia, seasonal
planting is a constantly evolving delight. You can stick
to your chosen style, or throw in the odd surprise for
fun. Designing with plants is the exciting – and never-
ending – pleasure of gardening. Use layers of plants to create stunning effects.
82/83 How to design
DESIGNING WITH PLANTS

Understanding plants
Garden plants come from a great number of different habitats around the world and vary in their needs.
Providing them with the same conditions in which they grow in the wild is the best way to ensure that they
will thrive in your garden. A plant’s appearance – the leaves, in particular – can give you a basic understanding
of its requirements, but it is best to read the plant label carefully, too. Remember that plants which share a
natural habitat will also look good together in the garden.

Shade- or sun-loving? PLANT GROUPS

Imagine the conditions in which a shade- midday sun and buffeting winds. Silver or
loving plant grows. Light levels are low, grey leaves with reflective surfaces and ANNUAL
so it probably has dark green leaves full of protective hairs are less likely to dry out. A plant with a life cycle of one year. Usually
very floriferous because of the number of
light-catching chlorophyll. Protected from Leathery or succulent leaves also indicate
seeds it needs to yield in order to reproduce.
damaging drying winds and scorching sun, good tolerance of heat. Many plants fall
it can also afford to have large leaves. Now between these two extremes, but, in BIENNIAL
imagine a plant that has to cope with sizzling general terms, leaves are a useful guide. Plants with a two-year life cycle, producing
foliage the first year and flowers the next.
Canterbury bells and wallflowers are biennials.

PERENNIAL
Non-woody plants that can live for years.
Most die down to the ground in winter and
come up again in spring; some are evergreen.

EVERGREEN
A plant that retains its leaves all year round.

DECIDUOUS
A plant that loses its foliage during winter,
then produces new leaves in spring.
Shade-tolerant plants Sun-tolerant plants
Moist and shady, sheltered conditions allow large-leaved Full sun and dry soil make a testing environment for a GRASSES AND SEDGES
plants, such as Rheum, Darmera, and Rodgersia, to plant. Heat- and drought-tolerant plants may have silver, A mix of evergreen or deciduous plants with
thrive. Most shade lovers tolerate some full sun during heat-reflective leaves (Artemisia), or narrow grey ones
the day, but leaves may scorch with too much exposure. (lavender), which minimize the exposed surface area. grassy leaves. They can be clump-forming or
spreading, and range in height from a few
centimetres to two or three metres.
Plants for different soils SHRUBS
It is easier to match your plants to your soil fast in summer. Soil acidity is important if you Evergreen or deciduous plants with a
than to try to change the character of your want to grow ericaceous (acid-loving) plants permanent, multi-stemmed woody
land. Heavy clay can be cold and wet, but such as Pieris, Camellia, or Rhododendron. Be framework from 30cm–4m (1–12ft) tall.
it is fertile and productive once plants are aware that labels don’t always state whether
TREES
established. Sandy soils can be worked all plants need acid soil conditions. (For more
Large evergreen and deciduous plants, which
year round at almost any time but will dry out information on soil types, see p.102.) usually have a single trunk and are capable of
reaching great heights. Trees need careful
siting due to their longevity and size.

CLIMBERS
Deciduous and evergreen climbing plants
useful for their foliage and flowers. Most need
wires or trellis to cling to walls or fences, and
can grow to a height of several metres.

AQUATICS
Plants that grow in wet ground or in water
Clay soil Sandy dry soil Alkaline soil Acid soil fall into three groups: those with leaves held
Plants such as Berberis If soil is too wet, bulbs, Soil with a pH value Azaleas are ericaceous above the water, those that lie on the surface,
that like fertile moist such as alliums, may rot. over 7 is considered plants that require acid and those that stay submerged (see p.98).
conditions grow well Free-draining sandy soils alkaline – if it is also fairly soil with a pH value
on heavy clay soil. suit them best. fertile, roses will love it. below 6.5.
Growth habits Mirroring nature
Understanding a plant’s habit helps you to plants of unexpected vigour. Height and If you bring together plants from different
place it in the garden. It also ensures you spread are usually marked on the plant parts of the world but from a similar habitat,
get the planting density right, so you achieve label, but expect some variation due to it is possible to create a planting design that
a balanced border that isn’t overwhelmed by different growing conditions. is both botanically and aesthetically pleasing.
Seeing the plants in situ in their natural
Mat-forming Clump-forming
These plants spread Over a few years, plants environment will inspire you – and give you
by sending out shoots such as the non-invasive a feel for the conditions they require.
which then put down grass Pennisetum
roots. Mentha requienii alopecuroides form
(Corsican mint) will a good-sized clump
steadily creep over without threatening to
gravel and paving. swamp their neighbours.

Upright Climbers
As they often have Climbers, including
little sideways spread, most clematis, take up
upright plants like little horizontal space
Verbascum can be as they want to grow
planted quite densely. up rather than out.
They also provide Train them through
useful vertical accents shrubs and to clothe
in the garden. vertical structures. Coastal survivors
A plant’s ability to cope with gale-force winds and
salty spray will govern your choice for a seaside garden.
Luckily, there are some beautiful plants that are
Fast-growing Slow-growing perfectly adapted.
Plants such as Many slow-growers will
Lavatera need eventually become big,
space when planted but it can take years.
to allow for rapid Buxus sempervirens
spread. Plant labels ‘Suffruticosa’ has a slow
give the size after growth rate that makes
10 years, but check it ideal for low hedging.
with other sources
for growth rates.

Plants in containers
There is no reason why a container garden matching of your plants. However,
can’t be as well planted as a border. It is an growing plants in pots can affect their
intimate and very flexible form of gardening growth rates and restrict their size, since
Woodland effects
that allows an almost continual mixing and compost, water, and nutrients are limited. You don’t need to be a botanical purist to create a
woodland garden. You can combine plants from
different countries, so long as they all enjoy cool
dry shade in summer.

◁ Big bonus △ Tight squeeze

A wide range of plants The restricted size and
will grow successfully in volume of compost in
large containers since small pots limits your
they can accommodate plant choices. You must Alpine inspiration
more roots, water, and water and feed plants A rock garden is designed to emulate the free-draining
nutrients than small, regularly when grown dry conditions of an alpine meadow. This image of the
narrow pots. in these conditions. real thing shows the effects you can aim for.
84/85 How to design
DESIGNING WITH PLANTS

Selecting plants
At this stage of the design process you should be getting a clearer idea of the look you want to create in
your garden, and thinking about the plants you’ll need. Designers often talk about using a “palette” of plants,
as if they were paints, and, in many ways, creating a beautiful garden is like painting – except that you are
visualizing three dimensions, and your materials, being living, growing things, aren’t static. Use the ideas
outlined here to help you draw up an inspired planting scheme.

Choosing a planting palette Layers of interest

Focusing your ideas at an early stage in the When space is limited, try to select plants
design process narrows your choices and that have a long season of interest. As well
helps to guide you towards choosing the as those that flower over a long period, there
right plants. It also minimizes expensive are also many shrubs and perennials with
mistakes. Sourcing plants is much easier colourful autumn foliage, structural winter
when you have a specific theme, perhaps a stems, and spring buds. Precious few plants
favourite colour, or style in mind. A cottage will fulfil all your demands, but look for
garden, for example, will give you the scope those that tick the most boxes.
to mix and match a wide range of plants in an
informal setting. Something more modern,
on the other hand, will demand that you
use a limited number of plants in a more
organized way. Designing a low-maintenance
garden filled with evergreens will, again,
focus your choice (see pp.130–233 for
garden styles).

△ Tropical collection
A flamboyant display of annuals △ Structure and colour
with hardy and tender perennials The most useful plants here (peonies) work on several
is high-maintenance, but the results levels, providing structure and colour. In spring, their red
are exciting and worth the effort. shoots are followed by lush green foliage, then flowers.

◁ Easy-care scheme
The established hardy shrubs and
perennials in this formal planting require
minimal maintenance. Their structure
extends the seasonal appeal right
through late autumn and into winter.

Functional planting
Certain garden features design themselves △ Foliage and form
by default. For example, an exposed garden A closer look at a peony reveals how its flowers and
foliage combine to make it stand out as an individual.
will need a windbreak, while an overlooked Peonies often provide vibrant autumn leaf colour too.
plot must have screening for privacy. Other
design considerations might include fragrance
by the front door, or a tree by the patio to
provide shade on a hot sunny day. The design
of such schemes is guided by their specific
use, and this may limit your choice of suitable
plants. The list below details the different
design functions plants can fulfil, some of
which may be pertinent to your plot.
1 Provide shelter 5 Perfume the garden
Sheltered seating area △ Flower in focus
2 Create a boundary 6 Screen neighbours Hedges do pretty much the same job as a fence or wall, Close up you can appreciate the folded and crushed petals
3 Produce food to eat 7 Hide an ugly view but they have the edge when it comes to absorbing of this peony’s double blooms. With other plants, such as
4 Offer shade 8 Provide a wildlife habitat sound and wind. They also create a much softer effect. passion flowers, the detail is in the intricate stamens.
Plant types and their design uses
There is, without doubt, a plant for virtually Midrange plants Structural plants
every situation, be it a tree, shrub, perennial, These make up the Plants can be structural
majority of the plants on two levels. They can
bedding plant, or bulb. When you’re working in a garden and include define the limits and
out a planting plan, consider how best to use perennials and small framework of a garden,
each plant, and ask yourself if it will create shrubs. The substance of or the term can describe
most plantings, they fill the plant itself, for
the look you are after, as well as how it will the gaps between bigger, example, if it has large
work next to other plants in the border. more structural elements. paddle-shaped leaves.

Focal plants Ground cover Seasonal interest

Like ornaments, these People tend to think of The changing seasons
are visual treats for the ground-cover plants as make gardening a real
garden. It could be their being workmanlike. But pleasure. Choosing
distinctive colour, leaf there’s no reason why plants that provide an
shape, or stature that they can’t do a great ever-changing display
makes them stand out job of being ornamental prolongs a garden’s
from other plants in while smothering interest, changing its
the border. weeds as well. character as time passes.
86/87 How to design
DESIGNING WITH PLANTS

Using structural plants

Structural plants are the backbone of a garden, forming the framework and helping to anchor other plants
within a defined space. A beech hedge encircling a garden works in this way, as does a low box hedge around
a border. By their sheer physical presence, individual structural plants – such as a Gunnera or Cordyline – can
give focus to a planting scheme. Identifying key plants and deciding where to position them is the first step
towards organizing a planting scheme for any garden.

Creating a framework
Hedging is ideal for defining the boundaries
of a large- or medium-sized garden. It also
provides shelter and increases privacy. Strike
a balance between evergreen and deciduous
species: evergreens are effective year-round
screens, but because of the low winter sun
they can cast a dense gloomy shade, while
deciduous hedges allow in some light for most
of the year, and can offer seasonal colour, too.
Use structural plants within the garden to
frame (or block out) views and to lead your △ Hedges for definition
eye around the design. Shrubs in a border, Hedging plants, both small and large scale
(in this instance, beech), can be used to
perhaps forming a low hedge, provide a define the internal structure of a garden.
setting for midrange plants, and repeating
planting helps to create visual reference ▷ Structure in a border
Here, green and purple maples (Acer)
points. When planting trees, consider their frame a stone statue, while the sculptural
eventual size and the shade they will cast. Gunnera at the back forms a focal point.

Temporary structure
While the main framework of a garden should
be permanent, much of the planting within
it is seasonal, emerging in spring and dying
down in winter. Some perennials provide
vital structure for all but a few weeks in spring,
when, as is the case with many handsome
grasses, their stems are cut to make way
for new growth. Large, shapely foliage
plants, such as Miscanthus, act as an anchor
for smaller species, or contrast with leafy
flowering shrubs like Deutzia. Airy plantings
also benefit from the occasional strong shape
as a visual counterbalance to their wispy forms.

△ Structural accents ▷ Reconstructing nature

Clumps of bold foliage (here cannas) in a busy planting Using plants in broad interlocking swathes prevents
scheme act as a foil for slim-stemmed flowers and an over-fussy effect, and the resulting planting,
provide structural accents in a border. although strongly structured, looks natural.
Year-round interest ▷ Colour and form
If you mix deciduous and
While evergreens may seem the obvious evergreen species, the
choice for year-round interest, visually they garden in winter can be
both structurally interesting
can be leaden and static. Deciduous trees and and surprisingly colourful.
shrubs, on the other hand, may perform for
several seasons, with new foliage in spring, ▽ Spring offering
followed, perhaps, by flowers, and then Trees form an important
element of the spring
berries in late summer and vibrant leaf landscape, some offering
colour in autumn. In addition, trees often blossom, others vibrant
have a beautiful winter silhouette. Many green new growth.
species of Sorbus offer these benefits, and are
ideal four-season trees for a small garden. ▽▽ Formal topiary
Formal planting is the
A winter garden may not offer the obvious ultimate in structural
charms of summer, but there can still be design. This row of
sufficient interest to draw your eye into the clipped evergreen trees is
balanced and restful, and
garden – perhaps even enticing you to pull the effect can be enjoyed
on a coat and venture outside. during all four seasons.
88/89 How to design
DESIGNING WITH PLANTS

Using midrange plants

Midrange plants belong to a broad group that includes bulbs, some small shrubs (often called subshrubs),
grasses, and most herbaceous perennials. Their great range of shapes, colours, and textures gives you huge
scope for creativity, and you’ll find plenty to define your chosen garden style. They are also invaluable as gap
fillers between structural specimens, and since many flower and reach their full height in their first season or
two, you won’t have to wait long to enjoy the full effect.

Shape and texture ◁ Multi-layered texture

This sloping site features layers of beautiful
Some of the best midrange plants rely on foliage textures and colours, including
their shape and texture for interest more pompon alliums and feathery fennel.
than their flowers. Those with strong leaf
shapes, such as Acanthus, Hosta, Ligularia, ▽ Spiky foliage
The structural leaves of crocosmias give
and Rodgersia, can be grouped together for season-long interest; the late summer
bold shapely plantings; or they can be used flowers can almost be seen as a bonus.
to separate plants with frothy flowers or
foliage. Using contrasting shapes and
textures throughout a planting design
creates visual excitement, with no shortage
of interest. Imagine the fine leaves of fennel
(Foeniculum vulgare) against the large
sculptural foliage of the globe artichoke
(Cynara cardunculus Scolymus Group), or the
delicate but busy fizz of gypsophila against
bold round Bergenia foliage. Grouping plants
with similar soft textures creates a different,
much gentler, effect: try fennel with
Anemanthele lessoniana, or Molinia caerulea
subsp. arundinacea ‘Windspiel’ with Aruncus
dioicus ‘Kneiffii’ or Thalictrum delavayi.

Shrubby structure ◁ Staying power

Once its small trumpet-like flowers fade
Many small shrubs are useful additions to in late summer, the silvery evergreen
a herbaceous planting because they add a subshrub Convolvulus cneorum
remains as a foil for other perennials.
degree of permanence and a change of
character. Plant short shrubby evergreens
◁◁ Good mixers
at the front of a border to act as a foil to the Low subshrubs, such as Helianthemum,
procession of perennials that come and go as provide useful low level structure and
the seasons progress. Good front-line plants mix well with perennials, but they also
make a reliable display on their own.
include Teucrium chamaedrys, Lotus hirsutus,
Hebe pinguifolia, and Iberis sempervirens.
▽ Foreground interest
Block plantings of low evergreen hebes
provide a weighty foreground that
contrasts well with the lighter, airy
grasses planted behind.
Flower and leaf colour
Perhaps the most exciting aspect of gardening
is the chance to play with colour. If you
include herbaceous perennials, the range of
leaves and flowers can provide you with almost
any tone or shade for your planting palette.
When designing a scheme, consider the
effect each plant has on its neighbour and
decide if you want to use complementary
or contrasting colours (see pp.46–47).
In general terms, a mix of colours
generates an exuberant, slightly wild feel
to a planting. Single-colour-themed borders
look more sophisticated and have a cohesion
that is satisfying to the eye. The restricted
choice of plants also makes designing that
much easier. Don’t forget that just a hint
of a matching shade in a flower or its foliage
can be enough to link two plants.
Within a bigger border, colour
combinations using two or three plants are
effective. These can be timed for seasonal
display, say, yellow wallflowers with the
near-black tulip, ‘Queen of Night’; or for
something less transient, pale yellow Anthemis
tinctoria ‘E.C. Buxton’, fronted by purple-
leaved Heuchera ‘Plum Pudding’, surrounded
by the leaves of Hakonechloa macra ‘Aureola’.

▷ Early summer border

A jumble of flower colours and textured foliage injects
this border with a huge amount of energy. Adding some
summer bedding will add to the overall excitement.

▽ Focus on foliage
While still providing a perfect backdrop for other plants
in the border, the large ribbed leaves of this luscious
blue-green hosta make it a star in its own right.
Shady refuge
Planting choices in this compact courtyard garden are
informed by the dappled shade of silver birch trees.
Shade-loving perennials, such as aquilegias, Alchemilla
mollis, and geraniums, vie for attention among leafy
ferns and hostas, while the eye is drawn to patches
of blue irises and orange geums in the sunnier spots.
designer Jo Thompson
92/93 How to design
DESIGNING WITH PLANTS

Using ground cover

Ground-cover plants are used primarily to swamp weeds by creating a densely knitted blanket of leaves,
stems and flowers that exclude light and use up all available moisture. The best examples are also decorative
features in their own right, offering a tapestry of colour, texture and form, and providing a foil for other
plants. Ground cover does not have to be restricted to very low-growing plants, and can include a variety
of shapes and sizes, as long as they form a smothering canopy.

Dry sunny sites

Free-draining soils are “hungry”; you can
feed them with organic matter but it usually
breaks down quickly and its effect is short-
lived, so it is best to choose plants suited to
the conditions rather than to try to change
the soil. Flowering ground-cover plants that
thrive on sunny sites include Helianthemum,
dwarf Genista, and low growing shrubby
potentillas, such as Potentilla fruticosa ‘Dart’s
Golddigger’. For leafy ground cover, try
plants with grey leaves, such as Hebe
pinguifolia, Santolina chamaecyparissus, and
sage (Salvia officinalis). Several plants suited
to hot dry conditions are also aromatic and
include lavender and thyme. These conditions
are the natural habitat of many bulbs, too.
Small irises, such as Iris reticulata, and smaller
species tulips, such as Tulipa kaufmanniana
and T. linifolia Batalinii Group, can be dotted
among the ground cover to add extra colour.

▷ Tough plants for tough sites

This gravel border features mostly
Mediterranean-style ground-cover plants,
including thyme, and catmint (Nepeta).

▽ Sun protection
Perfect for a hot spot, the silvery leaves
of Stachys byzantina reflect the heat of the
sun and prevent the plant from drying out.
Cool shady sites
Ground shaded by a leafy tree canopy is often organic matter to the soil also helps to When shaded by buildings, the soil is usually
extremely dry throughout the summer and retain moisture. For dense spreading cover, slightly damper, making it easier to establish
provides the biggest challenge for both the try Aegopodium podagraria ‘Variegatum’ ground-cover plants. Shade-loving Bergenia,
plants and the designer. Reducing a tree’s (variegated ground elder), Asperula odorata, Epimedium, Helleborus orientalis, hostas, and
crown allows more light and moisture Cornus canadensis, Geranium macrorrhizum, many ferns, especially the dry-tolerant
through to the plants below, and adding Pachysandra terminalis, or Hedera (ivy) species. Dryopteris species, all produce a lovely effect.
▷ Under a light canopy
Semi-shaded conditions suit a wide range
of leafy ground-cover plants, including
Asarum, Carex, and Rodgersia. This mix
of green shades has a naturalistic quality.

◁ Dense shade
Many colourful hardy
geraniums are tough
enough to cope with
the difficult conditions
under a tree canopy.

▽ Twice the value

Plants with long-lasting
foliage make good
ground cover; if, like
these astilbes, they
also offer flowers, their
value is doubled.

Easy-care plants ▷ Carpet of colour

Low-growing Lysimachia and Ajuga
In large gardens, where you can give them reptans suppress weeds while also
the space they need, vigorous spreading providing a colourful foil for larger plants.
plants, such as Hedera helix, Lonicera pileata,
Trachystemon orientalis, and Vinca major, ▽ Mat-forming ground cover
make ideal low maintenance ground cover. Vinca minor puts down roots from
spreading shoots to form a dense mat.
In smaller gardens, however, giving over Its small leaves contrast well with those
large areas to a single species is not always of the Bergenia.
appropriate or practical; it can also be a
waste of a good planting opportunity. Where
space is limited, it is far better to use a mix
of leafy plants, such as Astilbe, Astrantia,
Bergenia, and Geranium endressii, planted close
together. You will achieve the same effect,
but it will be more ornamental and can be
achieved with very little effort.
94/95 How to design
DESIGNING WITH PLANTS

Using focal plants

Focal plants work on several levels: they can entice you into a garden, distract you from ugly views beyond
the boundary, or provide an eye-catching feature within a border. Most focal plants are evergreen or have
strong shapes or colours, and offer a long season of interest, but don’t dismiss those that perform for only
a few weeks each year. Allow them their brief, glorious time in the limelight, and plan the rest of the garden
around the show. Remember that focal and feature plants are the same thing.

Visual trickery ◁ Handle carefully

Take care that a plant does not overwhelm
In much the same way as you would use the garden by grabbing all the attention
a statue or an attractive container, you can and becoming an unplanned focal plant.
site focal plants to lead the viewer’s eye to
a particular area of the garden. Positioned ▽ Scene stealer
Pampas grasses have considerable
strategically, they can also distract attention stature, even when they are not in flower.
from unsightly objects or views. Their Their late summer display makes them
the natural focus of attention.
presence not only makes someone shift their
gaze, but can entice them to take a stroll
around the garden too. When focal plants are
repeated throughout a long border they act
like visual stepping stones, helping to carry
the eye along its length. They also hold the
planting together, giving it an essential
cohesion. Finally, using a clever trick of
perspective, when planted in the foreground,
focal plants make the garden behind seem
like a separate area waiting to be explored.

Striking shapes
Many plants have naturally architectural
or sculptural shapes: Acer palmatum var.
dissectum, Cornus alternifolia, Phormium, and
Yucca all make great focal plants. Many more,
however, can be enticed over time with
pruning and training to take on striking
forms. This can be through traditional
topiary, using slow-growing evergreens
such as box, yew, Ilex crenata, or Ligustrum
delavayanum. (Avoid fast-growing plants such
as Lonicera nitida, which needs clipping several
times over the summer to stop it losing its
shape.) In addition, the adventurous gardener
may like to experiment with other creative
pruning techniques. By trimming off the
lower branches of shrubs and trees you can
make standards that produce lollipop shapes,
or you can manipulate the branches to form
tiers or cascading stems. Carpinus betulus,
Cotoneaster frigidus, Thuja plicata, and Viburnum
plicatum f. tomentosum ‘Mariesii’ are just four
that respond well to this type of pruning.
When trained, the skeletal winter outlines
△ Worth the wait of deciduous plants can be as interesting
A single plant’s display (here a Yucca) can
be the raison d’être and seasonal climax as their leafy summer profiles.
of a whole section of a garden.
Using colour ▽ Come closer
The vibrant pink, pea-like flowers of Cercis siliquastrum
Very few plants can offer season-long colour, appear before the leaves in early spring. The tree’s form
but you can still achieve some great effects provides a focus at other times of the year.
with even just a short burst of activity from
foliage or flowers. The following are all
good candidates for focal plants: the autumn
foliage of Japanese acers, azaleas, Fothergilla,
and larch; the flowers of Hamamelis, Laburnum,
and Viburnum plicatum f. tomentosum ‘Mariesii’;
and the winter stems of many of the birches,
dogwoods, and willows.
Plants that provide dramatic colour,
however, need careful handling. Remember
that bright reds or yellows planted at the
furthermost corners of the garden have
a foreshortening effect. On the other hand,
using paler colours at the end of the garden
visually lengthens your plot (see p.48).

▷ Colour care
Acers are real scene stealers when their foliage fires up
in autumn. Position them carefully among more subdued
colours so that they can really shine out.

▷▷ Second innings
Hydrangea flowers are great value: colourful when fresh
in summer, ethereally beautiful when faded in autumn,
and stunning in winter with a dusting of frost.

△ In the limelight
Large scale centrepieces, these birch
trees are made all the more arresting
with dramatic winter sunlight.

◁ Have fun with topiary

Extravagance and humour are two
ingredients that turn a feature into
a great focal point. Here, yew is being
trained through a giant topiary frame.
96/97 How to design
DESIGNING WITH PLANTS

Seasonal planting
Designing a garden that offers a continuing series of delights throughout the year is both challenging and
highly rewarding. Anticipating the emergence of new shoots, flowers and foliage in spring brings a huge
amount of pleasure, which is then matched by the abundance of the summer, followed by warming autumn
colours and the stark beauty of winter. With careful planning, you can use plants to decorate your garden
365 days a year with their colour, scent, shape, and form.

Spring awakening
Spring brings welcome colour and energy subtle effect, choose some of the softer
after the gloom of winter. Nature designed coloured spring-flowering shrubs and smaller
early flowerers for high impact, with brilliant plants, such as Epimedium, Fritillaria, Helleborus,
displays from Amelanchier, cherries, magnolias, and Primula. And nearly all spring bulbs have
rhododendrons, and Viburnum. Bulbs are also a white selection to temper a colourful
keen to impress: flowers of blue (anemone, display. However, it is often best to give full
hyacinth, Muscari), yellow (daffodils, tulips), head to the season and simply enjoy the
purple (crocus), and red (tulips) all add to the exuberance – just remember to plant your
season’s vibrant spirit. If you prefer a more bulbs in the autumn or you’ll miss the show.
▷ Woodland setting
Plants and bulbs that thrive beneath trees
make use of available light and moisture
by flowering before the leaves appear.

▷▷ Natural drifts of bulbs

Yellow daffodils and pink magnolia
capture the freshness of spring. For
naturalistic drifts, throw handfuls
of bulbs across the ground and plant
them where they land.

Summer profusion
In summer, the emergence of bees and
other pollinating insects coincides with the
majority of plants coming into flower. This
natural abundance offers a huge choice of
colours, heights, and shapes, which makes
designing for a specific effect relatively easy.
Check flowering times and choose a wide
range of plants to prolong the display
right through the summer months. Select
perennials with beautiful foliage, so that
when they have finished flowering they still
contribute to the overall luxuriant effect, and
set out each type of plant in bold groups of
at least three for the greatest impact. Finally,
to add to the richness, dot summer-flowering
bulbs, such as Allium, Gladiolus, lilies, and
Triteleia, throughout the border. Keep the
display fresh by removing spent flowers
and brown or damaged leaves.

◁ Fiery mix
The variety of plants available in summer
makes a colour theme a much easier
option – here a “hot border” of sizzling
hues creates a unified display.
Autumn colour One garden, four seasons
In sheltered gardens, many half-hardy and a range of shrubs with fiery autumn leaves. By underplanting a wide range of shrubs and
tender plants, such as dahlias and Canna, Several summer-flowering perennials, perennials with naturalized spring bulbs you
will continue to flower until the first frosts. including some peonies and hostas, provide can achieve year-round interest without the
Hardy perennials, such as asters, Aconitum, a brief season of autumn leaf colour, but need for bedding plants. The unsung heroes
and Actaea (syn. Cimicifuga), flower very late, the main stars are the trees and shrubs, of winter are deciduous trees – without the
too, and together with forms of Fuchsia such as Acer, Cornus, Prunus, Rhus, and some distraction of foliage you can better appreciate
magellanica, make good companions for Berberis, Cotoneaster, and Viburnum. their attractive bark and shapely forms.
◁ Seasonal transition
The overlap between fading perennials
and the onset of luminescent autumn
foliage colours is a delightful twilight
period in the gardening year.

▽ Borrowed views
This border has been designed as a
stage set for the magnificent beech
wood behind, but as the fiery autumn
colours of Cotinus, Prunus, and grasses
ignite, all eyes are on the foreground.

Spring: fresh and vibrant

Summer: lush and leafy

Winter interest
There is no shortage of plants to provide
colour and interest during the colder
months. Winter-flowering honeysuckles,
Fothergilla, Hamamelis, Mahonia, Sarcococca,
and Viburnum offer flowers and scent,
and the berries or catkins of Corylus,
Autumn: fiery colours
Cotoneaster, Crataegus, Garrya, and Sorbus
add colour and texture. Evergreens and
their variegated forms deliver winter
foliage, while the bare bones of dormant
perennials, such as Rudbeckia and
Sedum, and the stems of grasses, such
as Miscanthus sinensis, all add to the
beauty of the winter garden. Trees also
make stunning contributions to a wintry
scene: birches with their stark white
trunks; the twisted silhouette of Corylus
Eyes down
avellana ‘Contorta’; and the flowers of An underplanting of snowdrops brings a glimmer of light
Prunus x subhirtella ‘Autumnalis’. to the dark base of shrubs, like this Cornus (dogwood). Winter: stripped to the bare bones
98/99 How to design
DESIGNING WITH PLANTS

Planting water features

Water fascinates and captivates like no other garden Siting a pond
feature. Its movement, reflections, and sound bring an Check first that the site does
not carry main sewers, drains,
appealing mix of new sensations to a garden. Water or utility pipes. Choose a
sunny position with some
also offers the chance to grow a different range of shade during the day, away
from overhanging trees.
plants that can attract insects and other wildlife to
the garden, whether you are planting up a natural
Trees are far enough
pond, or complementing a modern installation. away to prevent
pollution from leaves

The pond is the focus

Positioning your feature of the overall design

For a natural look, small features like spouting figures and heads or
an overflowing urn can be placed among the planting in borders. Service pipe is a good
Ponds do best where there is good light, away from trees and falling distance from pond
leaves, which will rot and pollute the water. Also site them away
from service pipes, such as electricity cables. All features should be The view from the
house allows you to
viewed as an integral part of the design and placed where any filters enjoy the feature
and pumps can be hidden by plants, rocks, or decking. Child safety
is also a prime consideration.

Choosing plants
Plan your waterside plantings exactly as you would your garden surface of the water – and your choice is governed by the size and
border, taking height, colour, and seasonal interest into account. depth of your pool. Choose a mixture from the four main groups of
Plants carry a label that show their preferred water depth – the water plants: oxygenators to keep the water clear; aquatic plants that
distance from the crown of the plant (or top of their pot) to the grow in the water; and marginals and bog plants to soften the edges.

Bog plants Marginal plants Aquatic plants Oxygenators

These plants thrive in a moist or wet Growing in a few centimetres of These deep-water plants root on An essential element in a pond,
soil. There is a wide range available, water at the margins, these plants the bottom of the pond, 50cm oxygenators provide oxygen and absorb
which includes some of the most soften the line between water and (20in) or more beneath the water. the nutrients otherwise used by algae.
colourful waterside plants, such as land. As well as colourful or interesting There are relatively few plants in Some, like Ranunculus aquatilis, flower
several irises, primulas, Lythrum flowers (Saururus, Orontium), this group, but it does include water above the water surface.
and evergreen Lysimachia. many have dramatic foliage lilies, which grow in water 50cm
(Sagittaria, Pontederia). (20in) to 1.2m (48in) deep.

To reduce algal bloom,

plant marginals in Sink aquatic plants in their ▽ Planning ahead
a low-nutrient compost baskets to the correct depth, Making planting ledges and boggy
as marked on their labels ground part of the initial design of
a pond, allows you to grow plants
with different depth requirements.

marginal plant depth

aquatic plant depth

Modern water features Small pools
In a contemporary setting, water is often used for its If space is limited, a small fountain, bubbling
reflective properties and movement, rather than as a millstone, or half-barrel or trough filled with
place to grow plants. However, several water plants, water and aquatic plants can give great
including species of Juncus, Carex, Cyperus, and Equisetum pleasure. Place your feature by a seat or
complement a modern, architectural style. A clean and close to the house where it will be visible
unfussy look is important, so limit the variety of plants from a window. If you cannot plant into the
and use those with strong shapes for the best effect. feature itself, position it among plants (Hosta,
Evergreens work particularly well in a modern setting. Astilbe, Primula, Myosotis, Filipendula, and Iris)
that often surround a pond or pool.

△ Dramatic statement
The primitive-looking Equisetum
hyemale (horsetail) is invasive on
land, but contained in a pond planter,
its stiff, upright shape is very useful
to the modern designer.

◁ Symmetrical planting
The round leaves of water lilies
emphasize the squareness of this
formal pool, while the dramatic
foliage of Zantedeschia adds some
exuberance and links the pool with
the surrounding planting.

Wildlife ponds
The combination of water and a wide variety to frogs, toads, and newts. If there is
of aquatic plants creates an attractive habitat room, introduce a small waterfall to create
for frogs, dragonflies, and aquatic insects, as the splash and moisture ideal for growing
well as offering cover for fish. Native plants ferns and mosses at the pond edge. Also, Mini oasis
When planting a miniature pool, take care to avoid
will attract local insects, but any exotic, provide both deep and shallow water for vigorous plants and rely on subjects like Nymphaea
non-invasive water plants will be beneficial diverse planting and a more natural look. tetragona, a small, compact water lily.

OTHER PLANTS TO CONSIDER

FOR MODERN WATER FEATURES
Cyperus alternifolius
Equisetum scirpoides
Isolepis cernua
Juncus patens ‘Carman’s Gray’
Schoenoplectus lacustris subsp.
tabernaemontani ‘Albescens’

FOR WILDLIFE WATER FEATURES

Butomus umbellatus
Caltha palustris
Iris pseudacorus
Myosotis scorpioides
Ranunculus flammula

FOR SMALL WATER FEATURES

Juncus effusus f. spiralis
Orontium aquaticum
Natural habitat Primula vialii
Even a small pond will attract a surprising amount of wildlife, and is
a useful way of increasing children’s interest in nature and the garden.
Assessing your garden

If your plot isn’t a blank canvas, take the time to look carefully at what is already in place
before you begin work on a redesign. If you have just moved into a property, it is worth waiting to
see what plants emerge and how the garden looks at different times of the year. When planning
a makeover of an old garden, cost may be a factor, and you may want to retain and incorporate
favourite features.
Get to know your garden soil, too, and notice how much sunshine and rainfall the plot receives.
This will tell you what plants will thrive in your particular growing conditions, and help you to avoid
costly mistakes. Improving drainage by digging in grit, or adding plenty of compost to poor soil, will
also broaden your choice of suitable plants.
The drawbacks of a sloping garden can be turned to an advantage
by the use of terraces, steps, raised platforms, or suspended decking.
Introducing these elements can revitalize a tired garden, giving it a new
lease of life. The same is true of an area that stays constantly damp:
transform it into a bog garden or pool and enjoy the pleasures of a wide
variety of moisture-loving plants and the ensuing wildlife they attract.
Privacy is important, but it is wise to consider your neighbours’ needs
before making any major changes to a boundary. A tall, vigorous
conifer hedge may shield you from view, but does it also cast a long
Assess the soil and feed with
shadow over their patio for most of the day? Legal obligations may compost if necessary.

come into play, too, so check first

before you finalize your design or
begin construction around a
shared boundary.
Perhaps the most important piece
of advice is to take your time before
launching into a garden redesign
and new landscaping. And if bare
or ugly patches are inevitable while
work is carried out, remember that
strategically placed containers make
a quick and effective screen. Choosing the right plants for your site is an important first step.
102/103 How to design
ASSESSING YOUR GARDEN

Assessing your soil Checking the aspect

The direction your garden faces has a

and aspect
marked effect on how much sun it receives
and how exposed it is to wind. To work
out your garden’s aspect, stand with your
Find out as much as you can about your site before you plan back to the house and use a compass to
check the direction you are facing.
a garden. If you ignore the local environment and specific soil Typically, south- and west-facing plots
and drainage conditions, you could waste money on unsuitable are warm and sunny while north- and
plants, or discover that your planned seating area is in a wind east-facing gardens are cooler and shadier
(right). Filtering the gales on an exposed
tunnel, or that the lawn turns into a lake in winter. site reduces wind-chill, and limits damage
to structures and plants. As altitude
Identifying and improving soil and distance from the sea increase,
Garden soils range from sticky clays to temperature and exposure can be adversely
free-draining sands. Clay soil is prone affected, whereas urban areas produce and
to waterlogging in winter and dries hard in hold heat, keeping gardens artificially warm.
summer, while sandy soil warms up early
in spring, but is a challenge to keep moist in
summer. Clays can be very productive and
rich in nutrients if manure and grit are dug
in, but sands are typically poor and, without Testing clay soil Testing sandy soil
As clay content increases, This soil crumbles under
adding manure or garden compost mulches, you can form it into a ball light pressure, won’t form
won’t retain moisture or nutrients. The ideal or sausage, then a ring. a ball, and feels gritty.
“loam” soil contains a mix of clay and sand
plus organic matter. Loams are dark and
fertile because of the organic content, form
a crumb-like structure when forked over,
and have good moisture retention. Test your
soil (above right) before designing planting
areas; loams when rolled hold together to
form a ball, but crumble under pressure. Windy sites
Exposure can restrict your choice of plants as well
as your enjoyment of the garden. Provide shelter
with deciduous hedging, which will help reduce
wind speeds without creating turbulence, or use
other permeable windbreaks (see also p.61).

△ Grit improves drainage

Large quantities of coarse grit worked into the top layer
of soil (to fork depth) improves the drainage of heavy clay,
but drains may also be necessary on waterlogged soils.

◁ Well-rotted manure benefits all soils

Manure causes fine clay particles to clump together,
improving soil structure and drainage. It also helps sandy
soil retain water and nutrients, but use it only as a mulch.

Testing acidity
The soil pH is a measure of acidity and alkalinity – 7 is
neutral, below 7 is acid, above 7 is alkaline. Acid soils
suit ericaceous plants while many Mediterranean herbs,
shrubs, and alpines will grow happily in alkaline, lime-
rich conditions. You can pick up clues about your soil by
looking around the neighbourhood to see what plants
are thriving. Soil type can also vary around a garden due Frost pockets
Determining your soil type On sloping sites, cold air rolls down to the lowest point
to local anomalies, so carry out several pH tests using an Taking samples from around the garden, and pools there if its path is blocked. Less hardy plants
electronic meter or simple chemical testing kit (right). use a test kit to check acidity/alkalinity. here can suffer frost damage.
MORNING MIDDAY EVENING

South-facing South-facing South-facing

garden garden garden
Gentle sunshine In the height of Heat radiated from
across the garden summer, walls reflect walls keeps the patio
from the east first the sun’s heat and warm into the night.
thing creates pleasant the whole garden is Most areas of the
conditions for summer exposed to the sun, garden are ideal for
breakfasts on a patio so you and your plants frost-tender plants
on the west side will bake without since the garden is
of the house. additional shade. warm all day.

House House House

North-facing North-facing North-facing

garden garden garden
Morning sun from the The area next to the Gentle light from the
east soon disappears house is completely west offers an ideal
behind the house. shaded, but the top aspect for woodland
Plant camellias, and end of a longer garden plantings. A patio on
other plants sensitive could be in full sun the east side of the
to morning sun after – perfect for a seating garden will capture
frost, on the shady area and some sun- evening sunlight
east side. loving plants. in summer.

House House House

East-facing garden East-facing East-facing garden

Enjoy breakfast on garden The area by the
a patio by the house, Sun filters across house is shady. It
but avoid planting the garden from the can feel chilly sitting
wall shrubs here that south but disappears out because walls
are sensitive to behind the house in haven’t absorbed
morning sun after the afternoon. Cool heat during the day;
frost. Cold east after midday, this is make a patio at the
winds can scorch a good aspect for a far end of the garden
tender foliage. shady conservatory. for evening sun.

House House House

West-facing West-facing West-facing

garden garden garden
The area near the Most of the garden A dining area by the
house is shaded for is in sun at midday, house allows people
most of the morning especially in summer. to bask in late evening
and a cool retreat in Tender wall shrubs sun, but you may need
hot weather, but for thrive on the house some shade. Walls
early sun, design a and north and west absorb sufficient heat
seating area at the boundaries. A patio to to keep the area warm
end of the garden. the south offers shade. on summer nights.

House House House

104/105 How to design
ASSESSING YOUR GARDEN

Managing slopes and drainage

Predicting how water moves around, and how it can be directed out of harm’s way, is the basis of drainage
design. As a general rule, all man-made surfaces should be on an incline and water must flow away from
buildings. In most cases, the water runs off hard surfaces, such as terraces or steps, into the soil where it
is absorbed. However, sites on hills or with heavy, compacted soil can present drainage problems, and you
may need to seek specialist help to avoid waterlogged conditions or flooding.

Drainage issues
All waterproof surfaces (roofs and paved to run into soakaways or, if in small underground pipe, open ditch, or stream.
areas) prevent water from draining naturally, quantities, directly on to planting beds. Particular attention needs to be paid to
and require attention; the water must be The type of soil in a garden will affect water moving over bare soil or sparsely
channelled to flow into municipal drains, or drainage, with heavy soils (clays and silts) vegetated surfaces where it will cause gullies
causing more problems than free-draining and erosion. However, if the landscape is
Rainwater and grey types (sands, gravels, and sandy loams). undulating or contained, water will gather
water recycling and
capture On a steep site, water will flow quickly, in the dips and in larger wet areas, such as
Terrace on a slight seeking a low point and, eventually, an bogs or ponds, and will need an overflow.
incline away from
the house If you have a difficult site, determine
Surface water the upper level of the groundwater (water
House Each tread angled
slightly downhill flows down table) as it may affect where you decide to
to shed water sloping garden
position your drains or soakaway.

Groundwater and
natural drainage
Pond or stream at
the lowest point
Trench filled with collects water
free-draining stone

Bog plants

Intercepter drain captures surface

and high-level groundwater, and
prevents saturation or flooding
farther down the slope

IDENTIFYING AMENITIES
The act of digging into the ground to create
ponds, alter slopes, or install drains can hit
underground services (such as water and gas
pipes, and electrical cables) or existing drains
and sewers. Never excavate the site unless
you know what is directly below, and do not
presume that amenities are in the exact
Sloping garden Moisture-loving plants locations shown on local council plans. Take
All rainwater falling on this garden will eventually find its Groundwater may be a problem, but it is also
way into the ground or to the pond, which is located at your time to identify problems, and employ
an opportunity. A naturally high water table or a
the lowest point. An overflow may be needed to channel butyl-lined bog garden can make an ideal place for a specialist surveyor if you are in any doubt.
any excess water into an underground drain or soakaway. growing a range of beautiful moisture-loving plants.
 Design considerations
If your garden is on a sloping site, you will proposed spaces, and possible access for
need to create flat, usable surfaces. Often earth-moving machines. More complex
this requires construction work so, when solutions may be required for steeper sites
drawing up plans, consider budget and time and slopes that are less stable, or where
constraints, the overall size and shape of the especially large level areas are required.

Decking and platforms

Rainwater collection To construct flat platforms or walkways on Stepped Decking must be
This recycled barrel holds enough rainwater to cover a platforms well constructed,
a slope with minimal disturbance to existing could be linked so seek
short period of dry weather, and makes an attractive
addition to the overall appearance of a garden. ground levels, it is best to use timber. by steps professional help
Decking is especially useful where access for
earth-moving is difficult, when slopes are too
Reduce flooding risks steep to alter, and on undulating surfaces
Where drainage is not managed carefully, around wetlands. However, it is short-lived Original slope
does not need
it can cause flooding, both in your garden compared to other landform solutions. to be disturbed
and in the local neighbourhood, if storm
drains are unable to cope with the excess.
In the UK, there are regulations about Sturdy timber
paving over front gardens, so check before supports need
firm foundations
any redesign. To prevent flooding, install a
Sustainable Urban Drainage System (SuDS)
by creating areas where water can collect,
and then be absorbed slowly into the
ground, following heavy rain. Planted areas
absorb large quantities of water, helping Terracing
to mitigate flooding. You can also include Small-scale terracing can be used to make
small depressions that act as temporary horizontal planting beds on a slope. A series Original slope
Level surface
ponds, filled with plants that thrive in wet of retaining walls, set one above the other, for planting,
lawn or patio
and drier conditions. The aim is to retain provide structure, then soil is cut away from Balance the amount
cut from the slope,
all the water that falls on the garden in the the slope for backfilling. Work can be done with that required to
garden. Also install water butts and use by hand or with a mechanical digger. Any fill behind the wall

the captured rainwater on your plants. large-scale terracing will require the advice
Aquatic plants
of professional designers and engineers.

Flow diagram
Where waterlogging is not severe,
excess surface water can be directed Retaining edge of brick,
into a drainage ditch or pond. If the timber sleepers,
water table is high, you will need to or metal panels
install an underground drainage system,
preferably using a specialist contractor.

Creating gentle slopes

Undulating land can be landscaped into
gentle slopes or flatter areas. Excess soil
or hardcore may be generated, or more Soil to be removed
for infilling
required to achieve the desired levels and,
in both cases, this may increase the cost. Original undulations
Any changes will destroy existing vegetation
and cannot be carried out beneath the
canopies of trees that you want to retain.

Gentle slope formed

Garden pool by infilling hollows
An informal pool can be used to capture excess water with excavated soil
and will serve as a perfect habitat for wetland and
aquatic plants and animals.
Down to the ground
Before selecting plants, test the soil in your garden to
ensure your favourites will thrive there. Mediterranean-
style gardens, such as this one, require free-draining soil
and a sunny position, mirroring the conditions found in
the plants’ native habitats. A gravel mulch helps to
prevent stems and leaves from rotting.
designer Martin Royer
108/109 How to design
ASSESSING YOUR GARDEN

Assessing your garden options

When thinking about a new design for your garden, first ask yourself which elements you like and want to
keep, and which you dislike. Next, consider your budget – does it allow you to add a new feature, adapt
the existing garden, or will you decide to go for a wholesale makeover, with a new planting design and
landscaping? If money is tight, it may still be possible to rejuvenate a tired mature garden simply by taking
a fresh approach and injecting some new ideas.

Degrees of change
Before you start designing, think about whether you’d like a series of connected spaces), you may want to rethink the entire area;
completely new look, a new feature such as a patio or a pond, or larger plots will take more time and money to redesign from scratch.
whether you would prefer to keep the same layout but overhaul the List the features you consider important and bear in mind that your
planting. If your garden is small or seen as one space (rather than a needs may change in the future, as your children grow, for example.

A COMPLETELY NEW LOOK DEVELOPING AN EXISTING PLOT ADDING A NEW FEATURE

Wholesale change can be hard to visualize, and This is the most common approach and, even Making a change to just one part of your garden
often means removing existing structures and though you will be working with existing is the simplest option, but take care to integrate
mature plants. However, it gives you the chance elements, it is still possible to refresh the look. List a new feature sympathetically. Pay particular
to do something radically different with a garden, the features you plan to keep. With multi-level attention to choosing materials and colours
and create an innovative space personal to you. or sloping gardens, a site survey may be needed. that blend in well with the existing design.

PROS PROS PROS

• An exciting blank canvas upon which to create • This approach is usually less time-consuming • Adding one new feature should be
whatever you want. and costly than a total makeover. a straightforward change to manage.
• The end result will be more coherent and • You can work in stages and tackle different • The rest of your garden will still be usable
integrated if you do not have to make areas of the garden in sequence. while this feature is being installed.
compromises around existing elements. • You can make use of the existing mature • Focusing on just one project means you can
planting, so there is no need to wait for concentrate on getting the details right.
CONS everything in your garden to grow.
• Loss of mature trees and shrubs. CONS
• New plants take time to fulfil their potential. CONS • Making sure that your new feature fits visually
• The reality may not match your vision. • The end result may lack cohesion. It is with the rest of your garden can be difficult.
• Short-term loss of wildlife habitats – although, important to make sure that the features you • You can’t let your imagination run free.
depending on your new design, these should add are complementary to existing ones. • You may damage other areas of the garden
return over time. • The renovations may not have the dramatic while building the new feature. Lawns and
• Sometimes a completely blank canvas can be impact you are looking for. existing plants are particularly vulnerable.
more daunting than adapting an existing layout.
COST CONSIDERATIONS COST CONSIDERATIONS
COST CONSIDERATIONS • Working with the current layout is less • This is the least expensive option – unless,
• Potentially expensive – hard landscaping, and expensive than a complete makeover, and of course, you are planning something very
mature plants, if you don’t want to wait for makes sense if you want to undertake changes glamorous. The budget should be relatively
plants to grow, are costly. in stages as money becomes available. straightforward to manage.
Case study: a new family garden
Every garden overhaul begins with a series of questions, and even
when you have made a list of desirables and undesirables, you also
need to consider the pros and cons of keeping or removing significant
elements. For example, if you are thinking of taking out a mature
tree because it casts summer shade, check that this disadvantage is
not outweighed by its benefits: it may also provide shelter from wind,
or privacy and screening from neighbouring buildings. Or, perhaps it
adds height to your garden. It is also worth checking if your trees are
protected by a tree preservation order (ask your local council).
Making decisions about your garden will be easier if you are very
familiar with the plot. If your garden is new to you, be patient and
live with it for several seasons to see what appears and what changes,
before you make any dramatic alterations.
In the case study discussed here, a family garden is the subject of
The original plot
a renovation. The pictures below show some of the options open to The way you use a typical family garden, and the amount of time you spend in it, will
the owners, depending on how much change they want. inevitably change as children grow. Design play areas so that they can be adapted.

INTRODUCE ADAPT OR REMOVE KEEP

MORE STRUCTURE BEDS AND BORDERS OUTBUILDINGS

New hard-landscaping elements, such as paths, Planting areas can be adapted and new shrubs and Sound, useful structures, such as greenhouses,
patios and walls, have immediate impact. perennials added, or they can be totally replanted. can be integrated into your new design.

PLAY AREAS PONDS MATURE TREES

Lay an appropriate surface and add structures Ideal for older children, but fit a grille if you are Try to work around mature, slow-growing trees if
that can be changed in the future as needs alter. concerned for the safety of young ones. possible; they offer valuable structure and height.

OUTDOOR LIVING ROOMS UNSIGHTLY PATIOS PERENNIALS

Extend your living space by creating areas in the It is easy to distract attention from an unattractive Keep established plant communities where they
garden for eating, entertaining, and relaxing. terrace with tubs of plants, and garden furniture. are evidently thriving and suit the conditions.
110/111 How to design
ASSESSING YOUR GARDEN

Designing boundaries
Boundaries create a frame for your outdoor space, and are among the most important elements in a
garden. They may indicate legal ownership, help to create a microclimate, and provide privacy. Most
disputes between neighbours concern boundaries, and there are many legal regulations governing them,
so before making any changes, first check who owns yours. If your neighbours have ownership, consult
with them first and discuss any proposed changes to avoid conflict later.

Evaluating privacy Original patio

in neighbour’s
Before making changes to a boundary, Viewpoint from direct view Neighbours’ views
especially if it is to be higher or removed, take neighbour’s Carefully chosen structures
upstairs window
time to evaluate the impact of the changes on can create sheltered areas
in your garden, reducing
your own and your neighbours’ privacy and the need for high fences or
Canopy or pergola
light. Check from all doors and windows, in shields seating area
hedging. A patio or seating
particular upstairs windows, and assess what area can be screened off
from your neighbours’ view
you can see now and what you will be able to with a canopy or pergola,
see once the change has been made. Bear in allowing you to retain your
mind that deciduous trees lose their leaves privacy without loss of light
to either side.
in the winter, which will mean more light but
a less secluded garden. Also, raising the ground Neighbour’s Original
level on your side – with a deck, for example – garden patio

may intrude upon your neighbours’ privacy. Boundary

Increasing privacy
Increasing the height of boundaries may be
illegal, so check with your local planning
office first. However, it is possible to increase
the privacy within your own garden without
altering the boundaries themselves. Strategic
positioning of new trees can help, but they
will take time to grow. Tall, fast-growing
evergreen hedges are now subject to planning
control, as well as being high-maintenance,
and should be avoided. Consider using
trellises, which can support climbing plants
and also help to create a sheltered
microclimate by allowing air to pass through
them (see p.61). Best of all, create spaces in
your garden that are not overlooked by your
neighbours (see diagram above).

△ Pergola cover
Combined with climbing plants, this is an
attractive way to create privacy without
blocking light to the rest of your garden.

◁ Sheltered patio
Well-placed planting forms a secluded site
for seating areas – an umbrella can give
additional privacy when the table is in use.

▷ Temporary screen
A makeshift cover like this one creates
shelter and privacy wherever it is needed,
and can be conveniently packed away.
Keeping in with neighbours BOUNDARY REGULATIONS
Although we all want some privacy, it is important to
Planning permission is needed to build a
establish good relations with neighbours. You could place
fence or wall over 1m (3ft) high next to a
tall screens around your patio area, and lower fences public highway or footpath, and over 2m
elsewhere to encourage conversation. When planning (6ft) high on other boundaries, so check
your garden, consider anything which could irritate your with your local planning office first. Fence
neighbours, intrude into their space, or block their light. posts should be on your side to ensure that
Communal gardens, on the other hand, are designed the fence does not intrude on to your
to encourage friendship and cooperation. They need neighbour’s property, and plant hedges at
careful planning, and you should also consider who will least 1m (3ft) away from the boundary, on
be responsible for the garden’s long-term maintenance. your land. Your title deeds will show you
where your garden boundaries lie.
△▷ Friendly divide
Low fences encourage
communication and
friendship between
Considering
neighbours while also
allowing more light into
neighbours’ light
both gardens.
There are laws governing an individual’s right
to light. Most light is blocked from gardens
by trees, although garden structures and
poorly planned building layouts can also
create dark zones. Before taking the law
into your own hands, seek expert advice.
▷ Shared space
Communal gardens It may be possible to remove part of an
encourage community offending tree, or to negotiate changes to
spirit and work well boundaries to allow your neighbours more
where there is shared
responsibility for light. When planning changes to your own
their care. garden, consider the impact they will have
on neighbours’ light at different times of the
day and year, both now and in the future.
Security issues ▽◁ Thorny shield This particularly applies to trees and hedges,
Boundaries provide security, but it is best to strike a Pyracantha is a good choice for as they will grow in height and width, and
balance between imprisoning yourself and opening your a burglar-proof screen, but will take could potentially cause problems.
time to grow; combine it with a simple
garden to your surroundings. Police recommend that post and wire fence until it matures,
fencing, walls, or hedges at the front of your house are then keep it to under 2m (6ft) in height. Large tree
under a metre (3ft) in height, so your doors and windows
are visible from the street. Use lights to illuminate your ▽ Automatic protection
space, but ensure that you do not floodlight your Electronic gates maximize security Prune to reduce shade
neighbours’ property. Spiky evergreen shrubs, such as for large properties, or where
burglary rates are high. They can be
Pyracantha, holly, or blackthorn can be grown to form unattractive, so look for well-designed
attractive barriers that will deter most intruders. gates that blend in with your garden.
Shadow cast
by large tree

Shadow cast
after pruning

Neighbour’s
garden
Boundary

Light idea
Think about how your boundaries, or elements within
your garden, will cast shade on to your neighbours’
plot. Here, a large tree could be pruned to allow much
more light into the adjacent garden.
Creating a plan

Drawing up accurate site and planting plans is a crucial stage of any garden design. By bringing
all your ideas together on paper you can see if they are viable within the space available, and get
a clear visual image of what you want to achieve. Detailed plans also help prevent any costly
mistakes before you buy materials and plants, or employ contractors.
With a few basic tools, and an assistant to help take measurements, you
can draw up a site plan yourself. The process is explained over the next few
pages, and includes a few tricks of the trade to make it easier. There is also
a variety of computer software packages available for this purpose.
However, if you have a difficult site or the prospect of drawing a plan is too
daunting, you may prefer to employ a surveyor to help you.
When the site plan is complete, and you have decided on the structural
elements and plants you intend to keep or introduce, you can start to play
around with different design options. Even if you have an idea of the basic
shapes you intend to use, it is always interesting to see how redirecting a
sightline or introducing a small grove of trees or a collection of containers
would change the mood of the garden.
A separate planting plan is also a good idea. Apart from helping you to
A detailed plan, drawn to
assess the number of plants needed for your scheme, it will also clarify scale, brings ideas to life.
whether they work well in the overall
design and fulfil their intended
function. For example, you can use
your plan to design a herbaceous
bed in a sunny corner, or mark out an
area for plants with winter interest that
can be seen easily from the house.
Above all, study your plot from all
angles and vantage points before you
begin. Get to know your soil type and
the path of the sun, then relax and
enjoy this part of the creative process. Plan planting carefully so your schemes work as intended.
114/115 How to design
CREATING A PLAN

Creating a site plan

Now that you have mastered the basic theories of garden
design, it is time to put your ideas on paper. There are several
different types of plan (see pp.22–23), but before creating your Measuring up
Use the right
final design, you need to draw up a site plan, which shows all the equipment to ensure
basic measurements in your garden, as well as the position, measurements are
accurate. Get it wrong
shape and size of elements that you intend to keep. You can at this stage and your
site plan could be
then use this plan to develop new layouts and planting designs. rendered useless.

Getting started
The idea of creating a site plan can be a bit because their location will directly affect
daunting if you haven’t put one together your ideas and design, but also because your ESSENTIAL EQUIPMENT
before, but most plans are easy to produce, house is one of the best points from which To measure up accurately you need the
especially if you have a small- to medium- to measure other features, such as trees, right equipment; most items are available
size, fairly regularly shaped garden with sheds, and so on. from DIY stores and art suppliers. You can
straightforward topography. However, if Now, roughly sketch the outline of the use a digital laser measure instead of tapes.
you have a large, irregularly shaped or hilly garden and the position of the relevant • Spirit level
plot, or even one that is very overgrown, elements within it. Refine your sketch • Tape measures of varying lengths – e.g.
it may be wise to employ a land surveyor until it is clear enough to mark up with small, medium, and extra-long – or digital
(see opposite). measurements. Then start measuring up laser measure
When drawing up a site plan for your plot, (see below and pp.116–117). Even if you are • Pegs and string
first take a pencil and sketch pad (A4 or A3 only planning minimal changes to your plot, • Sketch pad
are best) out into the garden and study the it is worth taking a few basic measurements,
boundary and position of any elements you such as the length and width of the help of a family member, friend or neighbour.
plan to keep, such as outbuildings, hard boundaries, to give you a sense of scale for Take measurements in centimetres, rather
landscaping, and planting. It is also important new features, such as flowerbeds or a water than feet and inches, as the metric system
to take note of the position of your house, feature. Whatever the size and shape of your makes it simpler to convert sizes to create
including the doors and windows – not only garden, you will also find it easier with the a scale plan (see p.118).

Measuring a rectangular-shaped plot

Rectangular and square gardens are the easiest to the corresponding boundaries on your features, measure at right angles to the
to measure. Ask your assistant to help you sketch. Then measure the length of the house the distance to the feature/plant
measure all four sides of the garden with a garden’s two diagonals and mark them up on you want to keep. Do the same from a
long tape measure, and add the measurements your sketch, too. To ascertain the position of boundary, as shown below.

Take the
Mark both dimensions of
diagonals on features, such
Mark the your sketch as this shed,
length and before plotting
width of the its position
garden on in relation
your sketch to the three
surrounding
boundaries
Measure the and the house
distance
between the Use the house
house and and boundary
Measure the boundary. to measure the
length of the Here, the position
house, and house butts of existing
the position of up to the features
doors and boundary
windows

Boundaries Diagonals Features

Carefully measure all four sides of your plot. Diagonal measurements help to create Plot the position of features that you
Also measure the house and the distance an accurate plan of the plot if it is not plan to keep by taking measurements
from the house to the boundary. a perfect square or rectangle. at 90° from the house and boundary.
Site plans for rectangular plots Measuring gradients
When you have decided which scale you are going to use, You will need This method is only suitable for small
convert your measurements accordingly (see p.118). For • Metric, A3, squared inclines. It is useful if you want a couple
large- or medium-sized plots you may want to create more than or graph paper, or of steps or terraced flowerbed and need
plain paper
one plan for different areas, or use different scales to focus on a • Set square
to calculate the required heights. For
planting bed or similar feature that requires more detail. When • Scale rule and/or more complex works or difficult sites,
drawing up your plan, use an A3 pad of graph or squared paper; clear plastic ruler employ a land surveyor.
you can use plain paper and a set square, but it is more difficult • Pencil and pens
and the results may not be as accurate. Then, using a sharp pencil • Rubber You will need
and ruler, plot the measurements on the paper and draw out • 1 length of wood just over 1m (3ft) long
• Spirit level and tape measure
your scale plan. You can then go over the pencil lines in pen. • 2 or 3 wooden pegs
Lay the wood
from ground
Use a spirit level to level to the top
ensure that the wood of the peg
is exactly level
Measure the

20cm
height of each
ft)
upright peg from 1m (3
ground level

50cm
)
(3ft
1m

35cm
3 ft)
1m (

1 From a specified point on the slope, measure

1m (3ft) down the hill, and hammer in a peg.
Check it is vertical using a spirit level.

2 Lay the wood from the soil surface at your

original point to the top of the peg, and use
a spirit level to check it is horizontal. Measure the
height of the peg.

3 Then, 1m (3ft) further down the slope, hammer

in a second peg, as before. Lay the wood from
the bottom of the first peg to the top of the second.
1 Start in the bottom left-hand corner of your
page. Draw the wall or walls of your house –
including the positions and dimensions of the
2 To draw in the boundaries, mark the length
and width on the plan, and add the diagonals.
Diagonals show if the plot is a perfect square or 4 Measure the height of the second peg. Repeat
these steps as necessary until you reach the
doors and windows. rectangle, or slightly off. bottom of the slope. Next, calculate the “fall”
or drop.

5 To do this, add up the heights of all the pegs.

Here the calculation would be: 35cm + 50cm
+ 20cm = 105cm over 3m (14in + 20in + 8in =
42in over 9ft).

EMPLOYING A SURVEYOR
You may wish to employ a land surveyor
to produce a site plan for you if you have a
difficult site. Surveyors in your local area can
be found online. Land surveyors come under
the jurisdiction of the Royal Institution of
Chartered Surveyors (RICS), and it is
advisable to check with them that the
person you plan to employ is a member.
The cost of employing a land surveyor
will depend on the size and complexity
of your plot, but expect to pay between
£800 and £1500. This fee will pay for a
topographical survey, but a cross-section
may cost more. Not all land surveyors are

3 4
Use the measurements you took from the Lastly, plot all other features on your site used to surveying gardens, so explain your
house and the boundaries with a tri-square plan. Carefully draw on sheds, greenhouses, needs carefully to ensure you employ the
to add trees and major planting – don’t forget to patios, pools, paths, and outbuildings, if you are right professional for the job.
include their canopies. planning to keep them.
116/117 How to design
CREATING A PLAN

Measuring an irregularly shaped plot

If your plot is large, has an irregular boundary,
is hilly or undulating, or very overgrown, it Features such
as trees can be
may be best to pay a surveyor to measure added later

it accurately and draw a site plan. However,

the methods shown here are not especially
difficult, so try one and see how you fare 1 Measure the façade of
your house. Add the exact
before calling in the experts. Draw one
main line
position and measurements
along each
of any doors and windows,
length as well as any gaps between
the house and the garden’s
Advanced techniques Draw a small boundary. Mark these in
cross on the centimetres on your sketch.
Although the measuring techniques shown here are main line to
slightly more involved than those used on page 114, denote the
measurement Use lines
they are still relatively straightforward. There are of a door or like this to
window denote doors
two methods to choose from: “taking offsets” and and windows
“triangulation”. Start with an outline sketch of your
garden on an A4 or A3 sheet of paper (see p.114). Then
choose the technique you find easier, but do not use a
combination of the two, as this will make the process Measure
from the 1,500cm Every metre or
more complicated, especially when you come to transfer main tape to 150cm two, measure
your measurements to a scale plan (see p.118). For both all relevant 925cm from the main
features to tape to the
methods, start by taking measurements of the façade of be retained boundary
362.5cm
your house, including windows, doors and gaps between
the house and boundary, and mark these on your sketch.
425cm
Taking offsets
To take offsets, you need two tape measures – one long 525cm
2 Peg a long tape measure
at the façade of the house
and note its exact position on
and one shorter, to measure the length and width of 375cm
your sketch. Using a giant
your plot – and a giant tri-square, essentially a huge set tri-square to ensure a 90°
square. Use the tri-square to help you to lay the long 775cm
angle, run the tape to the end
tape measure along the full length of the garden on the of the garden. Lay a second
Mark the exact tape at 90° to the first to
ground at exactly 90° to the house. Use the second, position of the 350cm measure points along the
shorter tape to measure at 90° (again, use the tri-square main tape
measure on boundary and the position
to ensure the accuracy of your right angles) the distances your sketch 375cm of relevant features.
from this main line to points along the boundary and to 225cm
relevant features you want to keep. Clearly mark these 0cm
measurements in centimetres on your initial sketch.

Getting some perspective

Whether you want to redesign part or all of intervals, and so that they are 1m (3ft)
your garden, site plans are an indispensable high (you can clip off the tops with
tool. However, unless you have at least some secateurs if necessary). Take a photograph
experience in reworking spaces or are of your garden with the bamboo grid
naturally adept at imagining change, they and print it out. Then enlarge it – to
may not help you to visualize how your A4 or A3 size – on a colour photocopier.
new garden will look in three dimensions. Lay a sheet of tracing paper over the
However, this simple idea will help to photocopy and then use the canes to
convey a sense of scale and proportion. help you draw your proposed new
You will need several bamboo canes, each features in perspective (see p.22). Use
just over 1m (3ft) in length, a tape measure the grid to block in areas of planting, or Mapping your garden
This visualization technique works best in open spaces.
and a giant tri-square. Form a square grid by to design screens, using the vertical Take an initial photograph of the area you want to design
pushing the canes into the ground at 1m (3ft) canes to judge the heights. from the spot where you will be viewing the garden.
 Using triangulation
On paper, this advanced measuring technique looks Triangulation is
1 Measure the façade of
your house, and the doors
and windows, and mark these
a good method for
slightly more complicated than taking offsets, but in measuring the measurements on your garden
position of curved sketch (see Step 1 in “Taking
practice many garden designers consider triangulation boundaries offsets”, opposite).
easier and favour it over the offset method. accurately
Triangulation involves marking two spots on the house
– usually 1–2m (3–6ft) apart, but they could be further
apart on a larger property – and then measuring from
each of these spots to one point on the boundary, or a
relevant feature, to form a triangle. This triangle and its
measurements should then be marked on your sketch.
Repeat this process at several points along the boundary
– or the edges of a feature, such as a shed or a tree and
its canopy. The more measurements you take, the more
accurate your site plan will be.
Draw in the house,
You can then use these measurements to plot points windows and doors
on a scale plan and reproduce the exact dimensions of (see Step 1 in “Taking
offsets”, opposite)
the garden and position of the boundaries, and any
additional structures and key plants (see p.119).

Measure several
points along the
boundary. You will
need these to get an
accurate outline of
2 Measure from one spot
on the house to a point
on the boundary. Repeat from
Measure to
the same point
on the feature
3 Measure from one
spot on the house to
a feature, such as a tree.
the garden
another spot on the house Repeat from another spot
to the same point on the on the house to the same
boundary, and the distance point on the feature, and
between the two points on the distance between the
1,275cm the house. Note all three two points on the house.
distances on your sketch. Note all three distances
on your sketch.
1,050cm

Measure the
canopies of
Measure from two trees, and
points on the house perimeters
375cm to one point on the of beds and
boundary to form two borders, too
sides of a triangle

The façade of
the house will
form one side
of your triangle

Measure between two

spots on the house

2m
3m

1 Place the bamboo canes 1m (3ft) apart to form

a square grid over the whole area – use a tape
measure and giant tri-square to ensure accuracy.
2 Make sure that the bamboo canes are the same height,
3
1m (3ft) is a good choice, or the sense of perspective
will be lost. Take another photograph of the garden.
Print out the photograph and enlarge it on a colour
photocopier. Lay tracing paper over the image, then
use the canes as a guide to draw your proposed features.
118/119 How to design
CREATING A PLAN

Using scale and drawing more

complex plans
Essentially, a scale plan is a proportional visual representation of your garden, and you can draw one easily
by converting the measurements you took of your garden (see p.114 and pp.116–17) to one of the scales
outlined below. It is also worth investing in a scale rule (a Toblerone-shaped ruler with scales such as 1:10,
1:20, and 1:50 marked on it) for this job, as it dispenses with the need for calculations. When your site plan
is complete, use it as the basis for your design and planting ideas.

Choosing a scale
There are several scales to choose from, it is best to use scales of 1:20 or 1:50; for
including 1:10, 1:20, 1:50, 1:100 and 1:200. a larger plot, you may want to use a 1:100
Put simply, a 1:1 scale shows an object at its scale, or even a 1:200 scale for an extensive
actual size; on a 1:10 scale plan, 1cm on country garden.
paper represents 10cm measured in your Designers often draw more than one plan,
garden; on a 1:20 scale, 1cm on paper and use different scales to show different
represents 20cm on the ground; and on a details. For example, a 1:50 scale can be used
1:50 scale, 1cm on paper represents 50cm for planting plans, and a 1:20 or 1:10 scale is
in your garden. For small domestic gardens, best for structural features, such as a pond.

Whole garden 1:100 Planting plan 1:50 Architectural details 1:20

This is the best scale for an overview of medium-sized Perfect for most planting plans, this scale is ideal for This scale allows you to work out quantities of hard
to large gardens. If your garden is particularly big, you showing the position of larger architectural or specimen landscaping materials, such as pavers. Use it to calculate
may have to draw your site plan on an A1 sheet of paper. plants, and general planting schemes. For more detail, to the exact numbers you will need if building garden
show exactly how many plants you will need in a 1 x 2m features yourself, or supply building contractors with a
(3 x 6ft) border, for example, 1:20 may be a better option. 1:20 plan to enable them to make these calculations.
Drawing a plan for an irregularly shaped plot
You will need
• Metric, A3, squared or graph paper,
or plain paper and set square
• Large pair of compasses (for triangulation)
• Scale rule and/or clear plastic ruler
• Pencil and pens, and rubber

Regardless of the method – triangulation or

offsets – used to measure your irregular plot
and its features, start by drawing your house
and the doors and windows on your plan.
If you used offsets, draw a line at 90° to
the house to represent the tape measure.
Using the graph paper’s grid and a ruler or
a scale rule, plot the boundary measurements
at 90° to this line; join the dots to form the
boundary. Then add features, also plotting 1 Draw the house, doors and windows, and
then set the compasses to the first scaled
measurement you took from the house. Place
2 Reset the compasses to the second
measurement you took from the house
to form the triangle. Place the point where
measurements at 90° to the central line. the point where you measured from on the you measured from on the house, and
If you took measurements using house, and draw a small arc. draw a second arc to cross the first.
triangulation, use the method on the right
to draw up your scale site plan.

TOP TIPS
• Use Google Earth to check the shape of
your plot. On larger or more open plots you
may even see trees, features and sheds.
• Don’t over-complicate your sketch. If
necessary, use more than one sheet to
record dimensions of the main garden,
and a separate sheet for details, such as
planting plans.
• If an impenetrable area of vegetation gets
in the way, estimate its dimensions from the

3 4
measurements around it. Repeat Step 1 and Step 2 for all of your Use the same technique outlined in
• When drawing your site plan, use metric boundary triangulation measurements. Steps 1 to 3 to plot the position of the
graph paper for a more accurate result. With a pencil, join up the centre point of garden’s features – such as outbuildings,
each of the crosses to plot your boundary. trees, plants, or water features – to create
You can then go over the line in pen. your scale site plan.

The finished site plan Accurately

You’ve taken all the necessary plotted
boundary
measurements, converted them to line
your chosen scale and drawn up The shape, size
your scale site plan (or plans, if you and position of
outbuildings, such
chose to use more than one). This as sheds or
accurate representation of your Exact position greenhouses
of features,
garden’s boundary, and any existing including
features that you intend to work overhangs
Using your working plan
or canopies
around, is an important design tool. Any hard As well as creating your own
landscaping that design, you can use a scale site
Take photocopies of your plan, scan will remain,
plan to show builders the size
it onto a computer and print out including patios
and type of surfaces and
and paths
copies, or make a few tracings. features you want. Also some
You can then use these copies or Space design companies offer postal
between services, particularly for planting
tracings to sketch shapes and ideas house and schemes, and ask for a site
that will fit the plot. boundary plan to help them produce
an accurate plan.
120/121 How to design
CREATING A PLAN

Experimenting with plans

More accurate than a bubble diagram or sketch,
a scale drawing enables you to experiment with
A back gate provides
different layouts in enough detail to ensure that the access to a lane running
behind the property
design fits and works well. Although all proposed
elements, such as paths and planting, must be
drawn to scale, the drawing does not need to be
too technical. Here, designer Richard Sneesby
explores four ideas for one simple plot.
The garden
One garden: four solutions This simple plan is drawn
to a scale of 1:100, where
This simple plan (see right) shows a rectangular plot, with the rear each centimetre grid
elevation of the house located along the bottom line. Adjoining the square equals 100cm on
house is a patio, and the garden includes an existing tree and shed. the ground. Therefore,
the 250cm-wide border
There is also a rear access gate in the top-right corner. that runs around the
Each of the four plans shows different design options for this site. edge of the plot is 2.5cm
All feature a lawn, pond, paving/deck area, as well as access to the wide on the plan.
The garden runs the full The patio indicates
back gate, and three include a shed. The tree has been removed in width of the house where the garden is
two schemes, as it would compromise the suggested layout. accessed from the house

Option one Option two

By positioning rectangular areas diagonally, the corner-to-corner The garden here is divided by a series of hedges that create a visual
orientation of this garden gives it a dramatic appearance. The design and physical chicane, keeping views short and varied; they also act
provides planting areas that are deep enough for larger specimens, as a unifying element across the plot. The hedges would be grown to
and a triangular pond that can be appreciated from the nearby different heights to allow or inhibit views, giving visual variety. Rows
seating area. This is a garden of two halves, with a hedge dividing of trees reinforce the division created by the hedges but would allow
(and possibly screening) the two lawn areas, allowing each section views beneath their canopies. The design also includes rectilinear
to be given a distinct character. flowerbeds, a formal pond, and a shed hidden behind a high hedge.

Shed or summerhouse Trees and shed help to screen

adds height and structure garden from neighbours

Path and patio are laid

with the same material Taller trees help to hide
to show consistency the view of the shed
across the garden from the house and
frame the lawn area

A wide, formal lawn

provides plenty of space Deep borders provide
for family recreation ample space for varied
and socializing and generous planting

Sense of enclosure
Angles at work Dividing gardens through
Diagonal alignments work the use of parallel screens
well in rectangular plots, encourages movement
especially in urban areas. around the whole site.
They create generous This garden would feel
planting beds and throw intimate, and provide many
Growing large shrubs or small the eye to the corners, Topiaried box shrubs opportunities for design
trees in pots allows bolder helping to make full use complement the details, such as woodland
planting near the house of the space available. formality of the pond areas and sculpture.
Option three Option four
With its strong diagonal axis, this design works in a similar This curvilinear plan would be more complicated to set out on
way to Option one. The oval-shaped lawn provides a central the ground than the other designs, but would accommodate
space, further defined by a low, flowering hedge. The trees existing features and levels more easily. The lines are sweeping
also help reinforce the geometry and partially enclose the organic curves, the pond much less formal, and there are two
central area. The summerhouse is a focal element here, distinct seating areas. Planting beds vary in width to allow a wide
while a decked area and pool overlap on to the lawn to variety of plants and combinations to be grown. However, as
provide opportunities for attractive detailing. The planting there are no hedges, taller plants would be needed to prevent
beds are deep and generous. the garden from looking and feeling too open.
A limited range of materials
This hidden area is the perfect adds interest without clutter
place for a compost heap

The pond, crossed via Decked seating area

a small bridge, provides acts as a focal point
a restful setting for the and provides space for
summerhouse seasonal containers

Larger trees give shelter

and privacy, and help to
define the view through
The oval-shaped lawn the garden from the house
makes full use of the site,
and is kept private by the
surrounding trees

Oval approach Flexible design

Central circular zones can Curved, organic shapes
help to unify a space and can be used to create
bring the garden together. a more relaxed feel, and
Using an oval shape, in the layout can be adapted
particular, gives the garden Informal gravelled area to accommodate larger
Clipped, pot-grown offers easy access and
specimens complete a sense of direction, and long views up the garden plants as they grow. Such
the circle of trees closest leads the eye across the shapes are difficult to build
to the house spacious lawn. using paving materials.

Using design software

To create a plan on your computer, you can
choose from a wide range of garden design Bird’s-eye view
software packages available. Look for Using SketchUp, designer Richard
options appropriate to your level of skill and Sneesby shows a formal layout of
terraces adjacent to the house.
the amount of detail you want to include. Shadows are geo-located to show
Most are quick to learn and some are free the sunny areas throughout the year.
to download, although the price you pay
generally determines the quality of the plan
you can produce. Some packages also show
how selected plants will develop over time;
check that the package you choose provides
a searchable database of plants suitable for View from the terrace
your soil and climate conditions. 3D models, such as this, allow you to
Professional designers use specialist see the design from eye level. Simple
modelling, without planting details,
computer-aided design (CAD) software helps develop an understanding of
to design accurate 2D layouts for contract the space and structure.
drawings and commercial tendering, often
combined with SketchUp illustrations to
create 3D visuals of their ideas.
122/123 How to design
CREATING A PLAN

Planning your planting

A combination of practicality and artistic flair is required to
plan a planting scheme. The practical considerations include
soil type, aspect, and the amount of shade and sun the site
receives. You may also want to consider using plants to offer
shelter, structure, or scent close to a seating area. Your ideas
and inspirations inject the all-important artistic input.

First steps
Before planning your planting, draw up a site plan (see pp.114–119).
You can then start thinking about the whole design of your garden,
and how planting fits into the overall look. Sketch in the shapes and
sizes of proposed beds and borders, and take photographs of the
garden, too – either an aerial shot from a bedroom window, or from Visualization technique
You may find it easier to visualize your planting if you
the area from which your planting will be most often viewed. You dummy it up by using garden objects of similar sizes, such
can then use these to help judge the scale of planting you need. as bamboo canes, buckets, cardboard boxes, and pots.

Choosing the right plants

You can either start with a list of your favourite plants and work them
into your scheme, or decide on the look you want and then find plants
to fit the heights and shapes required on your site plan. In reality,
though, a planting plan usually ends up being a combination of both.
Whichever approach you take, bear the following points in mind.
First, make sure the plants you choose will cope with the site and
soil conditions; then when arranging plants on your plan, check their
height, texture and shape in relation to those you will be placing next
to them. Flowering period is important if you are looking to highlight
a particular season; otherwise focus on foliage attributes first. In a
small garden, a planting palette limited to relatively few different
types of plants will have the greatest impact. For inspiration, go to
the garden centre and group your chosen plants together. Or search
online: Pinterest, Instagram, and Houzz offer lots of planting ideas.

△ Habitat match
In this naturalistic planting, drought-
tolerant succulents and alpines, which
require free-draining conditions, are
planted in a bed of gravel and pebbles.

△ Balanced forms ▷ Consider the seasons

Choose a range of marginals with different Make the most of the available light and
leaf shapes, such as these irises and moist ground in late winter and spring
astilbes, for a balanced poolside display. when planting under deciduous trees.
Plants with design functions
It is easy to become fixated on flower and, to a lesser
◁ Fill the gaps
extent, leaf colour, but many plants offer other equally Bulbs provide seasonal colour and can be
attractive attributes that will add an extra dimension to squeezed between permanent plantings.
your planting. Perfume is an obvious one and is a must Spring bulbs will cheer your border before
most perennials appear, and Allium
near patios and around doors and windows, while structure bulbs (left) in early summer are followed
– for example, the domed hummocks of Hebe and the by colourful Gladiolus and Nerine.
sword-like leaves of Phormium – can be used to give visual
emphasis to a planting. Many climbers can be trained over ▽ Year-round interest
Flower colour is often a transient feature,
trellis to disguise an ugly view, and tough hedging plants, but foliage has long-term impact and
such as hornbeam or yew, make perfect windbreaks. should be seen as the mainstay of any
border throughout different seasons.

▷ Winter colour
Winter flowers are a treat,
so make sure you can see
them from a path or the
house. Several Hamamelis
have the bonus of scent.

▷▷ Scented plants
These are best planted
and enjoyed in warm
sheltered areas of the
garden where strong
winds won’t dissipate
their perfume.
Coastal retreat
The drought-tolerant planting scheme in this garden is
designed to evoke the landscape along the Mediterranean
coast. A sunny site and free-draining soil provide the
perfect conditions for salvias, verbascums, Centranthus
ruber ‘Albus’, and wildflower Jasione montana, while pine
and tamarisk trees, typical of the region, offer cool shade.
designer Robert Myers
126/127 How to design
CREATING A PLAN

Drawing up a planting plan

Planting plans don’t have to be complicated, but they
can be a great aid, helping you to organize your ideas
and calculate planting quantities. Just measure your
garden fairly accurately and produce a simple scale
plan (see pp.114–119), then use this to outline areas
of plants and, in more detail, the shapes of planting
groups and individual specimens.
Grouping plants
The lure of an instant effect often tempts new designers to cram too Prairie-style drift planting Modernist blocks
much into a small space, but overcrowded plants tend to be unhealthy, Interlocking sausage-shaped drifts of Strong geometric shapes are emphasized
plants give a less contrived look. Make the and complemented by bold blocks of
so always bear in mind their final spreads when drawing up your shapes a good size for maximum impact. planting, such as cubes of hedging.
plan. You can achieve a fuller look by grouping plants together. With
perennials, larger groups of three or more of a single species will have
a stronger, more substantial effect than single plants dotted around,
which can look messy. Grouping plants in sausage shapes (which
works well for cottage- and prairie-style plantings), or triangles, is
satisfying to the eye and makes it easier to dovetail disparate groups.
Also, try placing the occasional plant away from its group to suggest
it has self seeded for a naturalistic look. With shrubs, you can either
plant in groups for an instant effect, or singly and wait for them to fill
the space. Plant trees at a good distance from your property to
prevent subsidence, and give them plenty of space to mature.
A formal planting scheme near the house will create a contrast
with natural plantings elsewhere. Try a simple parterre formed of
squares or rectangles enclosing a cross, and outline your design with Parterres Random planting
The symmetry and formality of a parterre To recreate a natural habitat, place plants
box hedging. Avoid making the beds too small, because once planted makes planning fairly simple. Start with the in random groups. To avoid a chaotic
up they could look cramped and overly fussy. outline hedging, then add the infill plants. design, use a limited colour palette.

Foliage plants Sketching ideas

that can cope
with some One of the simplest ways to visualize a
shade planting plan for a small garden is to sketch
Trees with the view from an upstair’s window. Give full
autumn colour,
such as rein to your imagination and don’t worry
Amelanchier about accuracy at this stage. Next, identify
the views from the house at ground level
(stand by the back door) and consider
whether you want planting to enhance,
frame or block them. Finally, walk around
the plot visualizing the overall layout, and
the shapes and positions of structural plants,
Raised bed
planted such as hedges and shrubs. Mark these on
with small your sketch as simple shapes.
perennials
Take photographs as well, so you can refer
to them when you come to draw your plan. If
Trees with △ Sketching on a photograph
climbing roses If you find drawing difficult, doodling over a photograph you feel confident, you can sketch your ideas
at their base will help you visualize the design in the context of your directly on to photographs; if not, work on
garden and get a sense of perspective. a sheet of tracing paper laid on top. You may
Plants with find that black and white print-outs are less
more colour ◁ Bubble diagram distracting to work with than colour pictures.
that prefer This type of simplistic sketch, with rough shapes and
full sun annotation, will help you to position larger plants, such Use your rough sketches as the basis for
as trees, and pinpoint key areas of full sun or shade. preparing a more organized planting plan.
The final planting plan A low beech
hedge forms
If you are preparing a plan for your own use you will not a unified
need fancy graphics, but if it is for a client a professional- backdrop, but
won’t block
looking plan (see symbols on p.22) is appropriate. Astelia views of the
Rose planting
On your scale plan, first draw the outlines of the areas Allium
you want to plant, then add specific plants. To help you
position trees or shrubs, draw circles to scale, depicting Silvery foliage
cools down
their likely spread. Mark perennials in as freehand Lupin warm colours
shapes. To help you calculate planting densities, mark Grasses Astelia
out a square metre on the ground and work out plant Mentha
Buxus
spacings for different species using their final spreads.
Keep a note of them for future reference. Early summer
bulbs provide
Draw your plan on graph paper, or on paper marked seasonal
Allium
with a pencil grid of 1cm squares – you can then erase colour
Allium
the latter when you ink in your final design. The scale you Mentha
choose for your plan depends on the size of the beds or Laven
de r
borders you are designing, but for a detailed plan, a scale
Ballota
of 1:50 or 1:20 is appropriate (see p.118 for more on scale).
Use acrylic tracing paper to copy your final sketch and
Warm flower
produce a clean, finished drawing. Office suppliers sell Iris colours pick up
tracing paper on rolls or as large sheets. Architect’s Salvia the red of the
brick path
offices often offer a copying service for large plans. You
will need at least two copies: one for best and one that
Trifolium
can be taken out into the garden at planting time.
Consider laminating plans to make them weatherproof. Erigeron

Sisyrinchium
▷ The finalized plan Curved red
This is a planting plan for the border shown brick path
below. The shapes indicate the position
and number of plants within each group.
The plan also shows their final spreads,
so you can see how they will fit together.
Foliage spills
on to path to
soften the line
◁ The planting scheme
Successful plantings, such as in one of Cleve
West’s RHS Chelsea Flower Show gardens,
will inspire your own creations, helping you
to visualize how plants look in situ. Make
a note of combinations that work well and
use your smartphone or digital camera to
take snaps of plantings that catch your eye.

COSTING UP YOUR PLANTS

If you can afford large shrubs and trees you
can produce an instantly mature look; a
smaller budget means younger plants and
patience while you wait for them to grow.
Perennials flower and reach their maximum
height in the first couple of years, so don’t
spend a fortune on big plants.
It is worth asking garden centres and retail
nurseries if they give discounts to designers;
some also offer a plant sourcing service. If you
can show you are a trade customer, wholesale
nurseries allow you to buy plants in bulk.
128/129 How to design
CREATING A PLAN

Examples of planting plans

Irrespective of the style of garden you’re designing, whenever you’re putting together a planting plan check
first that the plants you choose suit the site, soil and climate. If working on a design for a client, it is vital that
you talk through your planting ideas with them before committing to a final design, not only to help them
visualize the finished garden, but also to agree on a scheme that they can easily maintain.

A divided garden Trachelospermum

Unless you divide it up in some way, a rectilinear garden holds no Rose and Hebe Allium
clematis
surprises. To avoid the “what you see is what you get” effect, designer
Fran Coulter created a visual break between a decked terrace along
the side and back of the house and the rest of the garden.
Rose and
Plants used include: Design in focus clematis
1 Rosa ‘New Dawn’ When a garden is overlooked by Vitis
2 Clematis ‘Pink Fantasy’ neighbours, especially from an upstairs
window, a climber-clad pergola provides
3 Trachelospermum jasminoides Veronica
privacy for seating or dining areas.
4 Lonicera nitida ‘Baggesen’s Gold’ However, in this design – the area
5 Buxus sempervirens shown is approximately 3.5 x 2.5m
6 Weigela NAOMI CAMPBELL (11 x 8ft) – the pergola is used as a
(‘Bokrashine’) colourful boundary between a decked
7 Nepeta nervosa terrace and the garden beyond. The
wood is painted a matt red to match the
8 Vitis vinifera ‘Purpurea’
Scandinavian-style property. In Sweden,
the paint is traditionally made with iron
and copper ores, and these tones are Weigela
Abelia Nepeta
picked up in the planting: the purple
grapevine, wine-red Weigela, and the Lonicera Buxus
pink rose and clematis.
Shady area
This 3.5m (11ft) square border
is backed by a high stone wall
and cherry laurel. The owners
asked designer Paul Williams
for shade-tolerant planting that
would mirror the formality of
the adjacent garden. The plants
here are mostly green with the
odd splash of colour.
Plants used
1 Dryopteris affinis ‘Cristata’
2 Gazania
3 Prunus laurocerasus
4 Hosta ‘Krossa Regal’
5 Taxus baccata

Design in focus Hosta Seasonal Dryopteris

To emphasize the formality of the plants in urn
garden on the other side of the path,
this border (of which this is one section)
is broken up with yew “buttresses”
every three metres. Each section
contains a simple planting and an urn
or feature plant. Foliage is important:
the plants need to be shapely and shade
tolerant. Seasonal plants in the stone
urn can contrast with or complement
the surrounding plants.

City garden
Adam Frost designed this small
Persicaria Salix Persicaria
city garden filled with romantic
cottage-style planting. Soft red
bricks are the perfect foil for the
colour-themed planting, which
is a sumptuous mix of crimson,
pink, and mauve.
Plants used
1 Salix elaeagnos subsp. angustifolia
2 Persicaria bistorta ‘Superba’
3 Rosa ‘Souvenir du Docteur Jamain’
4 Heuchera ‘Chocolate Ruffles’
5 Astrantia major ‘Roma’

Design in focus Astrantia

At the centre of this border, which Heuchera
measures roughly 1.2 x 2m (4 x 6ft), Rose Astrantia
is a highly fragrant, dark crimson
cup-shaped rose, its glossy green leaves
forming an open framework for the slim
stems of the Persicaria and Astrantia
to grow through. These pale pink
perennials complement the rich tones
of the rose and help reflect light into
the scheme, and are fringed at ground
level by a wine-coloured Heuchera.
The Salix, with its pale green filigree
leaves, provides the perfect neutral
backdrop to the warm colours.
CHOOSING A STYLE
132/133 Choosing a style
GARDEN STYLES EXPLAINED

Garden styles explained

In design terms, style refers to the way in which we express ideas and
organize materials, plants, colours, and ornaments to create a composition
that can be understood and appreciated. While some garden styles are
short-lived fashions, others represent major movements, each with their own
aims and motives. In classically inspired formal design, order, repetition, and
axial symmetry are used to create strict visual and spatial balance. This style
dates from antiquity, and even when interpreted for modern gardens, the
basic design principles still apply. In contrast, Modernism, which developed
as an influential garden design movement in the early 20th century, uses
asymmetry to create more complex views through the space, and many
designers today have adapted elements of this approach to achieve stylish,
crisp gardens. Others have taken a more relaxed approach, creating their
own set of rules and evolving new ways to achieve harmonious designs.

The power of plants Space to play Eclectic influences

Prairie-style planting is The open space and minimal Combining different design
a dramatic way to create planting in this garden elements can create a
naturalistic swathes of offer the flexibility to space that equals more
colour over a large area. accommodate many uses. than the sum of its parts.
 EXTERNAL INFLUENCES
Garden styles commonly draw inspiration from cultural or historic reference
points, which give them a particular theme. The aim is to create a stylized
interpretation of reality, rather than an accurate representation. Japanese-
style gardens, for instance, often lack the original philosophical and religious
meaning but are nonetheless atmospheric. Similarly, the traditional cottage
garden is a highly romanticized view of the simpler artisan model.
Broader issues and lifestyle changes have also helped to shape garden design.
The increase in foreign travel has given gardeners a taste for the al fresco life
(as seen in places like the Mediterranean), and for more exotic planting, which
is being used increasingly in city gardens where warm microclimates allow a
broader range of plants to thrive. Meanwhile, concerns about the environment
are driving the use of sustainable materials and gardening for wildlife.

Minimalism updated Ideas explored Leafy mix

Modern materials, strong Garden style takes ideas Plants with colourful and
lines, and understated and inspiration from around attractively shaped leaves
planting give this design the world that can be easily lend a lush, exotic look to
a bold, contemporary edge. adapted and recreated. contemporary designs.
134/135 Choosing a style
GARDEN STYLES EXPLAINED

FUNCTIONAL SPACE
The idea of the working garden has long been a recurrent feature of
garden history, where the focus has involved growing food for the table.
While the current trend for healthy eating has put home produce at the
heart of many gardens once more, the functional requirements of
gardens today are far broader, and reflect individual lifestyles more
closely. Hence, families commonly require space for leisure, play and
socializing, while other gardeners seek refuge from daily pressures in a
calm space, ideal for rest and relaxation.

THE WAY AHEAD

As population densities increase, the urban garden is coming under ever
greater pressure, diminishing in size but increasing in value. A century ago,
a one-acre plot would have been considered quite small, but now people
fill balconies, roof terraces, and postage stamp-sized gardens with vibrant
ideas, creating a new idiom in direct contrast to much larger and expansive
country gardens in which abundant space is the key characteristic.

Cottage dream Wildlife habitats Urban living

Generously filled borders Even small garden ponds Ever-decreasing outdoor
and a haphazard approach and boggy areas provide space is forcing gardeners
to planting are typical of an excellent habitat for and designers to develop
the cottage garden style. a wide range of wildlife. creative new solutions.
 Just as the form and function of gardens are changing, new styles are also
being developed. Cutting-edge gardens often celebrate the man-made,
creating dramatic and sometimes thought-provoking gardens that can
be humorous or whimsical, philosophical and profound, short-lived or
permanent. Designers of these conceptual or non-conformist spaces have
thrown out the rulebooks to make cutting-edge gardens for a future
generation. The cultural connection in many of these designs is strong, with
some offering social commentary or presenting a reflection of modern
society. Other designers mix up styles to create a fusion of the old and new,
perhaps weaving cottage-style planting into a Modernist-inspired ground
plan, or employing modern materials, sculptures, and technology in a
formal, symmetrical layout.
As styles and references merge, so innovative ideas, fresh possibilities, and
new idioms arise. Where once garden style was seen as conservative and
predictable, it has now been rejuvenated and celebrates change. In
addition, new links with architecture and art are being forged, and garden
design is now considered a dynamic and socially relevant discipline.

Formal rules Blue sky thinking Productive patch

A parterre planted with Modern garden designers Attractive vegetables and
box hedging illustrates the are constantly pushing the herbs integrate easily into
symmetry and geometry boundaries to create and most garden styles, even
of the formal garden style. develop new styles. where space is limited.
Formal gardens

Designed as expressions of man’s dominance over nature, the features and natural elements in
formal gardens are contained in an imposed geometry and structure. This idea is rooted in classical
architecture and design, and many of the best examples of this type of garden can be seen in
France and Italy.
A successful formal garden has a balanced design, achieved through symmetry and a clearly
recognizable ground plan or pattern. Organized around a central axis or pathway, formal plans
often focus on a key view through the garden from the house. In larger gardens there may be
space for several axial routes that cross the central path, and sometimes
reach out into the wider landscape. Sculpture, water, or decorative paving
are also used to punctuate the areas where these routes intersect.
The geometry of the formal garden is clear and easily identifiable,
but generous scale and balanced proportions are key considerations.
Rectilinear shapes and forms feature most commonly in this type of garden,
but any regular symmetrical shape can be used, as long as it sits on at least
one axis. Circles, ovals, ellipses, and equilateral triangles are all options.
The material palette tends to be kept to a minimum, with gravel and
regular paving stones most frequently seen. However, decorative elements,
Dynamic water features
such as cobble mosaics or brick designs, are also popular. Water is provide movement.

employed either as a reflective surface or used

for jets and fountains.
Lawns and hedges are key planting features,
the latter helping to define space or views, while
dwarf hedging can be used to edge borders,
create parterres, or form knot gardens.
Pleached trees help to add height, and where
space allows, avenues of trees line paths to
accentuate vistas and draw the eye to a focal
Symmetry about a central axis attracts attention to focal points
point in the distance. – such as sculpture or water features – in a formal garden.
 138/139 Choosing a style
FORMAL GARDENS

What is formal style?

Formal garden design relates directly to the classical architecture of Greece and Italy. Ordered gardens
originally provided a setting for the villas of the wealthy or powerful across Europe, echoing the symmetry of
their grand houses. Known as “power gardening”, it was seen as the ultimate in garden-making, embodying a
sense of control. Although famous formal gardens, such as Versailles, are vast, the basic principles of the style
can be applied to gardens of any size, even tiny urban spaces, where ordered, balanced designs work very well.
Symmetry about a central axis is crucial to emphasize the focus of the garden. Planting and construction
are geometric and simple, with lawn, clipped hedges, and avenues forcing planting into order, and
balustrades, steps, terraces, and wide gravel pathways all conspiring to unify the garden space.

Formal gardens in detail

Formality demands an axis, or central line, which is the basis of
the garden plan. This could be a pathway or lawn, or even a central
planting bed. Generally, the axis focuses on a dominant feature,
such as a sculpture, statue, or ornament.
If space allows, cross-axes can be created; some larger gardens
have multiple axial routes that create views along and across the
garden. A dramatic sense of scale and proportion is essential as
planting and paving are often kept simple – one reason why many
modernists and minimalists appreciate this style.
The space should initially be divided into halves or quarters. Larger
gardens can be partitioned further, but divisions should be as sizeable
as possible to maximize the impact of long vistas, or the repetition of
topiary or trees. Parterres, water pools, and expanses of lawn are
typical of classical formality; examples by contemporary designers may
also feature decorative borders that soften the garden’s structure.

Modern twist
Designer Charlie Albone
puts a modern spin on
traditional formal style
in this elegant garden.
A symmetrical floor plan
is defined with layers
of clipped box, while
cottage-style planting
Rills edge softens the rigid lines.
the paving Pleached hornbeams
and lawn are a nod to the classic
avenues of trees seen in
formal country gardens,
while the contemporary
furniture and pavilion, and
Pleached corten steel rills, bring the
hornbeams design up-to-date.
add height
and structure

Central lawn

Clipped box
walls define
Cottage-style the symmetry
planting softens
the formality

Central axis
 DESIGN INFLUENCES
Although some of the earliest Islamic perspectives, level changes and reflective
gardens were formal in layout, often pools of both gardens are typical of Le
divided by rills into quarters, classical Nôtre’s approach to design, which won
and Renaissance influences have come to him the affection of the King.
define this style. The doyen of the formal Hedges, vast lawns, water features,
garden is André Le Nôtre, one of a long and parterres of box and cut turf, often
line of gardeners turned designers who decorated with coloured gravel, as seen
found fame in France under the reign in Le Nôtre’s work, set the tone for all
of Louis XIV. The gardens he designed formal gardens that followed, with views
at Versailles and Vaux le Vicomte are and perspectives manipulated for the
Vaux le Vicomte by André Le Nôtre. his most famous legacies. The false best theatrical effect.

Key design elements

1 Symmetry
The symmetrical
balance of a formal design
can be achieved at any
scale. Here, an olive tree
and a parterre form a
focal point in a circle that
intersects the pebbled and
paved central path.

2 Statuary
Gods and mythological
creatures were the original
subjects of statuary in
formal gardens. In modern
designs, contemporary
figurative subjects and
abstract works function
well as focal points.

3 Topiary
Clipped hedging,
typically box or yew for
evergreen structure, is used
to define space. Topiary
provides architectural
definition, and dwarf box
hedges are used to form
patterns in parterres.

4 Ornament
Large, ornate urns,
often on plinths or
balustrades, provide focal
points or punctuation.
Modern formal gardens
use the same technique,
although elaborate
decoration is reduced.

5 Natural stone
Paving provides an
architectural element for
pathways and terraces.
Sawn and honed natural
stone slabs can create
regular patterns, or they
can be used to edge lawns
and gravel paths.
140/141 Choosing a style
FORMAL GARDENS

Interpreting the style

Although the rules of formality are simple and clear, it is still a
remarkably versatile style. The overall layout can be completely
symmetrical and axial, or you can select just a few formal elements.
One axis can be more dominant than another, for example, or a
series of balanced, rectangular beds can be veiled by soft, romantic
planting. You can also experiment with the style and opt for a
traditional look or bring formality right up to date.

△△ Contrasting elements
An overflowing bowl creates a focus at the centre of this
parterre in an enclosed corner of the Alhambra, bringing
a dynamic quality to the formal planting.
△ Contemporary order
A simple rectangular lawn, elegant pleached hornbeams,
and a pale paved surface create restrained formality.
The three plinths and subtle lighting lend focus.
△▷ Urban formality
Limestone paving creates a crisp, formal edge to this
lawn, offering clear definition. Pleached lime trees
provide increased privacy in this urban space.
▷ Ornamental hedging
A parterre-style panel of box cartouches makes a
decorative statement of light, shade, and texture. The
pattern will read particularly well from the first floor.
“Set the geometric
rules of formality,
then decide which
ones to break”

◁◁ Aquatic symmetry
Pools and a connecting rill form the focus of this formal
arrangement, with the sculpture and fountain on the
central axis. The planting is then arranged symmetrically.

◁ Sculpted greenery
Here, the tightly clipped topiary supports the axial layout.
The mossy path itself breaks the rigid formality, with
lawn softening the edges of the rustic paving slabs.

▽◁ Softer planting
Steel edging evokes a sense of formality in this grid-
pattern garden, and is in stark contrast to the soft, light-
catching grasses and perennials that fill the borders.

GARDENS TO VISIT
VAUX LE VICOMTE, Seine-et-Marne, France
Designed by Le Nôtre using false perspectives
and axial layout. vaux-le-vicomte.com

VERSAILLES, Yvelines, France

André Le Nôtre’s best-known garden.
chateauversailles.fr

VILLA GAMBERAIA, Settignano, Italy

Garden of allées and formal compartments
that radiate around the house.
villagamberaia.com

ALHAMBRA & GENERALIFE,

Granada, Spain
Evidence of the Islamic influence on formal
design in Europe, with water as a central
theme. alhambra.org

DUMBARTON OAKS, Washington DC, US

Originally designed as a series of formal spaces
and vistas, but with some naturalistic planting.
doaks.org
142/143 Choosing a style
FORMAL GARDENS

CASE STUDY

BALANCED VIEWS Simple shapes

Laid out on a symmetrical floor
Italian influences
Inspired by Italian Renaissance
plan, the garden features a gardens, the terrace features
A symphony of classic formal style and contemporary
central rectangular lawn flanked a water wall made from grey-
features, this elegant garden is orderly and calming, by paths and pebble-shaped green marble and travertine
providing beautiful views from the terrace over lawns, box (Buxus) topiaries. A smaller limestone. The soothing sound
terrace on the right breaks the of gently flowing water sets
topiary, fruit, and flowers, while the gentle sound and formal pattern, but identical the mood, bringing a sense
twinkling reflections of a water wall soothe the spirits. stone links the two paved areas. of calm to this formal space.
 Designers Tommaso del Buono and Paul Gazerwitz
Show RHS Chelsea Flower Show
Award Gold Medal

Citrus scents Flower forms Green corridors

The garden includes many To temper all the straight lines An avenue of pleached lime
Mediterranean influences, and geometric forms, the trees (Tilia x europaea ‘Pallida’)
such as the lemon trees in designers have included areas have been trained to form an
large terracotta pots that of soft planting that feature a elegant green canopy. Working
flank the terrace on both range of herbs, perennials, and in perfect harmony with the
sides, augmenting the design grasses, including Stipa gigantea, other clipped forms, they also
with their scented flowers Gladiolus byzantinus, and Anchusa have a practical use in the shade
and bright fruits. azurea ‘Loddon Royalist’. they provide to the terrace.
144/145 Choosing a style
FORMAL GARDENS

Formal garden plans

Although formal design follows specific rules, there is, as these three gardens show, plenty of scope for
interpretation. Here, the designers Charlotte Rowe, who usually produces more contemporary works, and
George Carter have both merged formal lines with classical details, yet two very different gardens have emerged.
At Port Lympne, the early 20th-century layout proves that formal designs can be timeless.

Classic lines
In this small space, designed by Charlotte Rowe, the simplicity of
design works well: the beds retain a mix of just a few species. The urn
Yorkstone
and Ligustrum topiary add height and a sense of scale to the scheme, paving, edged
while the Hydrangea provides an elegant focus to the central axis. with brick

Key ingredients and bricks to match similar detailing

1 Ligustrum jonandrum on the house façade and evergreen
2 Hydrangea macrophylla screening for privacy but kept the overall
design simple and understated.
3 Artemisia ‘Powis Castle’ “I’m often influenced by Modernist Terracotta urn
4 Geranium sanguineum designers, such as Luis Barragán and
Dan Kiley, so it was interesting to retain
Charlotte says: a sense of precision here in such a
“My simple, understated design for classical format. I think of the hard
this front garden in Kensington had to landscaping materials as the bone Box-edged beds
fit in with the regulations of the local structure of the garden, which the
conservation area. I used Yorkstone planting can soften and enhance.”
Statement piece
This eye-catching chessboard at
Port Lympne in south-east
England is one of a sequence of Summer chessboard of
Begonia and Verbena
formal “rooms” created in the
1920s by Philip Tilden for Sir
Philip Sassoon, MP. Former head
of gardens, Jeremy Edmond
managed the site for many years.
Key ingredients
1 Taxus baccata
2 Verbena venosa
3 Begonia semperflorens

Jeremy says:
“This garden is one of a pair – the
other, the Striped Garden, is on the
other side of the main walkway. This
one was designed to be looked at from
the terrace above, and the pattern of
lawn and bedding reads well from this
position. We use annual bedding to add
colour; usually pansies and polyanthus
in winter, and Begonia and Verbena in
summer. The changing view within the Grid of single bricks,
garden is its most majestic feature. laid to divide the
Maintenance is difficult, but the graphic planting, dates from
the garden’s inception
impact makes it worthwhile.”
Garden enclosed
within yew hedge

Below ground James Gibbs-

influenced
The basement garden of this Classical Adjustable-height
door frame bubble jets
London mews house, designed
by George Carter, is meant to
be viewed from above. The
minimal planting is architectural,
to complement the property’s
classical focal points, such as the 12mm (½in)
door frame at the end of the plot. Cotswold
chippings
Key ingredients
1 Cupressus arizonica var. arizonica
2 Portland stone paving
3 Cyclamen coum subsp. coum Portland
paving
f. albissimum
4 Hebe ‘Pewter Dome’
Bespoke
5 Festuca glauca cast-iron
stairs with
George says: wrought-iron
“This is typical of my work – especially detailing
in smaller London spaces, where I think
simplicity and order help give a sense of
spaciousness. The garden was quite
shaded, which led to the use of water to
add sparkle and movement. The design
was influenced by the work of the
18th-century architect James Gibbs –
this is reflected in the door frame on the
boundary wall. After dark, lighting creates
the effect of an additional room.”
Cottage gardens

Celebrated for their abundant planting and apparent confusion, cottage gardens are traditionally
simple and regular in layout, with a path to the door, and rectangular beds on either side. They
were first used as productive spaces in rural locations, created to supplement the diet of the
peasant, with the focus on food rather than flowers.
The cottage garden idyll that came to the fore in the late 19th century was, in fact, largely an
urban invention – a reaction to the unrelenting cityscape, where people were more concerned
with colour and scent than growing produce. Traditional
cottage gardens were also championed by the famous
garden designer Gertrude Jekyll, who refined them to form
the basis of her Arts and Crafts planting schemes, which we
now regard as typical of this style.
The scale of cottage gardens is generally intimate,
sometimes even restrictive to movement, as dense planting is
allowed to spill across pathways. Self-seeding is encouraged,
as are plants that can colonize gaps in paving. Hedges are
frequently used to divide the garden into a series of
enclosed spaces with different planting schemes and
atmospheres. The combination of soft and riotous planting
Jewel-like aubretia cascades over
with formal clipped hedges and decorative topiary results in a weathered stone wall.

one of the most successful contrasts in this design style. Away

from the house, in larger gardens, there may be room for meadow
planting and native hedges that create a wilder impression.
The most appropriate hard materials for use in cottage gardens are
natural stone or brick, with weathered or rescued materials favoured for their
aged and subtle appearance. Gravel is also used for pathways, partly
because it allows easy self-seeding, and simple post-and-rail or picket
fences also suit this naturalistic design style.
While many cottage gardens adhere to simple patterns, others are more
free-flowing, with sinuous pathways carving up the space, although any
geometry is often blurred by the abundant planting and only revealed in
Decorative produce
winter when it dies down. in a working garden.
148/149 Choosing a style
COTTAGE GARDENS

What is cottage style?

The romance of the cottage garden wins the hearts of
many designers across the world. This is mainly due to
the dominant force of the planting, profusion of colour,
and the sheer variety of species used in this quintessentially
English style. At its best, a cottage garden uses thematic
or coordinated flower and foliage colour within small
compartments or “rooms”, as seen to great effect in
the gardens at Sissinghurst or Hidcote Manor.

Cottage gardens in detail

The layout of a cottage garden should be simple and geometric, yet
many diverge from this pattern into more idiosyncratic twists and
turns, especially as the design moves further away from the house
where wilder planting dominates. Pathways are often narrow, so
that the plants partially obscure a clear way through. This romantic
planting softens the appearance of a garden, and brings you into close
contact with scent, foliage textures, and spectacular blazes of colour.
The paved areas are constructed from small-scale units, such as
brick, gravel, setts or cobbles, which allow mosses, lichens or creeping
plants to colonize the joints and surfaces. Simple seats, old well
heads, tanks, pumps, and local “found” materials make interesting
focal points and create a serendipitous quality, while arbours or
arches decorate the thresholds between the various garden spaces.
Lawns are used, but it is the planting beds that are considered
most important. Elsewhere in the garden, fruit and vegetable beds
retain the simple geometry of the earliest cottage gardens, with brick
or compacted earth paths providing access to these working borders.

Clipped boxed balls Sundial

Form and colour

The geometric order of
Dial Park, Olive Mason’s
garden in Worcestershire,
can be seen clearly in
the plan, whereas the
generous and informal
planting (right) obscures
and softens the lines.

Summer colour in a garden for all seasons

With its wide range of foliage textures, tumbling climbers,
colourful perennials and perfumed flowers, Olive Mason’s garden
is planted for year-round interest. In spring, green and white
Geometric box foliage predominates, interspersed with subtle drifts of daffodils,
hedging
tulips, hyacinths, and forget-me-nots. The colours intensify in early
summer (above) to warm pinks and mauves, with roses, geraniums,
delphiniums, clematis and centaureas. As summer progresses into
autumn, the palette deepens to the cerise, deep blues and purples
of asters, phlox, dahlias and aconites, and in winter everything is
Colourful mixed
Brick paths cut back to reveal the simple pattern of the box hedges, enhanced
planting by a bark mulch spread over the bare beds.
 Key design elements

1 Profuse planting
Cottage gardens
require intensive
maintenance due to the
complex planting. The art
lies in the skilful association
of planting partners, and
the selective editing of
species that become
too dominant.

2 Rustic furniture
The patina of timber
garden furniture changes
organically over time; plants
can be encouraged to
weave through it to create
an impression of apparently
natural, but actually
cultivated, recolonization.

3 Rose arbours
These make pretty
shelters for seating, and
can also be used to link
different areas. Here the
intense colour and delicate
scent of a pink rose help
to awaken the senses on a
walk through the garden.

4 Weathered paths
Brick, stone sett, and
gravel pathways provide
textured surfaces as a foil
to the complex planting
on either side, allowing
plants to seed and soften
the boundary between
path and border.

5 Vegetables and
herbs
Productive borders
are often seen in
cottage gardens, with
cut flowers and herbs
used in association. This
attractive mix softens the
functional appearance of
these areas, and may also
help to control pests.

DESIGN INFLUENCES
The modern interpretation of the cottage Mediterranean travels and colour theories
garden is based to a great extent upon developed during her fine art training.
the work of Gertrude Jekyll and her Together, Jekyll and Lutyens designed
architect partner, Edwin Lutyens. They and planted enormous borders in a
created many outstanding designs in the luxuriant and romantic style, which
1890s under the auspices of the Arts and brought timeless cottage-garden qualities
Crafts Movement. Jekyll used local to the estates of some of the wealthiest
cottage gardens around Surrey as the Edwardian families. Their approach set
inspiration for her planting schemes, the agenda for the English garden over
Munstead Wood designed by Gertrude Jekyll. teamed with elements from her the next century.
150/151 Choosing a style
COTTAGE GARDENS

Interpreting the style

A profusion of plants disguises the underlying geometry
of this garden style. Plan simple-shaped beds and make
sure they can accommodate a good depth of planting.
The repetition of plants, colour themes, and hedging
can bring some order to the borders, which are
primarily created for variety and complexity.

△△ Sunshine and flowers △ Corner for reflection

The late-summer colours of dahlias and A old rustic seat, surrounded by soft
cosmos ramble through shrubs, splashing drifts of pink perennials and a delicate
their warm tints close to the incidental white rambling rose, provides a quiet
seat and almost smothering the path. place for rest and contemplation.

△ Decorative food crops ▷ Underlying framework

Purple-flowered lavender echoes the vivid The rectangular beds and pathways can
cabbage leaves in this potager. The lively just about be seen beneath the warm-toned
mix of produce and ornamental planting perennials and the searing carmine spikes
is typical of the cottage garden style. of Lythrum virgatum ‘The Rocket’.
 “A sense of discovery,
curiosity, and mystery is
central to the cottage
garden experience”

GARDENS TO VISIT
EAST LAMBROOK MANOR, Somerset
A cottage garden for modern times, planted
by Margery Fish. eastlambrook.com

HIDCOTE MANOR, Gloucestershire

Celebrated Arts & Crafts masterpiece. △△ Restricted palette
The cottage garden is reinterpreted by the design company
nationaltrust.org.uk/hidcote Oehme, van Sweden in this border in Virginia, US, where
shrubs and perennials are intricately woven together.
MUNSTEAD WOOD, Surrey
Gertrude Jeykll’s house and garden. △◁ Framing vistas and views
munsteadwood.org.uk This rose-covered pergola provides height and enclosure,
as well as rich colour and perfume. Use various structures
to define the entrances linking different spaces.
SISSINGHURST CASTLE GARDEN, Kent
Vita Sackville-West’s 20th-century garden. △ Simple restraint
nationaltrust.org.uk/sissinghurst-castle- Low box hedging contains the unstructured border planting
garden of poppies, salvia, and foxgloves; a technique appropriate
to front gardens, where greater order may be required.
152/153 Choosing a style
COTTAGE GARDENS

CASE STUDY

FLOWERING GLORY Woodland edge

The twining wisteria and river
Water for wildlife
Water often plays a part in
birch, Betula nigra, with its cottage gardens, whether half
Cottage gardens are all about the plants, shown in
peeling shaggy bark, punctuate barrel, pond, or natural pool
this contemporary design, which blends a profusion the garden space with their (as here). As well as offering a
of blooms in a medley of colours and forms, while structural presence, rising relaxing space to swim, the water
up above a sea of colourful in a natural pool is cleansed by
the natural tones of the timber decking and stone perennial plants, edible herbs, a range of plants that attract
sculpture ensure the plants are never upstaged. and dainty annuals. many forms of wildlife.
 Designer Jo Thompson
Show RHS Chelsea Flower Show
Award Silver-gilt Medal

Organised chaos Escape to nature Leafy seclusion

The overall look of a cottage A timber-framed, two-storey Boundary edges are blurred by a
garden is never too contrived. retreat, with nods to country wall of trees and shrubs planted
Here, the dense, slightly vernacular style, is reached via around the perimeter, which also
unruly planting scheme and a path of raised decking through helps to shelter the garden and
open spaces designed for lush planting and over water, create a private space. Native
relaxation are perfectly allowing visitors the fantasy of trees, such as the field maple,
balanced to create a sense escaping to a rural idyll that is provide food and habitats for
of natural abundance. the essence of cottage design. birds, insects, and other wildlife.
154/155 Choosing a style
COTTAGE GARDENS

Cottage garden plans

Abundant planting and a mass of flower forms, textures, and colours define a cottage garden, with
the hard landscaping – usually narrow paths of stone, brick, or gravel – taking a back seat. In the design
by Gabriella Pape and Isabelle Van Groeningen, the lively soft planting comes in many colours, while
Jinny Blom has opted to celebrate bright pinks and rich reds in a limited, warm palette.

Sea of plants and flowers The step risers

are made from
This garden was designed by Gabriella Pape and Isabelle Van Groeningen cut Italian
for the RHS Chelsea Flower Show as an homage to Karl Foerster, Acer palmatum
porphyry stone
a great nurseryman who experimented with perennial plants. It creates ‘Fireglow’
the sensation of swimming through the foliage and flowers. Setts of Italian
porphyry stone
Key ingredients Isabelle says:
1 Digitalis purpurea ‘Alba’ “This layout was based on Karl Foerster’s
2 Hakonechloa macra ‘Aureola’ own garden in Potsdam, Germany, so it’s
not typical of our work. The planting, Bench
3 Hosta ‘Sum and Substance’
however, is. Influenced by the English style,
4 Veronica ‘Shirley Blue’ it incorporates colourful matrix planting,
5 Paeonia lactiflora ‘Duchesse and drifts of plants and flowers are
de Nemours’ reminiscent of Edwardian woodland gardens.
Breedon
6 Aquilegia chrysantha These themes recur a lot in our work. gravel
7 Hosta ‘Royal Standard’ “Our influences are varied and we often
bounce ideas off each other to develop
8 Achillea ‘Moonshine’
design solutions. English garden designers,
such as Vita Sackville-West, Geoffrey
Jellicoe, and Charles Wade, are a major
influence. We also create gardens and
their planting around existing elements.”
Restrained palette
Modernist treatments, such as simple, clean paving, provide a cool
contrast to the hot-hued palette of plants that tumble and explode
around this garden by Jinny Blom. In true cottage style, the seemingly
haphazard, densely packed planting pockets soften and relax the
more ordered layout. The use of gravel allows plants to self-seed,
creating additional random patterns of spontaneous growth. Grasses,
seedheads, and bulbs create veils of foliage and texture.
Key ingredients White
a young family, and, as a result, the limestone
1 Betula nigra bench top
2 Akebia quinata design needed to be robust, allowing the
children to play freely.
3 Geranium PATRICIA “We agreed a strategy of hard-
4 Allium sphaerocephalon wearing, virtually indestructible Crushed
5 Verbena bonariensis materials that would be softened with limestone
gravel
6 Panicum virgatum ‘Heavy Metal’ romantic planting. This seems to have
paid off, as the garden has matured well.
Jinny says: We have recently added yew hedging in
“This view is just one part of a order to create a visual anchor in winter.
White
multi-levelled garden – the different “I was inspired by the work of Italian limestone
parts of which are connected by architect Carlo Scarpa. In terms of flow paving
walkways and steps, so that, overall, and visual stimuli, his work was very
the design flows nicely. The clients were important in creating the design.”
Mediterranean gardens

Two garden types are associated with the Mediterranean region: informal and formal. Informal
gardens tend to feature gravel, with planting arranged in structural groups or masses. This look is
inspired by the shrubby vegetation (maquis) of the south of France or the more arid regions of
southern Italy and Spain. Olives, citrus fruits, vines, lavender, and rosemary thrive in these conditions,
as do succulents and grasses, while colours tend to be muted, incorporating soft sage-grey greens
and purple-blues. Gravel is used between areas of planting and to
create pathways. Drifts of plants appear to emerge spontaneously
in the gravel, perhaps punctuated by arrangements of rocks and
boulders. Sometimes a dry stream bed is recreated with clusters of
informally arranged drought-resistant plants.
For more intimate and often urban spaces, terracotta instantly
evokes the style, supplemented by mosaic tiles or features to add
splashes of colour. Walls are often white-washed, creating clear
backdrops for shadows, but where paint is used, hues are often
bold. Rustic containers introduce colourful planting at key points,
and may be used as focal features or arranged in informal groups
of different sizes.
The formal gardens of the Mediterranean tend to utilize water
Fleshy succulents are ideally suited to
and stone, often with clipped hedges and specimen trees such a warm, dry site.

as tall, slender cypresses. In some of

the gardens of Spain and southern
Italy there is a clear Moorish
influence, as seen in the courtyards
and water features of Spain’s
Generalife and the Alhambra.
Decorative parterre planting is also
typical of the formal style, with plants
selected for foliage rather than flower
colour, and densely planted trees
such as Quercus ilex (holm oak)
providing cool shade. Typical Mediterranean courtyards offer seating areas in shade.
158/159 Choosing a style
MEDITERRANEAN GARDENS

What is Mediterranean style?

The popularity of the Mediterranean as a holiday destination has created a thirst for gardens that reflect this
region. The mild winters and warm, dry summers favour specific groups of plants, often hardy and low-
growing, with olive trees, vines, lavender, various herbs and many succulents combining to produce a
distinctive style. These plants are designed to look natural, against a background of textured surfaces such
as gravel and scree. Trees provide dappled shade, and water (a precious resource) is used sparingly, if
at all. Any outdoor space can reflect a Mediterranean atmosphere, from large, sheltered plots to colourful,
decorative courtyards and roof terraces. Across the world, California, South Africa, and parts of Australia
and Chile have similar climates to southern Europe and make excellent locations for Mediterranean gardens.

Mediterranean style in detail

In Mediterranean gravel gardens, pathways are not defined by formal
paving. Instead, gravel is used across the entire space, serving as
both hard landscaping and a mulch for planted areas. This unifies the
garden, allowing plants to be grouped informally and leaving smaller
areas of paving to provide more stable surfaces for seating.
Pergolas or arbours are used for shade, and when planted with
vines and other climbers enhance the Mediterranean atmosphere,
providing the perfect location for sharing al fresco meals.
Alternatively, plant trees for patterned shade, either in groves
or as individual specimens in key locations.
Water is used to create sound or as a focal point, but, as a precious
resource in these landscapes, it would not normally be seen in the
form of large pools. In courtyard gardens, decorative rills or
bubbling fountains echo the Moorish gardens of Spain and southern
Italy. Colourful tiles and mosaics provide vibrant patterns while
planted terracotta pots add splashes of vivid red or pink.

Californian-style Mediterranean garden

In this Californian gravel garden, designer Bernard Trainor has created a low, curved
wall – which doubles as a sinuous seat – close to the house and beneath the shade of
some trees. The wall frames the space while providing a backdrop to the water bowl.

Mixed planting

Patio for
dining

Gravel

House
Informal curved
wall-cum-seat
Water feature
provides
reflections
and sound
Cool, shady tree
 DESIGN INFLUENCES
Key design elements
The dry landscapes of the Mediterranean
with their soft colours have influenced 1 Shady seating
areas
In these sun-drenched
many garden-makers. Gertrude Jekyll
included Mediterranean species in her gardens, shade is key, and
can be provided by trees
planting schemes, mixed with more planted as individuals
familiar border plants. In the late 20th or in groups. Timber
century, Beth Chatto created dry gravel pergolas and arbours
gardens inspired by plants of the maquis with climbers also
(Mediterranean scrubland), and in provide a shady setting
France designer Michel Semini took for outdoor dining.

2
similar inspiration from maquis-style Gravel floor
planting. Today, James Basson leads Limestone forms
Garden by Michel Semini, southern France. the way in Provençal garden design. the typical gravel of the
Mediterranean, creating
a light, textured surface
through which plants can
grow. Larger boulders
can be used as focal
points. Landscape fabric
below suppresses weeds.

3 Rills and pools

Water is often
confined to rills in more
formal gardens, and used
to refresh the air or to
mark spatial divisions. In
gravel gardens, overflowing
containers or water bowls
are used for reflections
and gentle sound.

4 Succulents and
silver foliage
Many species have
adapted to drought with
fine, silver, or fleshy
foliage. Rosemary and
lavender are typical,
with Euphorbia, Agave,
Yucca, Bergenia, and
Genista providing
suitable associations.

5 Terracotta pots
and tiles
The Mediterranean
is famous for the
terracotta pots used in
gardens, as focal points
or as planted containers.
Old olive oil pots make
sculptural features. Aim
for larger-sized pots
where possible.

6 Mosaic features
Floor surfaces in
courtyards (or on roof
terraces) are created
from tiny, coloured
cobbles laid out in
intricate patterns.
Glazed and brightly
coloured tiles are also
often used to decorate
walls and grottoes.
160/161 Choosing a style
MEDITERRANEAN GARDENS

Interpreting the style

This style is often typified by the materials and planting. Gravel
gardens recreate dry, sun-baked landscapes, using rustic limestone
or terracotta for pattern and decoration, while planting is informal
and drought-tolerant. Formal gardens are often defined by cypress
or palm avenues, with arbours for shade. Courtyards are often
decorated with glazed tiles, and may also be filled with leafy
plants to create an oasis with water as a focal point.

△▷ Avenue of cypress trees

Tall, slim, elegant cypress trees create a formal
avenue to frame this walkway, highlighting the gazebo
as a shady focal point in this ordered garden.

△ Provençal landscape
The wide joints in the pale limestone paths create
patterns and allow thymes to colonize. Lavender-blues
are virtually the only flower colours.

◁ Splashes of colour
Brilliant colour dominates this sun-filled space, the
painted wall clashing with the bougainvillea overhead,
which offers some shade for outdoor dining.

▷ Deceptively simple
The quiet simplicity of this gravel garden is emphasized
by the decorative water feature, which reflects
dappled light from the vast tree canopy overhead.
◁ Bubble fountain
A tall terracotta pot is
lined and used as a bubble
“Create contrasts of sun
fountain, perfect for a
terrace feature. Water
circulates from a reservoir
concealed below.
and shade, bold texture
and sizzling colour”
▽ Moorish look
In this Moroccan courtyard,
lush planting forms a
backdrop to the elegant
tiles and raised water bowl.

△ Courtyard calm
Stone and gravel create flexible and functional surfaces
in this small urban space, with large pots, architectural
foliage plants and seat cushions providing the main drama.

◁ Foliage garden
Simple colour-washed rendered walls provide a
coordinating architectural backdrop to textured planting
and sculpture, reflected in turn in the pool alongside.

GARDENS TO VISIT
ALHAMBRA, Granada, Spain
Islamic and Renaissance influences combine
with water, planted terraces and courtyards.
alhambra.org

BARCELONA BOTANIC GARDEN, Spain

Featuring a huge collection of Mediterranean
species from Catalonia and around the world.
museuciencies.cat/visitans/jardi-botanic

JARDIN MAJORELLE, Marrakesh, Morocco

Famed for its planting and deep blue walls.
jardinmajorelle.com

STRYBING ARBORETUM, San Francisco, US

A wonderful collection of native Californian
and Mediterranean planting.
sfbotanicalgarden.org
162/163 Choosing a style
MEDITERRANEAN GARDENS

CASE STUDY

SUN-KISSED RETREAT Precious water

Water is present in almost
Tapestry of colour
The informal planting scheme
every Mediterranean garden, cleverly combines a tapestry of
Mediterranean gardens are famous for their tough
and here the spouts pour into different colours and textures,
yet beautiful drought-tolerant plants, sun-drenched a cool, refreshing rill, adding using heat- and drought-
open spaces, and dancing fountains and water movement and sound to the tolerant perennial plants,
design. The rendered wall links including silvery artemisia,
spouts. Here, these elements are combined in a tonally with the informal stone achillea, red Dianthus cruentus,
modern update of a traditional courtyard garden. paving that divides the space. and white Centranthus.
 Designer Cleve West
Show RHS Chelsea Flower Show
Award Gold Medal and Best in Show

Cracked terrain Form and shade Ancient origins

The rocky terrain of the The pagoda tree (Sophora Sculpted columns, made
Mediterranean coast is echoed japonica) in the centre and from textured concrete and
in the irregular stone paving. yew hedges beyond provide terracotta, are included to
Mortar joints between the much-needed shade and natural evoke the ruins of an ancient
stones allow rain to slowly structure to anchor the design. temple. They act like a stage
percolate into the ground, They also help to convey a set, contextualizing the
ensuring that any available sense of enclosure, creating design and giving the garden
moisture is not lost. a private area for relaxation. a feeling of permanence.
164/165 Choosing a style
MEDITERRANEAN GARDENS

Mediterranean garden plans

There are two Mediterranean garden types: naturalistic and wild, and formal. Each of these designs merges
elements of both. Karla Newell’s courtyard is a burst of colour set around the rectilinear lines of a Moorish
pool, and Michel Semini’s relaxed garden in southern France features formal hedging. In Acres Wild’s design,
the garden is laid out according to a strict grid, and its planting is aromatic and lively.

Moorish design
Colourful tiles and walls add depth and interest to Karla Newell’s own Antique Indian carved
garden. Planting is dense and textured, using palms and large-leafed wooden plinth, topped
with a ceramic pot
architectural species. The pool, kept clear to reveal the lively mosaic,
provides a focal point around which pots and specimens are arranged.
Key ingredients Karla says: Decorative
1 Fuchsia magellanica “My Brighton garden was inspired by pebble inlay
2 Euonymus japonicus ‘Latifolius Spanish and Moroccan courtyards – such
as the Majorelle in Marrakech, in which
Albomarginatus’
intense, painted colour is combined with Concrete bricks
3 Acer palmatum var. dissectum carefully detailed spaces. I like crafted
4 Hosta sieboldiana var. elegans elements, so I laid and designed the
5 Arum italicum ‘Pictum’ pattern for the mosaic tiles (based on Antique terracotta
6 Pelargonium ‘Vancouver Centennial’ traditional Moroccan designs) myself. paving setts
7 Italian glass mosaic “The garden’s not far from the beach, and
enjoys a sheltered microclimate, enabling
8 Lathyrus odoratus
me to introduce a Mediterranean range of
plants. The planting palette is varied and
relatively high maintenance, which suits
me as I have a keen interest in gardening.
The space provides an outdoor room.”
Rustic charm Chalk-stone
Key Mediterranean plants are paving slabs

included in this area (the rear

entrance) of a large Provençal
garden by Michel Semini, with
an olive tree taking centre stage
and providing essential shade.
Key ingredients
1 Viburnum tinus
2 Nerium oleander
3 Olea europaea
4 Lavandula stoechas
5 Gravel

Michel says:
“This plot in Provence was once a derelict
sheepfold. It was first cleared and
developed as a garden, but as been
improved and expanded since. The
Alpilles mountains form its backdrop. Chalk-stone 7–12mm
“I wanted a sense of mystery, and edging (¼–½in) gravel
to link the planting with the landscape
using green and silvery foliage.
“The rustic character of the sheepfold
was a key consideration when choosing
the materials for the garden. I like to
mix the influences of the site, my client’s
needs and my own ideas, and in this
garden they all came together well.”

Good taste
Debbie Roberts and Ian Smith
of Acres Wild tend to work
with the prevailing conditions
in a garden, and this section of
a steeply sloping, well-drained
sunny plot with panoramic views
lent itself to Mediterranean
herbs. The paving creates an
informal terrace.
Key ingredients
1 Origanum vulgare ‘Aureum’
2 Allium schoenoprasum
3 Santolina chamaecyparissus
4 Terracotta paving
5 Thymus citriodorus
‘Bertram Anderson’ Painted Earthenware
wooden urn
Debbie says: bench Brick
“The clients wanted their garden edging
Terracotta
divided into intimate, sheltered ‘rooms’ paving
and they helped to style these, although
it was important to create the right
microclimates first. This space, close to
the kitchen and with dry soil, made
Mediterranean herb-planting appropriate.
But it was also a space that people
walked through to access the rest of
the garden, so had to look good.”
Modernist gardens

Asymmetry is key to Modernist designs, which are also characterized by free-flowing space and the
play of light and shade. These gardens are often “pared down” spaces, using quality materials,
spatial relationships, and clever styling to succeed.
In many Modernist gardens, one or two views may be emphasized, but the partial enclosure of
space within walls or hedges means that they are open to personal interpretation, as the visitor is
not forced by the design to experience them in just one way. Sharp lines reinforce the contrast
between horizontals and verticals, and water is used architecturally, often as a reflective surface.
The material palette is minimal – smooth rendered concrete is often used for paving and walls,
while limestone or slate, with little or no detailing, are other good options for floors. Designers also
prefer large slabs that minimize joints and create clean, uninterrupted surfaces.
Planting is restricted too, with many Modernist gardens featuring only trees, hedges, and lawn,
punctuated by key architectural specimens.
The geometry of Modernism tends to be rectilinear and emphasizes the horizontal line, although
there are examples of garden designs in this style that are based on
circles or ovals. Plans are frequently created on grids that relate the
house to the garden, helping to blur the distinction between the
interior and exterior spaces.
The Modernist Movement was originally associated with the
Bauhaus School of the 1920s and ’30s, which embraced new
technologies and proclaimed that form should follow function.
“Green” architecture in a
However, it was not until after World War II that it found favour modern courtyard garden.

among some landscape

designers, who reacted against
the old schools of garden design,
and created outdoor spaces that
were functional and adapted to
human, rather than plants’, needs.
Modernism continues to influence
outdoor space, with some
designers combining a broader
planting palette, including
perennials or wild flowers, with
crisp, high-quality landscaping. A tranquil infinity pool reflects a unified environment.
168/169 Choosing a style
MODERNIST GARDENS

What is Modernist style?

The creation, definition and celebration of space is crucial to the success of Modernist gardens.
Their primary emphasis is leisure and the enjoyment of life outdoors, with planting frequently used
as an architectural element. Clipped hedges, specimen trees, and large blocks of planting provide
simple, sculptural surfaces or screens, which complement the horizontal expanses of timber,
stone, concrete, or water. From the original functional focus of Bauhaus, the Modernist approach
flourished in the US, especially in California where the climate encouraged the use of the garden
as an outdoor room. The architectural philosophy of Modernism, which views planting as only
one element of the whole composition and not the principal reason for the garden’s creation,
has led to the development of many beautiful, elegant spaces.

Modernist style in detail

Crisp and clean, Modernist designs suit gardens of any size, and can
provide an antidote to crowded cities and hectic lifestyles. Relying
on scale and proportion to create drama in the absence of decorative
embellishments, these gardens focus on open, uncluttered spaces
that offer the perfect setting for outdoor living.
Most Modernist gardens are based on a geometric layout, with the
horizontal lines of rectangles providing a sense of movement. These
dynamic lines contrast with the verticals of trees, hedges, or walls,
and slice through space to unite different sections of the garden.
Materials are selected for their surface qualities – decking,
polished concrete, limestone, and gravel produce expansive surfaces,
often punctuated by reflective water or specimen trees, and this
honest use of materials requires stunning high-quality finishes and
architectural precision. Fine lawns, clipped hedges, and simple
planting are typical of most Modernist 20th-century gardens, but
contemporary designers sometimes include a more complex palette.

Uplighters Hardwood decking

Inside out
Here the main terrace of
Casa Mirindiba in Brazil
(right), designed by
Marcio Kogan, extends
into the garden to create
a sheltered space, part
interior and part exterior
in character. The long,
narrow swimming pool
reflects the stone wall, and
lighting picks out surfaces
and tree canopies to create
interest after dark.

Reflective
Minimalist swimming pool,
tree planting or “lap” pool
 DESIGN INFLUENCES
Celebrated as the founder of concrete paving and decks. Into
Modernist garden design, Thomas this regular pattern Church wove
Church thought that gardens were sweeping curves to create the
primarily for people and should reflect swimming pool (left) and lawns,
their owners’ lifestyle and needs. echoing the winding river in the salt
Many of Church’s theories are marshes below, while existing oaks
explored in his 1955 book, Gardens were retained to frame the view.
are for People, and in his iconic The simplicity and elegance of
Modernist garden, El Novillero in the materials, and the overall
California, designed in 1948. geometry, result in a composition
The garden is based on a regular which confirmed Church as one
grid that relates to the adjacent of the greatest landscape architects
Thomas Church’s iconic pool. poolhouse and is defined with of the last century.

Key design elements

1 Asymmetry
Although a central axis
may be used in Modernist
design it is rarely a dominant
feature. Rectangles of lawn,
water, paving, or planting
interlock more intuitively
to create sharply defined but
irregular patterns.

2 Modern materials
The clean lines of steel,
concrete, glass, and timber
emphasize the precision of
the manufacturing process.
Paving joints are minimized,
and subtle lighting is used to
enhance the surfaces.

3 Planting in blocks
The variety of species is
often limited and planted in
large blocks or masses.
Grasses and perennials,
interplanted to catch the light
and create movement, have
revitalized the style.

4 Contemporary
furniture
Modernist garden furniture
is architectural in style.
Design classics, such as the
sculptural Barcelona chair,
set the tone for elegant
recliners, simple tables and
matching benches (left).

5 Reflective water
Reflective pools create
unruffled surfaces and bring
light into the garden. Modern
technology now allows water
pools to brim or overflow,
maximizing the expanse
and impact of the
reflective surface.
170/171 Choosing a style
MODERNIST GARDENS

Interpreting the style

The manipulation of space is central to Modernism, creating
gardens free from clutter or fuss. This style demands a clearly
defined geometric layout, so that the proportions of the main
features can be appreciated. Keep material and plant palettes
to a minimum, and pay particular attention to the finer details.
Fixings can be hidden to create smooth flowing surfaces.

△ Pool garden
Smooth rendered walls
surround this garden with a
neutral backdrop, allowing
the reflective water and
planting to take centre
stage. Decks overhang
the pool to create an
impression of floating
surfaces. Planting is
restricted, but simple
blocks of texture create
the necessary impact.

▷ Bamboo screen
Decking creates a warm,
tactile surface, which is
ideal for city or roof
gardens. Here the planting
is contained within simple
cube or box planters that
screen this private space.

“The play of light and

shadow breathes life into
the Modernist garden”
▽ Complementary colours ▽ Textural composition
Texture, colour and shape combine to create this small Contrasting surfaces of honed limestone, precise
garden. The ochre tones of the brickwork contrast with dry stone walls, and reflective steel-edged water
the warm terracotta-rendered surfaces, while clipped create the drama here, softened by the dense
evergreens, grasses, and irises offer natural forms. planting of irises and Stipa beyond.

GARDENS TO VISIT
BURY COURT, Farnham, Surrey
Includes a grid pattern grass garden by
Christopher Bradley-Hole.
burycourtbarn.com

ST CATHERINE’S COLLEGE, Oxford

Designed by Arne Jacobsen.
stcatz.ox.ac.uk

VILLA NOAILLES, Hyères, France

△ Classic structure Cubist garden designed by Gabriel
The rectangular pool, deck, and path are classic Modernist Guevrekian. villanoailles-hyeres.com
features, complemented here by blocks of dwarf hedging
and an untamed leafy backdrop. ART INSTITUTE GARDENS, Chicago, US
Designed by Dan Kiley. artic.edu/
◁ Geometrical design
The architecture of this garden space is the dominant garden-overview
theme, with the rectangular pool based on the dimensions
of the picture window. Repeated cordylines arranged along EL NOVILLERO, Sonoma, California, US
the balcony above create a sculptural splash. Thomas Church’s iconic Modernist garden.
gardenvisit.com/gardens/el_novillero_
garden
172/173 Choosing a style
MODERNIST GARDENS

CASE STUDY

BUILDING BLOCKS Visual play

Contrasts of texture and
Ordered space
The space in the garden is
form are used to great effect set out in rectilinear blocks
The simple, clean lines of this garden betray an
in the design. Smooth paving, of paving, planting, and water.
exacting design that has modern, contemporary a reflective water feature lined Some of the areas are open,
detailing at its heart. Crisp blocks of planting, paving, with flat pebbles, trim beech others are enclosed, hiding
hedging, and multi-stemmed and then revealing aspects of
and water are set out on an assymetrical floor plan, Osmanthus trees, conspire to the design as the visitor walks
reflecting Modernist design principles. create bold visual effects. through the different spaces.
 Designer Marcus Barnett
Show RHS Chelsea Flower Show
Award Gold Medal

Asymmetrical plan Floral contrasts Clear colours

The stone wall panels were The different flower shapes The colour palette
inspired by a Piet Mondrian provide refined contrasts and shows a typically
painting. Combining calm, clean accents. The yellow daisy-like Modernist restraint.
lines and strict geometry with an flowers of Doronicum stand tall Shades of green
asymmetrical plan, they perfectly above tiny Euphorbia polychroma predominate, allowing
represent principles typical of bracts, and contrast in colour the primary colours
Modernist design and brought and form with red tulips and of red, blue, and yellow
strikingly to life in this garden. blue cornflowers. to shine through.
174/175 Choosing a style
MODERNIST GARDENS

Modernist garden plans

The Modernist garden has a simple, geometric layout and a balanced design, with the emphasis on sculptural
planting and quality materials. The three designs here are perfect examples of gardens that embrace these
principles. The planting schemes are simple and bold, allowing space and material texture to be the focus, and
they all exemplify 20th-century Modernist architect Ludwig Mies van der Rohe’s maxim: “Less is more”.

“Floating”
Maximizing space fire cowl

Planting is restricted in this elegant garden by Vladimir Djurovic,

where surface and texture are the highlights. The clever lighting
design draws attention to the low bench seats made from the same
material as the paving, and to the apparently floating fire cowl, Spot
which becomes a giant focal point for the terrace. lighting

Key ingredients
1 Red cedarwood table
residence, and the garden needed to
2 Acer palmatum reflect this – with spaces for cooking and
3 Lighting dining, relaxing, entertaining large groups
4 Natural stone-honed finish of people, and so on.
“The restricted topography and the
Vladimir says: fact that the house is arranged on split
“This garden was developed as a holiday levels also made the connection and Repeated
sequencing of space more difficult. grass
retreat. The space available for the garden grooves give
was quite restricted, and a major part of “The result is typical of my work – I aim the garden
the design process was dedicated to to produce memorable spaces, no matter rhythm
creating a sense or illusion of space. what their scale. I am inspired by nature,
“The brief was quite demanding: the and like to feel that my work brings
client loves to live outdoors when in people closer to the natural world.”
Grid lock
The owners of this property
asked Andrew Wilson for a
spacious design with a semi-
industrial quality, to complement Colour-
a new, polished, dark-green pigmented,
concrete
fibreglass house extension with rendered
walls
long curtain walls made of glass.
Key ingredients
1 Betula pendula
2 Stipa gigantea
Granite
3 Deschampsia cespitosa aggregate
‘Bronzeschleier’ concrete
4 Yucca aloifolia coping
5 Ligustrum delavayanum

Andrew says:
Coloured,
“The long, low roof of the new building poured
extension was echoed in the horizontals concrete
of the paving, low walls, and steps. The paving
trees, mainly pine and birch, provide
towering verticals that produce the
classic contrast central to most
Modernist compositions.
“The garden is paved in coloured,
poured concrete that appears to float
out across a reflecting infinity-edge pool.
Darker rendered walls provide subtle
screening and a backdrop for uplighting
to create an ambient glow after dark.”

Room outside
Created by Wynniatt-Husey
Clarke, this London garden
was commissioned to complete
renovations to the client’s house.
Key ingredients
1 Hardwood panel fencing
2 Carpinus betulus
3 ‘Floating’ cantilevered
hardwood bench
4 Self-binding crushed slate particles
5 Zantedeschia aethiopica
‘Crowborough’

Patrick Clarke says:

“The garden emerged from a close
cooperation between the architect, client,
Terrazzo patio
and garden designer. More than anything, Rendered blockwork
it reflects a clear ambition to see the “blade” wall
building and garden as a single entity. Pleached Carpinus
“The rendered ‘blade’ wall, colour- (hornbeam)
matched to the interior finish, gives
the impression that the back wall of the
house has been moved to the end of
the garden. The threshold between inside
and out is seamless, with the same
paving used for both, and a frameless
door creating minimal intrusion. Asymmetry
is used as a way of creating a dynamic
quality within the garden as one moves
through the space.”
Japanese gardens

The Japanese garden is often perceived in the West as a single garden style, when in fact there are
many different approaches and philosophies, some of which are based on traditional rituals or have
spiritual meaning. These diverse design theories make a definitive translation of this style difficult.
At their heart, however, Japanese gardens share some key characteristics. Symmetry, for
example, is eschewed in favour of balanced asymmetry. These harmonious layouts are achieved
by the careful placement of objects and plants of various sizes, forms, and textures, frequently
contrasting rough with smooth, vertical with horizontal, or hard with soft.
The area of the garden is often restricted, but individual elements are
not forced or crowded together, and the space between objects is
considered essential to the overall design.
Japanese gardens are appreciated as visual compositions for
contemplation, rather than as spaces to be cultivated or enjoyed for
leisure. Traditionally, natural stone was used, although many modern
gardens feature concrete or stone with different finishes. Bamboo and
Cherry blossom has been
timber are also popular materials. celebrated for centuries.

The famous dry Zen gardens use fine gravel raked into fluid
patterns, and planting in these symbolic gardens is minimal, often
limited to mosses and lichens around the base of a group of rocks.
Water is seen as a purifying element, especially important in
Japanese tea rituals. Small pools, often in stone containers, or
streams, provide reflective details.
Planting in Japanese gardens is restrained, with bamboo,
grasses, and irises providing verticals, and plants such as
camellias, cherry trees, peonies, and rhododendrons used for
flower and form. The underlying geometry is not easily discernible,
but irregular plans may be complemented by paths made from
rectangular blocks. Informal stepping stones or meandering
pathways are also typical, as the changing views or winding
A mountain landscape recreated
terrain provide an aid to concentration and meditation. in miniature.
178/179 Choosing a style
JAPANESE GARDENS

What is Japanese style?

After centuries of isolation, the harmonious asymmetry
of Japanese gardens came as a shock to Western travellers
in the 19th century, who were used to more formal and
geometrical layouts. The balance of hard elements, such as
rocks, stepping stones and gravel, with tightly clipped shrubs
and trees, created a contrast that still appeals. Meticulous
positioning of the main elements to disguise restricted
spaces, or to provide links to the landscape beyond, is
crucial to the success of many of these sculptural and
highly controlled gardens.
Japanese style in detail
Many plants used in Japanese gardens are subjected to tight pruning
regimes to maintain or restrict their size, but also to ensure that they
remain in proportion to their surroundings; maples, azaleas, camellias,
and bamboo are all controlled in this way.
In turn, rocks are selected for their weathered qualities, and their
innate characteristics are carefully considered before final placement is
agreed. A pleasing contrast between verticals and horizontals is also
important to achieve. Gravel is used to symbolize water and provides
a neutral but textured foil to the planting and rock formations. In Zen
gardens the gravel is raked into precise patterns, and this daily ritual is
considered conducive to contemplation and self-knowledge.
In stroll gardens, the route through the space is scrupulously planned,
and the winding paths or stepping stones ensure that the visitor stops
to experience the views that are revealed along the way.

Japanese Background Upright stones

maple planting

Symbolic garden
Gravel runs through this
space like a stream in
this garden designed
by Masao Fukuhama
(right). A simple stone
bridge crosses over the
gravel, providing horizontal
accents in contrast to
the stones and planting
alongside. The massed Key design elements
planting screens the
boundaries and provides
a clear visual link to the
wider landscape beyond.

1 2
Flat stone bridge
Japanese plants Water features and pools
Evergreens are often densely Water is either used expansively
planted and pruned to provide a as a reflective surface, or in smaller
consistent structure, whereas features, such as the stone water
deciduous species are used for basins (tsukubai) associated with
Bed of gravel White azalea
flower colour or seasonal change. the tea ceremony.
 DESIGN INFLUENCES
The Zen gardens of Japan were created as a focus for contemplation,
relating to the garden itself and to the process of maintaining the
gravel. The style originated in the Muromachi period (c.1336–1573),
when rock work appeared in gardens of the shō guns, often with dry
streams alongside. Later examples are frequently associated with
Zen Buddhist monasteries in and around Kyoto, and many are
small-scale and enclosed.
Ryoanji, which dates from the late 15th and early 16th centuries,
is the most famous and celebrated of these gardens (below). It is
viewed from a meditation hall and verandah, and is not meant to be
traversed. Moss, the only living material in the garden, grows like an
emerald carpet around the base of five symbolic groups of rocks.
The intense abstraction and stillness of this space was created to
inspire a state of reflection and meditation in those who visit it.

Serenity and a sense of calm is at the heart of Ryoanji.

Religious influences
Japan’s rich tapestry of religious belief is fundamental to the design
of its exquisite gardens. Both the ancient religion of Shinto, and the
Buddhist teachings that were introduced later, celebrate the natural
world, and all natural elements are seen as sacred and thus worthy
of respect and worship. This philosophical approach is expressed in
many Japanese gardens by the sensitive placement of significant rocks,
trees, or other natural phenomena, with specimen maples, magnolias
or cherries often displayed against a backdrop of dark foliage. The
cultivation of beauty as a spiritual activity is also reflected in Zen tea
gardens, in which a roji (dewy path) lit by stone lanterns leads the
visitor through an intimate landscape to the ceremonial tea house.

3 Symbolic ornaments
Stone lanterns, water basins,
and buddhas are often placed close
4 Gravel and rocks
Gravel is used to represent water,
with stones symbolizing islands, boats,
5 Bamboo fencing
Fences and gates are often made
from bamboo fastened with elaborate
6 Stepping stones
Stepping stones create a
heightened self-awareness through
to paths leading to the tea ceremony. or even animals. Great care is taken ties or bindings. These are used as the garden. Often used as a route to
Pagodas or stupas create focal points over the placement and orientation boundaries and screens, or to direct the tea ceremony, they resemble a
in larger gardens. of the stones. or control views. dewy path through the forest.
180/181 Choosing a style
JAPANESE GARDENS

Interpreting the style

Pressure on land means that most Japanese gardens are very small, and
designed to be looked at rather than used. Sculptural courtyard gardens,
laid out to be viewed from important windows or terraces, focus on a
few carefully selected stones or trees. Larger gardens are also highly
manipulated, with precisely positioned plants, trained to deceive the eye
– here there is more room for a range of trees, intricate pathways, water
features, and views into the shakkei or “borrowed landscape” beyond.

△△ Tranquil moss garden △ Miniature landscape

The uneven and meandering stepping A typical arrangement of interior, veranda,
stones stand out against a soft emerald and garden presents a staged sequence
carpet of moss. Exquisite views are of space. Here a contorted specimen pine
created to be admired along the way. provides a magnificent focal point.

△ Gravel and stones ▷ Reflections of autumn

In this contemporary courtyard, carefully Japanese maples shade the banks of a
chosen rocks and stones form a sculptural pool, dropping their colourful leaves like
route across gravel and moss, punctuated jewels onto the ground. Stepping stones
by the verticals of specimen trees. offer access across the still water.
 ◁◁ Falling water
The placement of vertical and horizontal rocks is key to
the success of waterfalls and dry gravel systems alike.
This three-step cascade produces a calming water sound.

◁ Transcendent stones
Balance is an important attribute of the Japanese
garden, emphasized here by this precarious sculpture
of flat stones, and echoed by the low hedges and
ground cover beyond.

▷ Illusions of space
An illusion of distance is created here, by emphasizing
the foreground with a stone lantern and balustrade. The
autumn canopies can be appreciated from the path.

JAPANESE GARDENS TO VISIT

KATSURA IMPERIAL VILLA, Kyoto, Japan
Stroll garden with extensive water and
woodland. sankan.kunaicho.go.jp

RYOANJI, Kyoto, Japan

Zen Buddhist raked gravel garden. ryoanji.jp

TOFUKUJI, Kyoto, Japan

Zen temple garden with Acer collection.
tofukuji.jp
△△ Sinuous steps
Curving stone steps provide an enticing route through TATTON PARK, Cheshire
the garden, creating a similar effect to winding stepping- One of the best Japanese gardens in the UK.
stone paths. Subtle layered planting follows the rhythm. tattonpark.org.uk
△ Geometric space
This modern design uses horizontal and vertical steel GOLDEN GATE PARK, San Francisco, US
panels to form a transparent deck and unified boundary, Japanese stroll-style tea garden.
through which the stems and foliage of plants emerge.

“Japanese gardens are symbolically and

spiritually connected to the landscape”
182/183 Choosing a style
JAPANESE GARDENS

CASE STUDY

EASTERN INFLUENCE Planting traditions

Many plants associated with
Space to reflect
Despite its limited dimensions,
Japanese style feature in the this garden creates a real feeling
Key elements of a traditional Japanese tea garden,
design. The rich red colouring of space. The teahouse focal
including the cascading stream, mossy pathway, of Acer palmatum is echoed by point, careful layering of the
teahouse, and restrained planting palette, are used the pinkish young Pieris leaves, planting, and the natural slope
while spiky stems of Equisetum enhanced by a gently tumbling
in this modern interpretation, where every element is and iris foliage shoot up from stream, all work to create an
carefully crafted to create a landscape in miniature. moss-dotted rocks. illusion of a bigger garden.
 Designer Ishihara Kazuyuki
Show RHS Chelsea Flower Show
Award Gold Medal

Calming stream Stop for tea Green innovation

Water is an essential part of Here made from rough The living green roofs of the
a tea garden, and the stream sawn timber, the teahouse entrance arch and teahouse are
symbolizes the renewal of life. is a traditional element of a modern addition – they would
The mossy stone walls that form the Japanese tea ceremony. traditionally be thatched or tiled.
the cascade create a visual motif; Inside, visitors are invited Succulent planting helps provide
water and stone represent yin to drink tea and reflect wildlife habitats, while softening the
and yang, complementary upon the tranquil scene contrast between the buildings
opposites that create harmony. and harmonious planting. and the surrounding plants.
184/185 Choosing a style
JAPANESE GARDENS

Japanese garden plans

These gardens cannot simply be recreated with a haphazard collection of Japanese ornaments and species;
successful Japanese designs integrate a careful balance of plants and objects that often have symbolic and
spiritual meaning. In these two examples, Maggie Judycki and Haruko Seki have perfectly captured the
notion of the soothing, contemplative garden, and the subtleties of natural colours and forms.

Living art
The fish-filled pond is a meditative focal point in Maggie Judycki’s own
garden. Rocks, ornaments, and planting are carefully arranged around Granite lantern
it and a split bamboo fence filters light in horizontal patterns across its
surface. The leaves of a Sassafras and a Betula merge and rustle above.

Key ingredients Maggie says:

1 Acer ‘Rubrum’ “This is my own garden, and it’s been a
2 Sassafras albidum work in progress for many years. I started Hand-picked boulders
out as a stone sculptor, which has helped from local stone quarry
3 Bamboo fence
me to use and understand hard materials.
4 Hosta ‘Francee’ I tend to start with them and soften the
5 Cotoneaster salicifolius ‘Gnom’ surfaces with planting.
6 Japanese bathing stool “Sitting places are important to me too.
7 Sarcococca hookeriana var. humilis A favourite is the Japanese bathing stool,
8 Betula utilis var. jacquemontii ideal for contemplation when I’m feeding
the koi carp. Living art and the movement
it creates is also fascinating – we can
Select blue flagstones
see the pool from the house, and it’s a laid on stone dust
constantly changing view. The garden is
typical of my work in that I customize
the space for each client.” Rill of Japanese pebbles
Capturing movement
This Japanse garden by Haruko Seki of Studio Lasso was designed for
the RHS Chelsea Flower Show and it has since been recreated in a
private garden in south London. The swirling curves of gravel paving
and green mounds create a sense of movement and enclosure, while 12mm (½in) toughened
simple, transparent planting produces a delicate filigree of foliage. Still Clear Float Glass with
sandblasted finish
water reflects the lit glass panels, which give an ethereal glow and are
decorated with the silhouettes of bamboo leaves and canes. The
contrasting pale raked gravel and grass help define the composition.
Double layer of 6mm (¼in)
Key ingredients Haruko says: toughened Clear Float Glass
1 Cercis canadensis ‘Forest Pansy’ “The client who bought this garden leads with a light-diffusing,
a stressful life and was attracted to the laminated middle layer
2 Phyllostachys aurea
calmness of the composition. The design
3 Viburnum opulus
encourages a feeling of peace and opens Curved, polished,
4 Abelia ‘Edward Goucher’ one’s senses up to the environment – for powdered-black concrete
5 Spiraea cantoniensis example, the whispering of the breeze
6 Stipa tenuissima through the planting is central its success.
“In all of my work, I use the space
to enhance the changing character of
nature; I believe this is an essential
quality in a Japanese garden. I am also 4mm (¼in) crushed,
influenced by the late landscape architect grey granite gravel
Sir Geoffrey Jellicoe, who explored the
relationship between the landscape
and the subconscious.”
Foliage gardens

This approach to garden-making is seen across the world, but works especially well in warm
climates where planting is naturally lush, and a jungle look with tall vegetation is not hard to
achieve. Texture and shape drive the design, rather than a season of bloom. Layouts vary in
their composition, but all combine areas devoted primarily to foliage, with the emphasis on
contrasting varieties and plant forms. Clearings are carved out of dense vegetation, creating
a sense of seclusion and separation, with paths winding between. Decorative bark or pine
needles are often used to create a jungle-floor softness underfoot.
These gardens are typically organic in shape, without hard edges or a sense of formality, but
where man-made structures do encroach, the contrast is often startling, with the bold use of rustic
materials such as rough-hewn timber and unworked stone. Interestingly, sleek Modernism also
works well with foliage planting. Water is frequently present in the form of energizing waterfalls
and streams, or even swimming pools.
Foliage gardens date back to 19th-century European
colonial gardens, where the indigenous, richly diverse
local flora found in Australia, New Zealand, South Africa,
Malaysia, India, and the Caribbean was used to produce
a celebration of flower colour and foliage texture. The
gardens of the 20th-century Brazilian designer Roberto Burle
Marx are modern interpretations of this genre, with huge
areas devoted to rich tapestries of foliage. Exotic bromeliads add colour.

In temperate zones, this approach has

been adopted in some urban gardens
with the emphasis on architectural
plants, such as tree ferns, bamboo,
loquat, Fatsia, Phormium, and cordylines,
which are combined to create a sense of
drama. Some designers also experiment
with grasses, water, or woodland planting
to gain similar effects, but formal lawns
are rarely seen in these gardens. Foliage colour, texture, and shape provide dramatic effects.
188/189 Choosing a style
FOLIAGE GARDENS

What is foliage style? DESIGN INFLUENCES

The most notable name associated with this style is Roberto Burle
The jungle-like appearance of many foliage gardens Marx, the artist/ecologist/designer who worked in spectacular
fashion with the rich flora of his native Brazil. His gardens demonstrate
creates an atmosphere of irresistible exuberance. a painterly sensibility to landscape design, celebrating foliage pattern
Plants chosen for their interesting leaves dominate and and saturated flower colour. In what was formerly known as the
Odette Monteiro Garden, huge plates of textured ground cover
the use of individual specimens and large-leaf perennials feature along a dramatic lawned valley. His planting schemes are
en masse yields a gorgeously textured landscape with particularly impressive when seen from above.
dramatic spots of bright colour. A network of pathways
and clearings forges a route through the garden,
offering the visitor a close-up view of the planting.
Cooler climate foliage gardens concentrate on mass
plantings of grasses and woodland glades.

Foliage style in detail The Luis Cezar Fernandes (formerly Odette Monteiro) Garden, Brazil.
The enjoyment of foliage gardens derives from the sheer volume and
variety of planting. In larger gardens there may be space for grassy
areas, swimming pools and terraces but, generally, most of the
available garden space is devoted to leaves. Flowers are often
subordinate and provide stabs of vivid colour among the foliage.
Taller species such as Eucalyptus, palms, cordylines, and bamboo
provide height and vertical interest, while the space below is filled
with lower-growing shrubs, grasses, and perennials. The main
emphasis is on structural and foliage planting, but sewn into this
rich canvas is a brilliant embroidery of flower colour, with Strelitzia
(bird of paradise) and Canna typical in warmer climates, and dahlias
or lobelia more appropriate in temperate regions.
Larger cities form heat islands, in which warmer than average
temperatures allow more exotic species to find a home. In the UK,
this has led to the phenomenon of urban jungle gardens.
Gravel path is a House
foil for planting

The exotic garden

In this remarkable garden
(right), created by the late
Will Giles at his home near
the centre of Norwich, rich
planting exploded from the
borders over gravel paths.
Sparks of colour came from
the purple-leaved Canna
and tall yellow sunflowers.
Cacti and succulents were
brought outside over the
summer months, while
containers of other plants
of differing heights,
including grasses and
herbs, fringed the vibrant,
foliage-rich display.

A palm (Trachycarpus
fortunei) gives height
to the planting scheme

Exotic banana (Musa)

contributes to the Pots form a Canna ‘Durban’ adds
subtropical feel central island hot colour accents
Key design elements

1 Bold foliage
The key element is
foliage that makes a
2 Colourful
highlights
Bright flower colour lifts
3 Pools and
reflections
Clear pools, perhaps
statement. The plants the general greenness of edged with lilies or
that dominate demand these gardens, providing papyrus, create reflective
attention; strappy surprises along the way. surfaces. Waterfalls
Phormium perhaps, or Here Dahlia ‘Bishop of add sound and energy,
tall-growing bamboo, Llandaff’ adds rich red and boulders set by
or Musa (banana) with flowers and dark foliage. jungle pools provide
its fabric-like leaves. naturalistic seats.

4 Containers
In cooler climates,
planting exotics and
5 Materials
Hard materials are
often sourced locally.
6 Height and
structure
Tall plants are essential
tender species in pots Gravel or stone, often to create jungle-like
offers the designer rough-hewn, are used layering. This banana-
greater flexibility – they for paved surfaces, but like Ensete, Trachycarpus
can easily be moved timber and bamboo are (Chusan palm), and
under cover in winter. also common. Walls Eucalyptus give height
Dramatic pots can also covered with whitewash to the canopy, and offer
be used as focal points or painted render add protection and shade
in a scheme. intense colour. to plants below.
190/191 Choosing a style
FOLIAGE GARDENS

Interpreting the style

Foliage gardens deliberately set out to overwhelm the onlooker
with the sheer volume and scale of planting in the jungle-like
borders. When grouping your plants, consider details – such as
the shape, texture, and colour of leaves – to produce exciting
contrasts. Add bright colour with variegated foliage and striking,
subtropical flowers to complete the vibrant mixture.

△△ Palm and gravel mix

An informal clearing is edged
GARDENS TO VISIT with the elegant, fanned leaves
THE EXOTIC GARDEN OF EZE, of Chusan palms (Trachycarpus
fortunei) with vertical jets of
Monaco, France brilliant red cannas dotted between.
Exotic plants from all over the world. A low mound of dark green planting
jardinexotique-eze.fr complements the composition.

TREBAH, Cornwall, UK △ Spiky combinations

Subtropical garden on a Cornish hillside. The instantly recognizable,
trebah-garden.co.uk sword-shaped foliage and tall flower
spikes of Phormium tenax dominate
this space – echoed by the sharp
WIGANDIA, Victoria, Australia points of agaves and the fine-cut
Garden on slopes of Mount Noorat. leaves of palms.
wigandia.com
◁ Grassy effects
SITIO ROBERTO BURLE MARX, A basket-weave path meanders
Rio de Janeiro, Brazil through a border of fine textures,
The late artist’s own large garden. which include the repeated arching
rosettes of Hakonechloa macra
museusdorio.com.br ‘Aureola’ – a grass that takes on
warm orange tones in autumn.
JIM THOMPSON HOUSE, Thailand
A lush jungle garden in Bangkok.
jimthompsonhouse.com
◁ Hot pot
This incidental association plays on the similarities
between the tones of the glazed pot and the veined
Canna leaves. Carmine-red flowers turn up the heat.

◁◁ Verdant enclosure
Even within the confines of a small and overlooked city
garden, it is possible to create privacy and a space to
relax. Here, a hot tub is enclosed by hedges of densely
planted bamboo and tall hurdles.

△ Sunset spires
Phormium ‘Sundowner’, Astelia chathamica ‘Silver
Spear’, and the heads of Verbena bonariensis
conspire to produce a glorious display of glowing
colour in the evening sun.

◁ Cool pool
An array of fleshy foliage closes in to create a secluded
swimming pool alongside a sun-filled terrace in this
thickly planted jungle garden.

“Foliage
gardens are
a feast of
sculptural
shapes and
forms”
192/193 Choosing a style
FOLIAGE GARDENS

CASE STUDY

FEAST OF FOLIAGE Hardy exotic

The lancewood Pseudopanax
Leaf combos
Foliage can offer pleasingly bold
crassifolius makes an intriguing colour contrasts, as here with
Architectural forms and leafy contrasts are key to
statement, with its weird, the orange-brown leaves of
the success of this garden, which, despite the lack almost dead-looking foliage tassel cord rushes (Baloskion
of flowers, is a triumph of sculptural shapes, textures, and gaunt form. A surprisingly tetraphyllum) next to silvery
hardy tree from New Zealand, Artemisia. Elsewhere, bright
and colours, created by inspiring foliage combinations it is guaranteed to create a green tree ferns overhang
from small trees, shrubs, perennials, and grasses. talking point in any garden. white-splashed hostas.
 Designers Andrew Fisher Tomlin and Dan Bowyer
Show RHS Hampton Court Palace Flower Show
Award Gold Medal and Best Summer Garden

Simple materials Colour spots Jungle enclosure

The landscaping materials, The foliage-dominated planting The palm, Butia yatay, and tree
such as the grey paving and is lifted by spots of flower ferns provide a sense of privacy
dark, almost black, boundary colour. Most of the blooms are and enclosure, without being
walls, provide excellent foils small, such as those of Canna too overbearing in this small
for the foliage, their smooth indica and Duranta erecta space. The jungle-like plants are
texture and contemporary ‘Geisha Girl’ – the restricted also relatively hardy, and would
colours contrasting with, but palette of orange and blue be ideal for a city garden in a
never upstaging, the leaves. complements the leaf colours. temperate climate.
194/195 Choosing a style
FOLIAGE GARDENS

Foliage garden plans

In two of these gardens, British designers have used a range of tender and hardy plants to achieve a foliage
effect in a cool climate. The third, in Florida, is a leafy, tropical extravaganza. In all three, the exuberance of
dense foliage and architectural planting needs some sense of control, and this is provided by paving, water and
structural elements, such as the screens and boundaries. These also offer contrasts in texture and form.
Narrow path laid with
Layered planting 40mm–60mm (1½in–2½in)
slate chippings
In designer Declan Buckley’s own garden, a rich tapestry of layered
planting sits alongside the bold geometry of paving and a pool; the use
of reflective water increases textural impact. There is a great sense of
contrast here, between the open, light terrace and the narrow pathways.
Key ingredients long rectangle, overlooked by five-storey
1 Phyllostachys nigra houses, so bold and layered architectural
2 Euonymus japonicus planting helps to screen the site and
provides privacy. Conversely, the end
3 Fatsia japonica wall of my own house is solid glazing,
4 Pseudosasa japonica which gives me a dramatic view across
5 Geranium palmatum the pool and into the luxuriant planting. A simple wooden
6 Astelia chathamica “London’s warmer temperatures allow footbridge crosses
more tender and unusual species to the pond
7 Buxus sempervirens
8 Cycas revoluta thrive, and plants were chosen for their
texture and form – flower and colour Reclaimed York
stone paving
came second. A strong, simple
Declan says: framework softened by foliage is key
“After years spent growing plants in pots to all my projects.”
on a roof terrace, it was a relief to have
a garden to plant them in. The site is a
The pool reflects surrounding
foliage colour and texture
English exotic The boundary walls are
almost hidden by foliage
In this small garden by Annie
Guilfoyle, a mass of oversized
and textured exotic planting
hovers over a wooden deck.
Key ingredients
1 Phormium cookianum subsp.
hookeri ‘Tricolor’
2 Eriobotrya japonica
3 Euphorbia mellifera
4 Musa basjoo
5 Polystichum setiferum

Annie says:
“This garden is close to the River
Thames in Kew. It’s a tiny space that The decking’s zigzag edging
had to capture the essence of the East, increases the sense of space
where my clients had spent a great deal
of time, yet link seamlessly with the Ground-level ferns add
house. To create deeper planting areas, another layer of texture
I set the layout at an angle – which also
seemed to make the boundaries
disappear. This is typical of my work, as
I try to maximize usable space in small
gardens, balancing room for relaxing
and entertaining with rich, full planting.
“The garden is pretty low-maintenance,
and it was good to work with a client
who didn’t demand year-round colour.”

Tropical refuge Terracotta-coloured

wall adds visual drama
Raymond Jungles has used large,
fleshy and verdant leaves to
create shade in this Florida Keys Regimented,
square paving
garden. Glimpses of art lead the slabs give a
eye through the plants. sense of order
to the lush
jungle foliage
Key ingredients
1 Pritchardia pacifica
2 Attalea cohune
3 Solanum wendlandii
4 Areca vestiaria
5 Heliconia rostrata

Raymond says: The bench

“I created this garden for my family and doubles as
it was a labour of love. I am influenced a work of art
a great deal by other designers, in
particular, Roberto Burle Marx, Luis
Barragán, and Richard Serra. In some
ways, this garden was a laboratory in
which I grew specimens, some of which
were collected in Brazil with Burle Marx
himself. The result looks typical of my
work, but nowadays I tend to use native
species whenever possible. We tried to
maximize light in the house and garden,
and used sliding doors to differentiate
between interior and exterior space.
Many of the materials are rescued
and re-utilised.”
Productive gardens

Historically, two main types of productive garden evolved: the large walled gardens of wealthy
Victorian estate owners, which offered exotic fruit, fresh vegetables, and cut flowers for weekend
entertainments, and, at the other extreme, allotments, cottage gardens, and areas of private
gardens devoted to growing produce as a hobby, or to supplement the diet.
The Victorians elevated productive gardening to a fine art, but they were not the first to mix
fruit, vegetables and flowers in the same area. Medieval abbey gardens were typically divided
into small herb and vegetable beds with some decorative planting, and Renaissance gardens in
France featured ornamental produce in elegant parterres, known as
“potagers”. This term is still used today to describe an attractive
productive garden.
The Dig for Victory campaign during World War II generated a
huge enthusiasm for home-grown produce in the UK, but this waned
as wealth increased after the conflict. Today, our increasing desire
for organic food, and concerns about the carbon footprint of
imported goods, is fuelling a revival of the kitchen garden, albeit
on a smaller scale.
Most productive gardens tend to be orderly, with geometric beds
separated by paths for ease of access and maintenance. However,
A scarecrow protects
designs today also include tiny spaces, where fruit and vegetables valuable crops.

are grown informally in pots on a

patio or balcony, or even in a window
box. Materials for surfaces focus on
the utilitarian – concrete slabs, brick
paths, or compacted earth are all
practical options and suit the look.
Planting varies seasonally, with fruit
trees and bushes providing the
permanent structure. Low box
hedges may also be included, often
to contain herbs that tend to flop and
spread, while rainwater, required for
irrigation, can be captured in butts or
other recycling vessels. Formal potager at Château de Villandry in France.
 198 199 PRODUCTIVE GARDENS
/ Choosing a style

What is productive style?

In large productive gardens, the layout and surfaces tend to be functional, creating a sense of ordered
abundance, while in smaller spaces, the design is often more relaxed, with planters used to squeeze in as
many crops as possible. Traditional designs were influenced by early monastic or physic gardens, which were
divided into geometric beds filled with herbs and vegetables, punctuated by taller focal plants, such as bay
trees or standard roses, in the centre. These simple design plans are used in contempory edible gardens,
too, with bed sizes often shrunk to fit smaller urban plots. Functional paths – made of brick, stone, or gravel
– allow space to tend the fruits and vegetables easily, while colourful rows of crops, fruitful containers, and
decorative interplanting create garden designs that provide a feast for the eyes as well as the table.

Productive gardens in detail

As the 20th century came to a close, productive planting was pushed
to the end of the main garden to give flowers, shrubs, and trees
pride of place. Today, this approach is changing, as more people
realize that growing food close to home is not only fun, but also
allows you to enjoy fruit and vegetables that are either not available
in the shops or, like raspberries or blueberries, expensive to buy.
Productive gardens need to be planned carefully to make them
easy to manage. When planting in the ground, different crops should
be planted in different beds each year to prevent the build-up of
soil-borne pests and diseases. In small gardens and on patios or
terraces, compact crops, such as tomatoes, chilli peppers,
aubergines, and leafy salad crops can be grown successfully in pots
or larger planters. Cold frames, greenhouses, and sunny windowsills
indoors allow you to extend the growing season, while bee-friendly
plants, such as lavender and open-flowered dahlias, inject colour and
bring in pollinators to guarantee a good crop.

Willow arch to support beans

Colourful potager
Here, the ordered
character (left) of the
vegetable garden, with
its rows of crops and
strong rectilinear pattern,
makes a beautiful
impression (right). Tall
supports for runner beans
and clipped hedging are
used to enclose the
space, and red dahlias
and lavender add extra
splashes of colour.

Square beds with a

colourful mix of flowers
and leafy crops

Wide paths for access

and structure
 DESIGN INFLUENCES
While many modern productive of gravel or beaten earth, or ash
gardens are a mix of styles, some still produced by the glasshouse boilers.
echo the regimental formality of the Tender fruit trees were trained along
walled kitchen gardens of the great south-facing walls that radiated heat
English country houses. Victorian to give them additional protection,
aristocrats showed off their wealth while soft fruit bushes were grown
by serving exotic hothouse produce under netted frames to prevent
to guests, but the main function of birds from eating the harvest.
the garden was to provide fresh food Large, heated greenhouses were
for the whole household. often built into the structure of the
Crops were set out in orderly wall, allowing early cropping and
lines in geometric beds edged with the cultivation of tender produce,
Traditional walled kitchen garden. box and separated by paths made such as peaches and apricots.

Key design elements

1 Raised beds
Raised beds were first
introduced to improve
drainage, but they also
provide a sense of order.
An increased height of up
to 1m (3ft) allows those
with a disability to tend
their gardens more easily.

2 Wide paths
Pathways should be at
least 1m (3ft) wide in order
to make the garden easy to
navigate. Hard surfaces,
such as brick, concrete or
stone slabs, or gravel, are
ideal since they withstand
heavy everyday use.

3 Rustic obelisks
Ornamental features
are always put to good
use. Trellis and wooden or
metal obelisks create height
and rhythm in the garden,
but also provide support
for climbers, such as runner
beans or sweet peas.

4 Planting in rows
Crops planted in rows
can be easily recorded,
cared for, and harvested,
and the spaces between
rows provide access for
weeding. This geometric
layout gives these beds
their strong character.

5 Practical
containers
Pots can be used to grow
a wide range of edibles
in small gardens and on
patios and terraces. Large
containers hold more
compost and water and
require less maintenance
than smaller types.
200/201 PRODUCTIVE GARDENS Choosing a style

Interpreting the style

When planning a fruit and vegetable garden, you can opt
for a formal design with regular pathways, or go for a
more relaxed approach, using a series of planters and
pots. Low hedges or raised beds give coherence to
border edges in larger gardens, and beans, corn, and fruit
trees provide height. Introduce colour with flowers that
attract beneficial insects, or choose those you can eat.

△ Fruitful balcony ▷ Olive terraces

Pots of tomato cordons are tucked into Rows of mature olive trees provide
a tiny sunny balcony, which provides a a sculptural element in this elegant
warm microclimate for these tender scheme for a warm, sunny urban
crops. Tomatoes are ideal, since the plants space. A layer of culinary herbs
produce lots of fruit yet take up very little is planted below to soften
floor space, allowing an area for seating. the architecture.
◁ Edible windowbox bouquet ▷ Salad in a planter
Strawberries have been planted along Suitable for use in restricted spaces,
with edible flowers, including nasturtiums this stained timber planter contains
and pot marigolds, in this contemporary a mix of salad crops and herbs.
windowbox. The marigolds have a citrus Tomatoes or strawberries would
flavour and nasturtiums taste peppery. also be appropriate.

▽▷ Eye-catching gourds
▽ Urban kitchen garden Productive planting can be included
This small city courtyard has been in the design of a main garden.
transformed into a tiny allotment, with Here, gourds are used as a decorative
baskets of crops and a cleverly designed climber, giving privacy to the seating
dining table that doubles as a planter area. Pink dahlias provide late
for salad leaves, herbs, and flowers. summer colour below.

◁ Lettuce and herb mix

Raised timber planters offer easily accessible
beds for herbs and salad leaves. The rough
woven rope edging on those shown here
helps to combat attacks by slugs and snails.

GARDENS TO VISIT
BROGDALE, Kent
Home of the National Fruit Collection.
brogdalecollections.org

LOST GARDENS OF HELIGAN, Cornwall

Walled garden with many traditional
cultivars. heligan.com

WEST DEAN, West Sussex

Beautifully restored Edwardian kitchen
garden. westdean.org.uk/gardens

RHS GARDEN WISLEY, Surrey

“Homegrown produce is one

Includes herb, fruit, and vegetable gardens.
rhs.org.uk/wisley

CHATEAU DE VILLANDRY, France

of the joys of a gardening life” Formal Renaissance kitchen garden.
chateauvillandry.fr
202/203 PRODUCTIVE GARDENS
Choosing a style

CASE STUDY

EDIBLE EDEN Elegant yields

Rustic materials and a mix of
Practical paving
The red brick pathway marries
vegetables, herbs, and flowers well with the traditional styling.
Productive gardens can be any shape or size, and
references cottage style. Both practical and decorative,
even in this small plot, the designer has squeezed a Every bed is crammed with it lends an old-fashioned look,
wide range of edibles into raised beds and narrow edibles, from beetroot and while allowing plenty of space
lettuces to beans scrambling for wheelbarrows and a hard
borders, mingled with flowers that attract bees and up wigwams, but the overall surface from which to cultivate
other pollinators to create a beautiful, bountiful space. look is decorative and orderly. and harvest the produce.
 Designer Nick Williams-Ellis
Show RHS Chelsea Flower Show
Award Gold Medal and Best Courtyard Garden

Herb focal point Crops in close-up Potted extras

A clipped bay tree edged The wide edging on the raised In small gardens, compact
with a skirt of culinary herbs beds doubles as both work crops can be grown in pots
– including rosemary, parsley, surface and informal seating and containers to increase the
and thyme – provides a from which to admire the growing space. These patio
beautiful, aromatic focal point garden. It also allows crops to tomatoes have been bred for
in the centre of the garden, be inspected at close quarters such a purpose and produce
and a readily accessible source so that damage from pests and high yields of sweet fruits
of fresh herbs for the kitchen. diseases can be spotted quickly. on small bushy plants.
204/205 PRODUCTIVE GARDENS Choosing a style

Productive garden plans

In a productive garden, function generally wins over style, but the two are not mutually exclusive. These three
gardens are packed with delicious edible plants, yet each, in its own way, looks great. Maurice Butcher’s
design bursts with edible produce; Bunny Guinness’s vegetable garden gives a nod to formality with its
timber raised bed; and an allotment society has mixed herbs, flowers, and vegetables in a small space.

Wildly productive
Even the paving in this natural-looking productive garden, designed
Grey-green concrete
by Maurice Butcher for the RHS Hampton Court Palace Flower stepping stones
Show, is softened by a profusion of planting – in this case chamomile surrounded by chamomile

which, when trodden on, releases a scent.

Key ingredients Maurice says:
1 Chamaemelum nobile (lawn “This small kitchen garden was created
chamomile) for enthusiastic gardeners. The This Arbutus unedo
emphasis is on medicinal and culinary (strawberry tree) is the
2 Santolina rosmarinifolia focal point around which
herbs for regular harvesting, but the
(cotton lavender) space is for relaxing, too. The clients the garden is organised
3 Petroselinum crispum (parsley) also wanted something organic and with
4 Mentha suaveolens (apple mint) a low carbon footprint.
5 Galium odoratum (sweet woodruff) “As the design developed it became
6 Chamaedaphne ‘Cassandra’ clear that we were working towards a
blend of fruit, vegetables, and herbs,
(leatherleaf lettuce)
and that they should be the
7 Thymus ‘Doone Valley’ (thyme) dominant elements.
8 Salvia officinalis ‘Tricolor’ (sage) “I take inspiration from many things
– including literature, art and travel. The
input and character of my clients are
essential ingredients in my work, too.”
Raising veg Modern
greenhouse
The geometric layout of this
garden by Bunny Guinness Young box
includes the sort of well- parterres
equipped detailing needed in
a hard-working space. The
raised beds of vegetables are
easy to reach and maintain.
Tanalized
Key ingredients softwood
coping
1 Phaseolus coccineus (runner beans)
2 Allium cepa (garden onions)
3 Daucus carota subsp. sativus
(carrots)
4 Beta vulgaris subsp. vulgaris
(red chard)
5 Vitis vinifera (vine)

Bunny says: Brick steps

“This garden was originally dominated
by an overgrown Leylandii hedge. Once
this was removed, the space really
opened up and a backdrop of native
plants was revealed, which help to
soften my design.
“The space works hard, which is
typical of my approach. The owner
is a barbecue enthusiast, so I created a
space for entertaining, with a barbecue
and built-in sink, and a small greenhouse.
“My influences often come from
the architects I work with, and new or
interesting ideas I see on my travels.”

Garden allotment Pumpkins

scramble
This garden was designed by the up sturdy Wooden
Manchester Allotment Society supports arbour seat

for the RHS Flower Show Tatton

Park and aims to show how easy
it is to integrate a few crops into
the average domestic garden.
Key ingredients
1 Beehive-style composter
2 Wild flowers
3 Ocimum basilicum (basil)
and other herbs
4 Solanum melongena (aubergine)
5 Cucurbita pepo (pumpkin)
Gravel Beehive Raised beds
Packed with a variety of herbs, including path composter set with herbs,
basil, fennel, sage, and parsley, the crops among wild tomatoes, and
are squeezed into raised wooden beds flowers aubergines
and small patches of soil in between.
French marigolds (Tagetes) are woven
through the herb plants, providing colour
and helping to deter flying pests.
Tender crops, such as aubergines and
tomatoes, are also included. They can
be grown outside in a sheltered sunny
garden, and ripen towards the end of
summer. A few pumpkin plants scramble
up supports at the back of the plot.
The white beehive composter creates
a decorative yet practical focal point,
and wild flowers help to lure pollinating
insects to the fruiting vegetables.
Family gardens

As leisure time increased in the middle of the 20th century, the concept of a garden shifted from a
formal area that was walked through or viewed from the house, to a space that provided a focus
for family life. Specific areas devoted to relaxation, children’s play, and dining have become
increasingly popular, and today these spaces form the template for many family designs.
Family gardens are often a blend of styles. Their layouts can be rectangular or curved, with
flexible designs for children’s areas that will accommodate their changing needs as they grow.
Play equipment helps to introduce strong colour into the design, while planting areas that attract
a range of wildlife can also provide entertainment for young ones.
The safety of babies and young children is a top priority in these
gardens, with jets and cascades, where the main water reservoir is
underground, used instead of open water features. However, naturalistic
ponds are perfect for older children, who will enjoy the aquatic creatures
and wildlife these features attract.
Natural or composite stone are popular materials for dining and
seating areas, with bark chippings, or other soft yet resilient materials,
providing practical surfaces for play spaces. In larger gardens,
the transition between the children’s and adults’ areas can easily
Natural surroundings can be
be managed with separate, designated areas, but in smaller adapted to create play areas.

plots the design may need to be

more adaptable, perhaps using play
equipment that can be cleared
away as night falls. Lighting can also
help to create a different ambience
for adults to enjoy after dark.
Planting in a family garden needs
to be robust and easy to maintain; it
should also be free from toxic plants
and sharp thorns. Hardwearing turf is
the best choice for lawns used by
children, or opt for easy-care
artificial grass. A swimming pool provides hours of fun for older children.
208/209 Choosing a style
FAMILY GARDENS

What is a family garden?

A family garden can be almost any style that has been
adapted to provide a flexible space for games, room Tepee acts as
for entertainment and play, and an area for dining. a focal point

The smallest of gardens can accommodate a sandpit

or swing, while larger plots have space for separate
Camp fire
adult- and child-friendly zones. offers cooking
opportunities

Family gardens in detail

The concept of the outdoor room celebrates family life. Terraces Tough grasses
need to be large enough to accommodate a dining table and chairs, and shrubs
with space for a barbecue or even an outdoor kitchen.
For play, there are two schools of thought: structured play relies
upon equipment, but children have different needs as they grow,
so flexibility is important. For example, a small sandpit located close
to the house allows parents to watch their young children more Natural stone
easily; then, as they grow and move down the garden to seek more slabs create a
wide bridge
adventure, swings, slides, and climbing frames can be introduced.
Unstructured play provides a rich and interesting environment in
which children can be encouraged to take some risks – building dens, Natural playground
pond-dipping, climbing trees, and watching wildlife. This requires a Designed by Chuck Stopherd of Hidden Garden,
more subtle approach to design and one in which parents cannot be this garden (right) for older children offers valuable
opportunities for outdoor play. The tepee, firepit, and
too precious about their gardening exploits, giving preference to the pool, hidden behind trees, provide a natural setting for
needs of their inquisitive children. children to take risks and explore their environment.

Key design elements

1 Play equipment
The children’s area
can feature large items
4 Tough plants
Plants have to be
versatile and tough
of play equipment, such to withstand rough
as a swing or climbing treatment from children
frame. If space is and pets. Closely
limited, some items planted, often with some
may still be included by evergreens and seasonal
adapting a pergola or colour, they must also be
similar structure. easy to look after.

A 1950s family garden designed for play. 2 Colourful

materials
Splashes of bright,
5 Wildlife features
Ponds with sloping
sides to allow creatures
DESIGN INFLUENCES primary colours are an access, boxes for birds,
The opening up of the garden as a family essential ingredient in habitats to give shelter
facility is a relatively recent occurrence, a family garden. These to hedgehogs, and
although outdoor dining en famille has always can be introduced via plants to attract bees
planting, equipment, and butterflies, are all
been a tradition in Mediterranean countries.
or hard landscaping. ideal for family gardens.
Thomas Church’s book, Gardens Are For
People, first published in 1955, changed
perceptions of the garden and signalled a
move away from intensive gardening and 3 Dens and tents
Part of the children’s
area could include a
6 Easy-care
seating
Seating needs to be
towards the development of the outdoor
room. Later, John Brookes developed these den: a place of their suitable for children and
own where they can adults. Furniture that
ideas in his designs and 1969 book Room
extend their imagination can be left uncovered
Outside: A New Approach To Garden Design. through play. It may be all year and requires
Today, gardens are places of enjoyment, sited within view of the the minimum of care
education, and fun for families to share. house or tucked away and maintenance is the
in a corner. most practical.
210/211 Choosing a style
FAMILY GARDENS

Interpreting the style

A family garden is about sharing your space. The dining area is
the social hub around which the design revolves, and can be
created with a paved or decked terrace that links into a lawn
or into more structured play areas with integrated or temporary
play equipment. Swimming pools or natural ponds make
reflective centrepieces for gardens where older children play.

△△ Versatile space
A large-scale chessboard is both a design feature and
a challenging family game, making the most of a quiet
retreat surrounded by textured foliage planting.

△ Safe play area

This built-in sandpit is close enough to the house to be
monitored, but planting creates the illusion of another
world. A cover will provide protection from the weather.

▷ Star attraction
Central to the design of this contemporary garden, the
turquoise pool is both functional and decorative. Safety
covers or security fences may be introduced if necessary.

▷▷ Secret hideaway
In a secret corner of this densely planted garden, a den of
willow and brushwood becomes the focus of adventure
and discovery, providing an escape from the adult world.
 ◁◁ Adventure playground
A play house that can only be accessed via a footbridge
– fun for kids, but perhaps too precarious for adults –
allows children to escape, and control who visits.

◁ Wildlife haven
This large reflective pond and the reed margins provide
a range of wildlife habitats that can be observed from
the various vantage points located around the banks.

▽ Family fun
As well as exercise, a trampoline offers a perfect
outlet for letting off steam, which is beneficial for both
children and adults alike.

“Helping to bring families closer

together is perhaps the garden’s
most important role”

FAMILY GARDENS TO VISIT

ALNWICK GARDEN, Northumberland
Created with children in mind, with water
features and a gigantic tree house.
www.alnwickgarden.com
△ Colourful entertaining
This vibrant area is part of a modern CAMLEY STREET NATURAL PARK,
design, and combines cooking, dining, King’s Cross, London
and relaxation, offering a fun area
where the whole family can decamp
Ponds and meadows, and hands-on activities.
to escape the confines of the house. www.wildlondon.org.uk

CAMDEN CHILDREN’S GARDEN,

▷ Tree-top retreat Camden, New Jersey, USA
A tree house takes pride of place Four-acre interactive garden for families.
here, acting as both a retreat for www.camdenchildrensgarden.org
children and a decorative focal
point. It also offers a hideaway for
adults when the children are in bed.
MILLENNIUM PARK, Chicago, USA
Offers a programme of interactive family
events and workshops.
www.millenniumpark.org
212/213 Choosing a style
FAMILY GARDENS

CASE STUDY

FAMILY VALUES Shady canopies

The white birch stems echo the
Soft to touch
Easy-care plants that are
white blooms, while contrasting soft to touch are ideal for
Family gardens should be places of fun, where
with the understorey of green family spaces. Here, shade-
children have freedom to explore and play safely. foliage. The trees punctuate the loving perennials, shrubs,
Successful designs cater for both young and older design with their bright vertical and evergreen ferns create
trunks, and their canopies also a leafy blanket, while star
users, providing features to entertain little ones, and offer essential shade, helping to jasmine clads the walls, its
areas for adults to relax and enjoy the scenery. protect youngsters from sunshine. tiny blooms scenting the air.
 Designers Nick Buss and Clare Olof
Show RHS Hampton Court Palace Flower Show
Award Silver Medal

Colourful journey Bubbling tubes Hide and seek

The curved path is colourful A great way to introduce water The hollowed tree trunk and
and confident, creating a safely into a family garden is woven willow playhouse (far
visually exciting journey and with these eye-catching “bubble left) bring an element of fairy
a focal point through the tubes” filled with clear and tale to the design, to fire the
duo-tone planting. The small dyed water. The sound and imagination and provide places
brick setts also lend detail and movement will fascinate to play and hide. Such naturalist
texture, and complement children, while also producing structures blend tonally with
the tiled box stool. a soothing, calming effect. the planting and wider design.
214/215 Choosing a style
FAMILY GARDENS

Family garden plans

Integrating functional spaces for different age groups is the challenge in family gardens. These gardens – the first
designed by Ian Kitson, with planting by Julie Toll, and the second designed by Claire Mee – take contrasting but
equally successful approaches to the family garden brief. Ian’s curved, informal layout blurs the line between
adults’ and children’s areas, while Claire’s follows formal lines with a more discreet spot for play.

Gently rolling
In this London family garden, Ian Kitson has created a spacious lawn
where the children can play, while the terrace provides a place for family
dining and social occasions. The two areas are divided by a snaking
dry-stone and log wall, and by soft planting, designed by Julie Toll.
Dry-stone
Key ingredients Ian says: walling
1 Acer palmatum ‘Sango-kaku’ “Julie and I call this the ‘snakes and
2 Geranium ‘Jolly Bee’ ladders’ garden – the layout is curvilinear,
but the detailing is sharp and precise.
3 Echinacea purpurea
The garden previously featured a sudden
4 Crataegus monogyna drop in level, but the retaining walls,
5 Dry-stone walling steps, and planting have softened this. New-sawn
Yorkstone
6 Lavandula angustifolia “Lighting is included within the steps coping
7 Calamagrostis x acutiflora and between the logs in the curving
‘Karl Foerster’ dry-stone and log walls, which give the
garden an organic quality.
8 Brunnera macrophylla ‘Jack Frost’
“The terrace is used for outdoor dining,
and there’s room on the lawn for games.
I like the way the grass oozes around the
wall, and the fact that it’s transformed
into a carpet of daffodils in spring.”
Yorkstone paving
Corner piece Black limestone paving Teak bench

The sophisticated look of this family garden by Claire Mee

was achieved with an elegant decked terrace for dining, while
the pergola at the end of the plot gives the children a play
area, complete with swing. The spaces are divided by a grove
of olive trees, which offer privacy and add height. The tree
canopies have been lifted to leave clear stems that create
dramatic shadows; light also reflects on the silvery foliage.
Key ingredients interiors of hotels, restaurants, and bars,
1 Olea europaea which use different materials so well.
2 Buxus sempervirens ‘Latifolia “Wide windows look down the length
of the garden, and we used clear-stemmed
Maculata’ olives to provide privacy without blocking
3 Allium hollandicum ‘Purple this view. Elsewhere, I like the contrast
Sensation’ between the softer planting and the Polystone (fibreglass
and resin composite)
4 Sisyrinchium striatum architectural specimens. The client also planters
5 Bark chippings wanted a terrace outside the French doors
6 Origanum vulgare ‘Aureum’ to match the floor-level in the house, and
I designed a large timber deck to make this
Ipe hardwood
link (legally, a paved surface would have
Claire says: to be lower to avoid the damp course).”
decking
“This urban garden occupies a corner plot, Ipe hardwood
so it’s an unusual shape. My ideas for the pergola
design were developed from the house’s
architecture, and from the interior design
and decor. I’m often influenced by the
Natural gardens

Naturalistic gardens are nothing new, with influential designers from the 18th to the 21st century
striving to emulate the natural world in a variety of ways. Today, this style focuses primarily on
sustainability, with designers incorporating plants and materials that do not diminish the world’s
dwindling resources. A natural garden will typically include recycled and renewable materials
and a diverse mix of plants that offer food and habitats to wildlife.
Introduced in the late 20th century, the New Perennial Movement – as espoused by plantsmen
such as Piet Oudolf – increased interest in naturalistic gardening styles and has influenced many
contemporary designers today. This style combines hardy perennials with grasses, matching plants
with their sites so that they flourish with little maintenance. More recently, British, Dutch, and German
research into sustainable plant communities has also set new design trends.
There is a popular idea that natural gardens must be rustic in
character, but this need not be the case, and many modern, elegant
designs include local or renewable materials, such as timber from
certified plantations, and sophisticated recycled materials.
Most owners of natural gardens adopt an organic approach to
controlling pests and diseases, keeping them at bay through use of
biological controls and balanced ecosystems, rather than chemical
pesticides. Habitats that support local species and help to increase
Recycled materials create key
biodiversity are key to these designs, but natural gardens do not rely features in this modern design.

exclusively on native species; non-

invasive exotic plants that attract
beneficial insects and wildlife are
also highly useful, offering extra
colour and year-round interest.
Extensive prairie and meadow
planting is often used in large
gardens, but wild flowers and bee-
friendly species can easily be
included in smaller spaces, too,
providing a range of different
habitats in tiny gardens. A sympathetically designed swimming pond will attract wildlife.
218/219 Choosing a style
NATURAL GARDENS

What is
natural style?
A natural garden should be capable of working as
an effective ecosystem, with reduced or minimal
levels of intervention – it is this approach that sets it
apart from a traditional garden. Ecological principles
play an essential role in creating habitats in which
planting neighbours thrive, competition between
them is balanced, and species are closely matched
to the prevailing soil and climatic conditions.

Natural gardens in detail

The materials used in a natural garden need to be assessed against a
series of criteria. Recycled products are a good idea as they reduce
the exploitation of new resources, but sometimes they have a higher
carbon footprint, whereas sourcing new timber from managed,
renewable and, preferably, local plantations may be a better option.
Other factors to consider include the permeability or drainage of
hard-landscaped surfaces. These should be either porous, in order
to top up groundwater, or designed to allow water to run off into a
collection unit or water butt, thereby reducing the strain on supplies.
In a sustainable, natural garden, planting is key, and a healthy
variety of wildlife habitats essential. Choose plants that thrive in the
prevailing conditions and complement each other, which in turn will
help to reduce the incidence of pests and diseases, although other
forms of biological control may also be needed. Soil improvers
should come from your own compost heap and organic manures.

Key design elements

Rosemary Weisse’s garden at Westpark in Munich.

DESIGN
The change from purely ornamental planting to the creation of
successful plant communities started when William Robinson
(1838–1935) advocated the integration of native and exotic species,
which he called “wilderness planting”. The development of American
prairie planting, championed by Jens Jensen in the 1920s and ’30s,
responded to Robinson’s ideas, and was later taken up in Europe by
the New Perennial Movement. Large drifts of grasses and perennials,
like those seen in the schemes of Rosemary Weisse in Munich, are
1 Green roofs
Green roof systems manage
rainwater run-off and provide
2 Encouraging wildlife
Increased diversity is achieved
by creating effective habitats for
typical of this approach. In the UK, the Department of Landscape insulation. Convert existing roofs wildlife. The more habitats there
at the University of Sheffield has produced significant research into using pre-planted sedum mats. New are, such as old logs, bee hotels, and
sustainable prairie and meadow planting. structures can accommodate more insect-friendly planting, the greater
elaborate habitats. the diversity.
 Wildlife haven
Designed as a naturalist, sustainable garden by Stephen Hall (left) this
beautiful design shows how precious resources, such as water and
wildlife, can be supported and protected. The garden includes a
range of diverse habitats, including a pile of decaying logs and tree
stumps to provide homes for rare beetles, small mammals, and
overwintering amphibians, such as frogs and toads. The traditional-
style building is built entirely from sustainably sourced cedar, and
features a green roof planted with sedum species. Research shows
that green roofs help to insulate buildings and keep them cool when
temperatures rise, reducing the need for heating and air-conditioning.
They also attract beneficial insects when the plants are in flower.

Eco-friendly building with

an insulating green roof

Harmonious design
The gravel path that
weaves through Stephen
Hall’s garden and around
the pond allows visitors
to enjoy the different
plants and features at
close hand, and integrates
perfectly into this
naturalistic setting.

Nectar-rich planting attracts

beneficial insects

Gravel, pebbles, and boulders

suit the natural style

Wildlife pool attracts insects,

birds, and small mammals

3 Rainwater harvesting
However small, water butts
are an excellent way to catch and
4 Rustic garden furniture
Wherever possible, support your
local economy by commissioning a
5 Recycling features
The recycling of organic waste
through composting is vital. Several
6 Naturalistic ponds
Wildlife ponds with sloping
sides that allow easy access, and
store rainwater. If you need craftsman close to home to make compost bins may be required in margins planted to provide cover,
something with a larger capacity, your furniture. All products should order to maintain and rotate supply. offer a natural habitat for aquatic
underground storage and pump be made from responsibly sourced, Think carefully about their location, as creatures, as well as birds and
mechanisms are available. natural materials. they need regular access. insects, such as dragonflies.
220/221 Choosing a style
NATURAL GARDENS

Interpreting the style

A natural garden can follow a formal layout, but most are
informal, with relaxed planting drifts and apparently random
mixes of grasses and perennials, indigenous trees, and shrubs.
You can then organise these into habitats, such as wetland,
meadow, or woodland, and use recycled materials, sourced
locally or from renewable plantations, and permeable paving.

△△ Desert oasis △ Ideal match

American designer Steve Martino produces For a successful meadow, it is essential to
elegant and modernistic gardens in the match planting to the environment. Here,
Arizona desert, using billowing natives the elegant nodding heads of Fritillaria
and drought-tolerant species, interspersed meleagris suggest damp conditions.
with key plants such as Agave.
▷ Sleek combination
△ Bird haven Diffused mixes of meadow or prairie
Feeders and bird tables will help attract perennials and grasses provide a perfect
wildlife, especially during harsh winters foil to sharply detailed contemporary
when food sources may be scarce. architecture, existing happily side by side.
 “Natural gardens offer food
and habitats for beneficial
insects and other wildlife”

GARDENS TO VISIT
THE BETH CHATTO GARDENS, Essex
Famous gardens that have been developed,
and are gardened, on ecological principles.
bethchatto.co.uk

LONDON WETLAND CENTRE, London

A network of ponds and wetland meadows,
with observation hides and interactive features.
wwt.org.uk/wetland-centres/london

BOTANICAL GARDENS, University of △◁ Waterside planting

Pond margins provide one of the richest garden habitats,
Göttingen, Germany bringing together aquatic, marginal, moisture-loving and
Ecological and habitat-based gardens. dry planting schemes. Keep planting groups large and
uni-goettingen.de/en/108651.html associations simple for the best results.

WEIHENSTEPHAN UNIVERSITY ◁ Lasting interest

Sown prairie planting mixes, typically combining
GARDEN, Freising, Germany Echinacea and Rudbeckia with grasses such as Panicum,
Where the New Perennial Movement provide an effective display and long season of interest.
began. hswt.de/en/weihenstephan-gardens
△△ Safe habitat
WESTPARK, Munich, Germany A simple timber structure provides dry storage for logs,
an important habitat for over-wintering insects.
This public park includes the herbaceous
drift and steppe planting of Rosemary Weisse. △ Mixed species
muenchen.de Allowing native plants to colonise among meadow
grasses aids the conservation of species endangered
through urban development or intensive farming.
222/223 NATURAL GARDENS
Choosing a style

CASE STUDY

WILD ONE Bug hotels

These dry-stone walls not only
Roosting sites
This small copse of white-
break up the space, injecting stemmed birch trees (Betula
Blending wild flowers, ornamental plants, a small
eye-catching sculptural forms, utilis var. jacquemontii) offers
woodland and recycled materials, this design shows but they are also designed as a home for birds to roost
how a natural garden can also look sophisticated bug hotels, with ready-made and nest, while ferns and
nest holes, cracks, and crevices other shade-tolerant plants
and exciting, while offering a range of habitats for for solitary bees and other below offer further habitats
birds, beneficial insects, and other forms of wildlife. beneficial insects to inhabit. for small creatures.
 Designer Nigel Dunnett
Show RHS Chelsea Flower Show
Award Silver-gilt Medal

Beneficial planting Upcycled office Flood defence

A mix of wild flowers, nectar- Creating a dramatic statement, A series of shallow, linked
rich ornamentals, such as the this stylish outdoor office is pools form the reservoirs
orange Geum ‘Prinses Juliana’, made from an old shipping of a “storm-water chain”
and houseleeks (Sempervivum) container. The circular panel drainage system, designed
on the tops of the walls, offers decorations are filled with to capture excess rainwater
plenty of visual interest and cones, bits of wood, and after a heavy downpour to
food for the bees, and is low- bamboo canes, which provide prevent it running off the
maintenance once established. further homes for insects. garden and causing flooding.
224/225 Choosing a style
NATURAL GARDENS

Natural garden plans

To keep their varied planting in some order, many natural gardens have quite structured layouts, and despite
their abundant and seemingly uncontrolled appearances, the gardens designed by Nigel Dunnett and James
Barton, shown here, are held together with well-defined lines and shapes. They also include water, which
provides an important habitat for many types of wildlife, and permeable hard-landscaping surfaces.
Deck made from reused
railway sleepers
Practising what you preach
Nigel Dunnett is a Professor at the University of Sheffield and a Deck extends in front
landscape designer. He is renowned for his research into sustainable of timber shed
planting and urban drainage systems, and this small garden, which
sits on a north-facing slope, puts many of his findings into practice.
Key ingredients Nigel says:
1 Euphorbia palustris “I wanted to create a woodland glade,
Concrete
2 Geranium sylvaticum with closely planted birch forming a light building-block path
canopy and linking with the surrounding
3 Lonicera periclymenum ‘Serotina’
countryside. Clipped hornbeam hedges
4 Green roof provide enclosure and structure alongside
5 Euonymus alatus ‘Compactus’ softer successional planting.
6 Astilbe chinensis var. taquetii “Perennials form a dense ground
‘Purpurlanze’ cover, almost eliminating the need for
7 Caltha palustris weeding. The planting is 50 per cent
natives and 50 per cent cultivated garden
8 Acorus calamus
plants – together they give almost
year-round colour. The pond is filled with Reused flagstone
run-off from the paved surfaces and helps path
to manage the drainage in the garden,
which has been a huge success.” Bridge over circular pond
Compact sustainability
Dr James Barton and his wife developed the design of their
sustainable garden in Westphalia, Germany, over a number of
years. The garden is modest in size, yet includes a rich range
of planting – ornamental and native species, selected for interest
and their ability to thrive as good neighbours, are intermingled.
A system of pathways provides easy access to them.
Key ingredients We have structured the spaces with
1 Nymphaea alba beech and box hedges, or with fences,
2 Iris sibirica and we have also created a range of small,
informal seating areas to provide different
3 Fagus sylvatica views through the garden. In the main,
4 Angelica archangelica we use perennials and shrubs, with some
5 Carpinus betulus annuals added as necessary to provide
6 Lychnis flos-cuculi splashes of colour.
“For inspiration, we have visited many
James says: open gardens, primarily in the Netherlands
“In its early days, this was a family garden, and southern England. However, we were
but since our children left home it has originally inspired by a visit to a small
evolved into something else. private garden in Germany, the owner of
“We develop areas as we gain new which was the president of a local society,
ideas, but the basic layout of the garden, the Gesellschaft der Staudenfreunde, of Timber bench, Paths made from granite, Dense planting
as a series of “rooms”, remains the same. perennial plant enthusiasts.” made from reclaimed when local around pool offers
recycled wood streets were re-paved habitats for wildlife
Urban gardens

Gardens have always had a presence in cities, but since the late 19th century, when urban
populations began to increase dramatically, they have taken on an ever more important role as
relaxing oases. City gardens are generally small spaces, and though there are plenty of ways to
design them successfully, simplicity usually produces the best results.
Many urban garden designers, keen to use space efficiently, employ plans based on squares
and rectangles that fit snugly into small, regular-shaped plots. Other designers organize layouts on
the diagonal, which can make an area seem larger. Free forms are also increasingly popular as
urban designers become more experimental.
But whatever their size or shape, modern city gardens should be
flexible, since they may have to offer areas for play, as well as for
outdoor dining, entertaining, and relaxation. A simple palette of
hard-landscaping materials creates clean, practical surfaces, while
careful planting along the boundaries can increase privacy.
Lighting is an essential addition to these architectural spaces. It can
emphasize both the hard landscaping and the planting, as well as
extend the garden’s use after dark.
In small urban gardens, planting is often restricted to a handful of
high-performing plants used to create interest all year round, with
vertical planting, in the form of climbers and wall shrubs, softening the Repetition of forms adds impact.

edges. Owners of city gardens can

also try their hand at growing
vegetables, fruit, and herbs, using
containers and pots to create a mini
allotment. Some urban garden
designers also choose to minimize
open spaces in favour of dense
planting and a complex range of
plant species, which can increase
the feeling of seclusion and privacy.
Architectural minimalism, a
proliferation of plants, or both?
You decide. A neat mix of materials offers contrasts in colour and texture.
228/229 Choosing a style
URBAN GARDENS

What is urban style?

Today’s city gardens have to work hard, providing space for planting, relaxation, play, and
entertaining. As the high price of land in urban areas has squeezed the size of gardens, new ideas for
small spaces have emerged. Approaches vary, but most urban gardens are treated either as functional
spaces or as green oases – both offer a private escape or retreat from hectic city life. In the former,
hard surfaces dominate, creating a stage for multiple uses. Architectural treatments to boundary
walls, furniture, and water features create elegant “rooms”, often lit after dark to create extensions
to the home. In the latter, planting dominates, often taking over areas that could have been used for
entertainment or play. This intensive planting approach benefits the keen urban gardener, who may
even use the space as a productive allotment.

Urban style in detail

The urban garden layout needs a simple, clear geometry. Planting
similarly needs careful thought, as space is limited – the trend has
been for fewer species that work harder seasonally, providing
architectural or sculptural interest. Grasses and large-leaved foliage
plants are popular with designers of this style.
In many city gardens, sliding or folding doors create a seamless
transition between interior and exterior “rooms”, extending the
living area. Paved or decked surfaces help to increase functional
space; materials are often selected to match interior finishes, further
unifying indoors and outdoors. Pergolas or pleached trees offer
privacy in overlooked minimalist spaces, while dense planting can
achieve the same effect in more naturalistic urban gardens.
Sculpture provides a focal point, often combined with water
used in jets or cascades rather than pools. Built-in seating fits
architecturally, but can limit the flexibility of the garden. Stylish
furniture and identical containers in a row add drama and rhythm.

Gravel infill Simple bench Pleached trees

around slabs

City garden
Here, garden designer
Philip Nixon has created
a simple but decorative
plan with timber-clad
walls complementing
the furniture, and folding
doors that lead out
from the house (right).
Planting is a mix of
perennials, grasses,
and evergreens, with
the addition of tall
pleached hornbeams,
which provide
valuable screening.

Slate slabs A row of potted grasses

 DESIGN INFLUENCES
Evocative of country gardens, early city small urban garden, including low-
designs were often heavily planted and maintenance designs.
complex in layout. Today, they have More than a century later, John
become much simpler. Brookes published a series of successful
In 1839, JC Loudon – the Scottish books that, like Loudon before him,
botanist, garden designer and garden addressed designs for smaller plots, and
magazine editor – responded to explored the idea of the “outdoor room”.
increasing urbanization and the More recently, the Japanese have led
diminishing size of city gardens in the way in designing tiny outdoor spaces.
his book The Suburban Gardener and In their densely populated cities, balconies
Villa Companion. In it, he classified or light wells are often the only areas
different design approaches to the available for planting.
A John Brookes design for a London garden.

Key design elements

1 Dramatic
containers
Clay, stone, or steel plant
containers are often
repeated for effect. Fill
them with clipped box or
– for a softer, more
informal look – a mix of
perennials and grasses.

2 Sculptural
furniture
Artfully designed
furniture – in the shape of
bespoke built-in benches,
coordinated tables and
chairs, or recliners – gives
the garden focus and
answers a functional need.

3 Lighting
With the
introduction of
low-voltage and LED
systems, lighting has
become more
sophisticated. Use it to
emphasize your garden’s
contours and plants.

4 Pleached trees
In overlooked city
gardens, pleached trees
(which look like hedges
on stilts) provide privacy
while using little floor
space. Use lime,
hornbeam, or evergreen
holly oak.

5 Stylish materials
Designers often
employ a mix of materials
to maximize texture and
interest. Both natural and
man-made materials,
such as concrete, glass
and steel, are popular.
230/231 Choosing a style
URBAN GARDENS

Interpreting the style

If hard surfaces for outdoor living dominate, planting has to
work harder to compensate. Choose simple, bold, architectural
combinations, which are stylish and easily maintained. Lighting,
strategically placed, will flatter the space in the evening. For
densely planted areas, keep paving simple, using strong textural
foliage and colour as a foil to the built-up environment.

△△ Soothing retreat △△ Geometrical harmony

Vertical or wall planting optimises the restricted space, The decorative grid of paving reinforces the soft lawn
while retaining a softening effect. A textured panel of surface, while the simple, rectilinear geometry of the
basalt provides sound as water trickles over the surface. garden and its planting complement the house.

△ Formal welcome △ A place to entertain

Here, box hedging defines dense, foliage planting that Raised beds also provide informal seats for relaxing
softens the paved areas. Pleached trees obscure the around the fireplace. The mix of ornamental grasses
outline of the surrounding buildings and create privacy. and Allium creates a diffuse screen between two areas.
 “As space diminishes, the
urban garden becomes an
increasingly precious resource”

GARDENS TO VISIT
RHS CHELSEA FLOWER SHOW, London
The five-day show contains a specific section
of gardens designed for urban situations. Held
in May of each year.
www.rhs.org.uk/chelsea

KENSINGTON ROOF GARDENS, London

Located on top of a Grade II listed building in
the heart of a busy London street.
www.roofgardens.com

THE NGS YELLOW BOOK, UK

A comprehensive list of many privately-owned
urban gardens open to the public.
www.ngs.org.uk

△△ Hidden gem THE GARDENS OF APPELTERN, Holland

A suspended canopy adds style and privacy to a seating A whole range of gardens, including urban style.
area. Planting is minimal and restricted to containers, www.appeltern.nl
tonally linking to the cushions on the benches.

△ Outside living PALEY PARK, 53rd Street, New York, US

A room outside in which to eat and relax, with extra One of New York’s famous pocket-handkerchief
seating provided by the raised beds. Water spilling from spaces offering cooling water and shade.
the wall and over the slabs creates a sensuous sound. www.pps.org
232/233 Choosing a style
URBAN GARDENS

CASE STUDY

HIDDEN DEPTHS Eye-level intimacy

The sunken seating area is
City shades
Grey stone paving creates
surrounded by raised beds a contemporary look. It is
This sunken garden maximises the sense of space in
that bring the planting up to made from a traditional
a compact urban plot by introducing different height eye level, achieving a sense of material, but the colour
levels, while the edges of the hard landscaping are intimacy with nature in an – which reflects the urban
urban setting. Different levels landscape – brings it up to
softened by restful planting that relies on contrasting also partly conceal the space date, while creating a foil
leaf shapes, colours, and textures. to create a sense of discovery. for the plants’ foliage.
 Designer Paul Hervey-Brookes
Show RHS Chelsea Flower Show
Award Gold Medal

Calm contrasts Stylish furnishings Secret spaces

The textural planting blends a Dressing a garden to suit your Solid screens reinforce a feeling
range of leafy plants, such as taste helps to personalise the of privacy and help to shield the
Epimedium and grass-like Libertia, space. The seats here are social space of the garden from
with a sprinkling of floral interest perfect for two people to neighbouring properties. Tall
from the likes of Aquilegia and relax in, away from the noise shrubs and perennials are used
Anthriscus sylvestris ‘Ravenswing’. of the city beyond, while the to lightly veil other areas of the
The restrained colour scheme bold red and grey cushions garden, affording glimpses
creates a tranquil effect. add a contemporary note. through to tempt in visitors.
234/235 Choosing a style
URBAN GARDENS

Urban garden plans

Small gardens demand big ideas, and in their designs for these two city plots, Andy Sturgeon and Sam Joyce
have certainly delivered. Andy has found a clever solution to the particular problems that a roof garden
presents – such as an overall weight limit, and increased exposure to the elements for plants and people.
Sam has made the most of a very small plot with a useful, yet uncluttered and colourful design.

Up on the roof Integrated bench

In a restricted city space, this roof-top garden by Andy Sturgeon seat and raised
bed for plants
makes excellent use of the great outdoors. The low-maintenance
design creates an extra room in which to entertain, with materials Hardwood and
stainless steel
providing the focus and simple planting offering shelter and privacy. table and chairs

Key ingredients “I normally design larger spaces that

1 Fargesia rufa are not so minimal, but my approach to
2 Iroko bench this project suited the client and the
roof-top location, and I enjoyed responding
3 Astelia chathamica to the challenge. More specifically, the Steel structure
4 Gas-fired flambeaux client wanted to be able to sit outside in all to hold canvas
weather and seasons, hence the canopy canopy
Andy says: and the water, fire, and bench combination.
“This space suited the client, who was “I call upon a wide range of inspirations,
young and enjoyed entertaining friends, but from shop-window treatments to
wasn’t particularly interested in gardening. contemporary art, and find this input
“The water became the focus of the particularly useful in urban situations.”
garden. It is very shallow, to reduce the
weight on the roof, but highly reflective
to excite and entrance; combining it with
fire proved a particularly complex detail. Existing concrete tiles Hardwood decking
Tiny retreat
When designing a small area, you have to make a very short wish list
of uses and then prioritize: what is essential and what can you do
without? In this suburban back yard, Sam Joyce’s choices were
limited, but she responded to her client’s main request for room
to entertain and relax with a fitted seating area, a simple deck that Ipe hardwood decking
offers space for extra chairs to be brought out from the house, and
statement plants to soften the lines without cluttering up the garden.
Key ingredients community in this area, and neighbours
1 Trachelospermum jasminoides regularly socialise in each other’s gardens.
“The bench provides seating for several The pergola is made of
2 Miscanthus sinensis steel uprights with Balau
guests, and doubles as a sun lounger. It
3 Musa basjoo also helps to disguise the various utilities
hardwood cross beams
4 Buxus sempervirens in the garden, and creates a colourful
5 Electric wall light contrast for the planters filled with box
6 Heuchera ‘Plum Pudding’ balls behind it. The white wall comes
alive with the silhouettes of the plants in The bench is concrete
front of it when the garden is lit at night, blockwork with painted
Sam says: (masonry paint) render
“This is a very small yard attached to and this architectural planting adds
a Victorian terraced house. The client is a impact to the design during the day.”
single professional with grown-up children
who live away from home, and the space
was to be used primarily for relaxing and
entertaining – there is a strong sense of
Country gardens

For centuries, people living in cities have been tantalized by a romantic vision of a garden
in the country. Today, improved transport links have made it possible to work in town but return
to the country on a daily or weekly basis, and the dream of a country garden has become a
reality for many.
In the 18th century, the Landscape Movement turned from classical formality to more natural
designs, and the country garden idyll was born. The style was later developed by the Arts and
Crafts designers during the Edwardian period, and it now refers
generally to large, heavily planted gardens, often split into a range
of smaller spaces. Areas for pleasure may include swimming pools,
tennis courts, lawns, and terraces for entertaining. Orchards,
woodland, meadows, or lakes provide habitats for wildlife, as well
as vantage points to view the landscape beyond.
For designers, it is the scale of these gardens that presents a
challenge. The most effective layouts tend to favour rectilinear
formality close to the house, with increasing informality and
curvilinear geometry as you move through the garden.
Golden spikes of Kniphofia provide
Planting is also generally formal around the house, terraces colour and structure.

and main lawns, but becomes more naturalistic towards the

boundaries. Natural stone or brick are typical paving
materials, although concrete may be appropriate for the
modern country house. Further from the house, gravel is often
used, with grass paths taking over in the wider landscape.
Views and vistas are enhanced and exploited, while
features, such as stone seats, pergolas, ornamental pools,
and sculpture, are important as destinations and help to
define the garden landscape. Hedges contain garden
spaces or define views, and tree-lined avenues are also
effective if space allows.
Taking inspiration from the past and infusing it with
innovative contemporary ideas, country garden style
Stone steps and a narrow waterfall lead to
continues to evolve. a tranquil pool with Pontederia.
238/239 Choosing a style
COUNTRY GARDENS

What is country style? DESIGN INFLUENCES

In the 1870s, the English designer
The advantage of a country garden is the ample space it William Robinson revolutionized
attitudes to gardening with softer,
affords, which can accommodate a range of areas and more naturalistic planting schemes
planting schemes. The designer’s challenge is to bring that combined exotics and native
species. Through his writing and
together the various elements in a coherent composition. the gardens he developed at
Formal symmetry often dominates the styling close to the Gravetye Manor, he influenced
prominent designers such as
house, with more informal spaces in the outlying garden, Gertrude Jekyll, Vita Sackville-
moving from man-made features to natural landscapes. West, and Beatrix Farrand.
Later gardens by Thomas
These different areas are linked with paths and visitors Church and Dan Kiley relied
are led by focal points, viewing areas, and resting places. more on the manipulation of
space and links to the wider
landscape. They tended to use
existing or native planting,
Country style in detail William Robinson’s creating harmonious designs
Many large country gardens are exposed to wind, which can seriously natural style. with a much simpler palette.
limit or damage plant growth, sometimes even preventing the plants’
establishment altogether. Consequently, windbreak planting is frequently
the first element to be introduced, but this can obscure surrounding
views. Compromises have to be made, often producing limited or
narrow vistas, yet this restriction forces designers to evaluate views
and different perspectives carefully, which can increase the drama.
Hedges provide soft structure within the garden, creating rooms
in traditional-style gardens or independent screens in more
contemporary schemes. Hard paving materials are generally used near
the main property, with routes through the garden in more economical
gravel. Planting schemes have to be appropriate for the large scale.
Lawns often cover the greatest area, but meadows with mown
paths or prairie planting provide more texture and seasonal colour.
Woodland and lakes also offer a variety of experiences and habitats.

Curved concrete wall Boulders provide structure

Country contrast
Here, Andy Sturgeon uses
concrete, decking, and
bound gravel paths to
create a fluid transition
between level changes in
this contemporary country
garden in south-east
England (right). Large
boulders stand out against
the soft sweeps of planting
beyond, and grasses
provide movement and
light in the deep planting
beds. The wide boundary
hedges screen views of
neighbouring properties.

Bound gravel path

meanders through
the garden

Decked walkway Lawn links

adds texture planting and paths
Key design elements

1 Luxuriant
planting
Extensive borders
2 Large pools and
streams
Natural springs may
3 Views into the
landscape
The garden experience
provide the opportunity provide the basis for can be dramatically
for dynamic planting, ponds and streams, enriched by linking it to
using colour and texture but they can be the landscape. Long,
in drifts or en masse. introduced artificially narrow views, which
Meadow-style planting to create reflective open up to a wide
is also used for its surfaces and wildlife natural panorama
potential wildlife value habitats, or for new beyond, produce
and decorative aspects. planting opportunities. spectacular effects.

4 Sweeping lawns
Lawns are used both
as a functional surface
5 Hedging and
screens
Hedges define space
6 Natural
materials
Local stone that
and as a decorative foil and control views. Yew weathers to produce
to more textured or produces a dark, dense varied surface textures,
colourful planting. Lawns backdrop that is perfect such as York- stone, is
and grass pathways for colourful borders. often seen in traditional
should be as wide and Low box hedges are country gardens. A
open as possible, as ideal for parterres, and more contemporary
the surface can wear mixed hedges work well quality is achieved with
with heavy use. on a larger scale. concrete and decking.
240/241 Choosing a style
COUNTRY GARDENS

Interpreting the style

There has recently been a move away from complex mixed
border schemes to a more limited planting palette, such as the
architectural hedges and monocultures typical of Jacques Wirtz’s
designs, or the large drifts of colour evident in the work of Piet
Oudolf. Both designers rely on the movement and light-capturing
qualities of grasses, which provide a long season of interest.

△△ Graphic design △ Painting with flowers

Rows of clipped hedges and billowing Christopher Lloyd experimented with vivid
grasses are interspersed with the white colour in his garden at Great Dixter, shown
trunks of closely planted birches, creating above. He combined clashing pinks and
strong shadow patterns, rhythm, and reds, flouting conventional colour theory.
movement. The simple palette of green
foliage plants emphasizes line and texture.

▷ Autumn glory
The mahogany seedheads of Phlomis
stand out against the green, silver, and
bronze mounds of grasses and perennials
in these stunning deep borders.
◁ Exuberant border ▷ Catching the light
Splashes of colour illuminate this haze These graceful borders, planted with a
of planting and emerge skywards, adding mix of golden feathery grasses and eye-
vertical interest. Transparent veils of catching red Sedum, encircle this sunny
grasses and perennials create the romance. seating area with movement and light.

▽ Mirror image ▽▷ Virtuoso planting

The glassy surface of the pond is the main In his own garden, Piet Oudolf mixes
feature in this garden. Marginal planting broad masses of colour with drifts of
is restrained to maximize the reflective grasses to create a soft meadow effect.
surface, and the terrace provides space The wave-clipped yew hedges provide
for outdoor entertaining. a contrast in architectural form.

GARDENS TO VISIT
BORDE HILL, West Sussex
Combines many different garden and
planting styles, including water gardens.
bordehill.co.uk

GREAT DIXTER, East Sussex

Inspiring garden that uses colour creatively.
greatdixter.co.uk

HESTERCOMBE, Somerset
A garden by Edwin Lutyens and Gertrude
Jekyll, plus an 18th-century landscape garden.
hestercombe.com

KIFTSGATE COURT, Gloucestershire

An outstanding 20th-century garden.
kiftsgate.co.uk

“The luxury of space ROUSHAM PARK HOUSE, Oxfordshire

William Kent’s early 18th-century
masterpiece. rousham.org

and abundant planting SCAMPSTON HALL, Yorkshire

Includes Piet Oudolf’s dazzling walled garden.

create the magic”

scampston.co.uk
242/243 COUNTRY GARDENS
Choosing a style

CASE STUDY

UPDATED COUNTRY Elegant borders

Despite its modern design, the
Sculptural focus
The modern piece of
planting is firmly rooted in the figurative sculpture brings
For some, a country garden is traditional, formal, and
past. Roses, such as the red a contemporary note to
large; this garden proves otherwise, mixing many of ‘Chianti’, provide old-fashioned the traditional setting, a
the style’s key ingredients – such as burgeoning scent, alongside pink foxgloves focal point that helps lead
(Digitalis purpurea), geraniums, the eye along the path and
flower borders, lawns, and sculpture – into a clean, and blue salvias, to form a presents a destination to
contemporary design in a relatively small space. traditional country border. draw in the visitor.
 Designer Jo Thompson
Show RHS Chelsea Flower Show
Award Gold Medal

Verdant lawn New perspectives Hidden secrets

A lawn is an essential element The curved pathway through Few country gardens reveal
of country garden style and the the garden is echoed by the all the interest and features
soft grass is married here with a false-perspective bench, which they possess in one go. This
tidal rill, designed to emulate a is wider at one end to create garden uses the same trick,
sparkling stream. While a lawn the illusion of greater length. offering glimpses through
suggests formality, its oval shape The curves contrast with trees and borders of areas yet
and rill edging provides a link bronze upright fins along the to be discovered, as the visitor
with the natural landscape. boundary, which add drama. journeys through the space.
244/245 Choosing a style
COUNTRY GARDENS

Country garden plans

The expansive nature of country gardens gives designers room to luxuriate in planting. The first of these two
examples is open to the public and was designed by Piet Oudolf – the influential Dutch designer, nurseryman,
and author, who is also a leading figure of the “New Perennial” movement. The second, by Fiona Lawrenson,
is a private space where the plants, although just as abundant, feel a little more contained.

Garden meadows
Piet Oudolf’s garden for Sir Charles and Lady Legard at Scampston Hand-made
brick edging
Hall in Yorkshire is one of his most arresting. It mixes formal elements
with drifts of informal grasses and shapely perennial flowers – Piet’s
signature planting, which injects dramatic seasonal impact.
Key ingredients Piet says:
1 Achillea ‘Summerwine’ “The garden at Scampston covers about
2 Rudbeckia occidentalis four acres and sits within protective walls. Original
It used to be a working garden, but my stone edging
3 Monarda ‘Scorpion’ surrounds the
clients wanted to create a contemporary
4 Phlomis russeliana space rather than a reconstruction. old dipping
5 Echinacea pallida pond
“I worked with the large scale of the
6 Stachys officinalis ‘Hummelo’ garden to create something of interest to the
7 Panicum virgatum ‘Rehbraun’ visiting public, so not all of the planting is
8 Salvia x sylvestris ‘Mainacht’ typical of what I do. I aimed to link the past
with the present by using formal elements,
such as hedges and clipped specimens,
between more relaxed perennials.
“I am influenced by contemporary
architecture, art, and nature; and I think
that, at Scampston, there is interest in Golden gravel pathways Paths lead into
both the planting and the strong design.” centre of planting
Stepping out Two large,
circular lawns
In this large garden designed by Fiona Lawrenson, stepped, circular provide a soft,
lawns provide an elegant transition from the terrace outside the lush link
between the
house to the main garden. Planting surrounds these circles, softening house and main
garden
their geometry – a key quality in the country garden.
Key ingredients the wide circular steps gradually turning
1 Rosa ‘Rambling Rector’ to take advantage of the view. Originally Flint panels
2 Salvia nemorosa EAST FRIESLAND there was a narrow path and a vertical clad the brick
drop down into the main garden, so the retaining walls,
3 Sambucus racemosa ‘Plumosa Aurea’ new terrace and steps created space and and echo details
4 Campanula poscharskyana a link into the main garden. on the house
5 Centranthus ruber “The owners were a young family who
6 Acanthus spinosus needed usable space and wanted a spot
from which they could enjoy views of the
Fiona says: setting sun, hence the ‘gin’ terrace. Gravel viewing
terrace
“This Hampshire property has an “I like to link a house with its surrounding
old-fashioned country pedigree – Jane landscape through its garden, and I am
Austen used to live nearby and visited strongly influenced by the architecture I
regularly to collect milk. Its garden stands work with. But plants are my first love, so The bricks used
for the steps
on a south-facing hillside with views they take centre stage. This garden’s match the
across a valley, and I wanted to create a bedrock is chalk with heavy clay soil on colour of those
gentle descent into it from the house, with top, and its planting suits these conditions.” on the house
Cutting-edge gardens

Influenced by art as much as horticulture, cutting-edge gardens break design conventions and
free up designers to make their own set of rules. Conceptual gardens, which are often based on
an idea or theme, fit into this category and examples can be seen at various festivals around the
world, including RHS Hampton Court Palace Flower Show in the UK, Chaumont-sur-Loire in France,
and Reford Gardens in Métis, Canada. Cutting-edge design can also be used to describe any
contemporary garden that does not fit neatly into a more conventional style.
Many cutting-edge designs celebrate new technologies and employ man-made materials,
such as concrete, steel, rubber, fabric, glass, and Perspex, to create impact and visual interest.
Lighting is also used to great effect in many of these gardens.
Planting is not intrinsic to a successful cutting-edge garden, but can support the overall
message conveyed by the design. When used, planting is often included
for its sculptural qualities, and may also emphasize colour, texture, and
movement. For some designers, ideas are inspired by ecology or the
environment, and their gardens may feature plants that showcase a
particular place or habitat.
Design concepts can be applied on a whim, but the best results are
achieved where there is a relationship between the garden, its location,
and the personality of its owner, or its history and cultural significance.
Architectural foliage and
Key figures in cutting-edge design include the landscape architects flowers provide focal points.
Martha Schwartz and Kathryn
Gustafson, who have both created
ground-breaking gardens. Land art
has also been influential in the
evolution of this style. Examples
include the works of Richard Long
and Andy Goldsworthy; both
designers are renowned for their
natural sculptures, which form part of
the landscape and intensify visitors’
experience of a place. Manufactured materials are mixed with natural elements.
248/249 Choosing a style
CUTTING-EDGE GARDENS

What is cutting-
edge style?
This style is a mix, sometimes accidental, but often
deliberate, drawing from a wide range of genres.
Short-lived and more experimental, show gardens
offer a platform for these eclectic creations and
allow designers the freedom to innovate. Colour,
sculpture, and garden art provide focal points and
interest, while planting often focuses on architectural
specimens and lighting adds to the drama.

Cutting-edge gardens in detail

Rendered walls are typical of this style, as they provide backdrops or
surfaces on which art and sculpture can be displayed. Colour, usually
intense and bold, is also important, creating a vibrant atmosphere.
A wide range of materials are associated with the style, and in some
gardens the combinations can be quite complex. Designers often use
a mixture of man-made and natural surfaces, such as concrete and
timber, or stone and steel, and by keeping the overall plan simple,
these textural contrasts are more clearly appreciated.
Furniture is frequently used to express particular architectural
or stylistic references, or it may also introduce colour. Sculptural
plants add scale and drama, and are sometimes repeated to amplify
ideas. In addition, colourful and textural planting is a common
feature, with containers used to reinforce stylistic concepts.

Simple lawn

Modern synthesis
This design by Steve
Martino (above right)
combines the rectilinear
geometry of Modernism
with architectural DESIGN INFLUENCES
succulents and dry, This style borrows from a
desert-style planting. range of ideas with energy and
The curved steel panels
add drama to the pool, confidence. Travel, a shrinking
Cacti are focal creating shadows and world, and the Internet have
points close light play during the opened up access to a wide
to the house
day and after dark. range of plants, materials,
and influences – from jungle
planting to Japanese gravel,
Modernism to Mediterranean,
and formal to conceptual style.
This gazebo by Michael Schultz
and Will Goodman uses
Mixed flowerbed
Japanese elements with Art
Deco and Post-Modernist
overtones. The personality
of the resulting designs may
not please the purists, but
cutting-edge style is all about
Large pavers The Hurst garden by Schultz Goodman.
create feeling Water feature adds
breaking the rules.
of space colour and sound
Key design elements

1 Modern
materials
Cutting-edge designs
2 Sculptural plants
Although a wide
variety of plants are
3 Water cascades
and fountains
Cascades, fountains,
often include materials used in cutting-edge and water blades –
that are not traditionally gardens, many have controlled by a smart
associated with gardens, sculptural qualities – phone to produce
such as glass, steel, and grasses, Yucca or Astelia complex displays –
Perspex, with planting are typical, and palms provide movement,
softening the lines. are used for height. atmosphere, and sound.

4 Lighting
Light effects are key
style devices, picking up
5 Eclectic
floor plan
The mixing of styles can
6 Vibrant colours
Bold colours are often
used in surface finishes
architectural details, produce interesting and to make connections
specimen plants, and complex layouts, with between plants and
decorative topiary. The Modernist designs hard materials. Rendered
development of lighting mixed with drought walls, ceramics, paving
technology and LEDs gravel planting, or and lighting can all
produces spectacular formality combined contribute colour and
results and can also with the asymmetry drama while creating
inject additional colour. of Japanese gardens. an exciting ambience.
250/251 Choosing a style
CUTTING-EDGE GARDENS

Interpreting the style

Designing cutting-edge gardens is a liberating and fun experience, where
rules can be rewritten. Colour can be a controlling element, with rich or
strident tones making clear connections between materials and planting.
Also try using irregular shapes and mix solid materials with transparent
glass or Perspex to create a bold, unique design.

△ Bedrock of design ▷ Playing with the elements

Like a geological phenomenon, these In his garden of sculptural Jura limestone,
angled layers of red sandstone rise out Peter Latz uses fog as a device with which
of a pond and are juxtaposed with dry, to create a sense of mystery. Its wisps veil
Mediterranean planting combinations and reveal the stone forms in turn.
with glaucous foliage.
▷▷ Golden brown
◁ Solid seating This gravelled courtyard space is unified
A touch of the interior design is brought by striking colour and strong shadows.
to this outdoor terrace, with its concrete The simple grove of Mexican fan palms
seating and coffee table. Planting softens (Washingtonia robusta) creates a
the effect in places, and cushions would brilliant connection with the modern
make the furniture more comfortable. Mexican architecture, too.
 “Cutting-edge designs mix up
conventional ideas and bend
◁ True blue
Claude Cormier’s Blue Stick
garden was inspired by
Meconopsis betonicifolia
the rules of garden-making”
(blue poppy). Two sides of
each stick are blue and two
red, creating different effects.

△Water and earth

Water gently cascades over this ledge, cantilevered
from a rendered wall, and into the trough below,
creating an oasis in this desert garden. The warm
earth-tones echo the sandy soil and glow in the sun.

◁ Blocks and undulations

White concrete cubes are counterpoints to the turf
that ripples across this garden. They create a sculpted
quality that offsets the stark walls of the house.

GARDENS TO VISIT
RHS HAMPTON COURT PALACE
FLOWER SHOW, UK
Show with a section of conceptual gardens.
rhs.org.uk/hamptoncourt

GARDEN OF AUSTRALIAN DREAMS,

Canberra, Australia
Richard Weller and Vladimir Sitta’s garden.
nma.gov.au

FESTIVAL OF GARDENS
Chaumont-sur-Loire, France
domaine-chaumont.fr

CORNERSTONE, Sonoma, California, USA

Regularly changing showcase of innovative
design. cornerstonesonoma.com/gardens
252/253 CUTTING-EDGE GARDENS
Choosing a style

CASE STUDY

DESIGN FUSION Natural structure

Evergreen trees, including the
Prehistoric slabs
The seemingly random floor
Mediterranean oak (Quercus plan and irregular-shaped
Fusing a range of styles, from Mediterranean to
ilex) and strawberry tree paving stones throw out the
Modernist, this cutting-edge garden weaves Jurassic (Arbutus unedo), lend structure design rule book. They help to
period inspirations into a harmonious design, with and a sense of permanence to evoke a rugged landscape that
the garden, while other hardy references the earth’s tectonic
large metal structures – inspired by the bony back exotic trees with finely-cut plates as they collide to form
plates of a stegosaurus – defining the space. foliage soften the look. new geological features.
 Designer Andy Sturgeon
Show RHS Chelsea Flower Show
Award Gold Medal and Best in Show

Bridging the gap Steel screens Artful planting

The pathway in the garden steps Bronze-coated steel slabs stand The planting seems informal, even
up to form a bridge across the proud, cutting dramatic shapes “shaggy” in parts, but this belies a
water, giving the impression that resemble a dinosaur’s back considered approach. Sculptural
that the water has been here plates, and providing a focus plants, such as Corokia x virgata
for a long time and the paving along the perimeter of the with its tangle of black stems,
is a new addition. In other areas, garden. They also present a foil jostle with colourful perennials,
stone slab-like benches suggest to the firepit and create hidden including the fiery orange
ancient rock formations. areas that heighten the intrigue. kangaroo paw (Anigozanthos).
254/255 CUTTING-EDGE GARDENS
Choosing a style

Cutting-edge garden plans

Gardens that use a range of stylistic references can easily become confused, yet these spaces by Paul
Cooper and Tony Heywood manage to maintain clarity of vision. One, a north-facing plot, has been
lightened with reflective surfaces and enlivened by its various influences; the other represents the
power of nature, with swirling landforms and contrasting textures.
Pebbles on a
stainless-steel grille Bespoke, perforated stainless-
steel water feature
Two become one
This private garden is an amalgamation of two of Paul Cooper’s designs
– Hanging Gardens, and the Cool and Sexy Garden – both for the
RHS Chelsea Flower Show. Paul embraced an exciting mix of modern
materials to create a garden where height and structure dominate.
Key ingredients Paul says:
1 Hedera helix ‘Kolibri’ “My client on this project was great. He
2 Stainless steel water feature was forward-thinking and didn’t want a Foamex-
conventional garden. The plot is north- laminated
3 Phyllostachys nigra f. henonis
facing, cool, and gloomy, so I emphasized plywood walls
4 Wisteria floribunda ‘Macrobotrys’ verticals to create the feeling of escaping
5 Santolina chamaecyparissus these restrictions. And, with its theatrical
6 Painted wrought-iron railings lighting and reflective surfaces, this
7 Lavandula pedunculata subsp. garden really performs at night.
lusitanica “I’d say the design is typical of my
work. I originally trained and worked
8 Mahonia x media ‘Buckland’
as a sculptor, and I can definitely see Steps leading
a three-dimensional character here. to a raised
Contemporary architecture was, and walkway
is, a big influence, but there are some
Japanese elements in there, too.” Railings lead to a Decorative
raised walkway arch-shaped screen
Helter skelter Jagged slate
Artist, horticulturist, and garden designer, Tony Heywood, created slabs thrust out
of the ground
this public garden at a junction of two busy streets in the centre of
London. The design revolves around a vortex of bubbling water, with
the other elements spiralling towards it, alluding to the energy and
speed of the traffic and people passing by. Contrasting textures
heighten this sense of excitment, while the disparate elements are
bound together by a simple colour palette of blues and greens. Pool represents
a vortex
Key ingredients Tony says:
1 Slate fish scales “I wanted the garden to look like it had
2 Tipping box topiary been created by a powerful natural force Curved polished
that was pulling the land like a twisted steel bends images
3 Mirrored steel sculpture of traffic and buses
carpet into a central vortex. The railings passing by
4 Minimalist planting palette were bent, yew topiaries are tipping over,
5 Man-made materials and jagged vertical slates erupt from the
6 Lead and slate wall feature ground. Inspired by Japanese gardens, “Fish scale”
I used stones to represent rivers and slates add an
Blue aggregate Sea of spiky Curved box unusual texture
pushed this idea further, with slates up represents fescue grasses hedge spirals
the wall made to look like a rock face.” a river to the vortex
MAKING A GARDEN
258/259 Making a garden
BUILDING PREPARATIONS

Building preparations
Creating a new garden from scratch, or tackling a major hard landscaping project, is a serious undertaking.
If you decide to do the work, but only have weekends free, or do all the ground preparations by hand, it
could take months to finish. The upside, however, is the immense satisfaction of having done it yourself, and
the savings on labour. Detailed preparation is paramount, and it is essential that you calculate the cost of all
materials, hire equipment, and any professional fees in your budget.

DIY vs employing professionals

Depending on your experience, you may feel eye protection when sawing timber, and
confident about tackling a simple paving steel-toed boots for any construction work.
project, erecting trellis, or building a deck. Jobs involving heavy materials or a high level
In fact, many modern building materials and of skill are often best left to professionals.
garden features are specifically designed for Natural stone, for instance, often comes in
ease of construction. When taking on any large pieces that require skill to cut and lay.
work yourself, ensure you are equipped with Similarly, in a modern garden, crisp design
the appropriate safety equipment, such as demands a very high-quality finish to avoid
it standing out for all the wrong reasons.
Experience and expertise count, especially
when it comes to safety. Wet soil, for
example, can be very heavy, so employ a
professional to construct retaining walls.
If in any doubt about your ability to take
on a project, seek expert advice from garden
designers or civil engineers; source them via
their professional organisations (see p.368).
Also remember when hiring a contractor Laying paving in difficult places
Laying surfaces DIY style that they are responsible for taking out Building stepping-stones that appear to float on the
If you have the necessary strength, skill, and experience surface of a pool is not easy, as water shows up the
(such as in using specialist cutting equipment), you may insurance, and ensuring that work complies slightest discrepancy in levels. Since the steps are to be
consider building your own new patio or wooden deck. with all safety standards and building codes. walked on, they must also be rock solid to avoid accidents.

Sequencing workflow KEEPING TO A BUDGET

The value of an experienced contractor is
If you hire a contractor to run a project from
that they know how long it takes to perform
start to finish, and have a contract drawn up
various tasks, such as digging and laying detailing completion deadlines, material
foundations, or constructing brick walls. selection and costs, you shouldn’t run into
They should also be able to pull together difficulties over the budget. Problems
the necessary skilled workforce, just as commonly arise when you make changes to
the next phase is about to commence. the plan mid-way through the build, or alter
Any project can be dogged with the specifications of the materials used. Good
unforeseen difficulties, such as bad organization is vital if you run the project
weather or delayed deliveries, which yourself, especially when hiring a workforce.
hamper the work. As established Workers standing idle, waiting for materials
to be delivered, still have to be paid.
contractors often have several projects
running simultaneously, delays in these
other gardens can also have a knock-on
Special effects
effect on yours. Project managers must Some lighting and
maintain good communications with all water features need
parties, anticipate problems and find ways expert installation, and
many materials also
to maintain a free-flowing operation. require specialist
Sit down with your contractors, and go preparation. Always
through the details of construction Consider lighting before landscaping check that your
Integrated light effects need to be planned well in contractors have the
together. Then draw up an agreed advance of construction so that fixtures can be built relevant experience.
schedule and refer to it regularly. in and cables suitably camouflaged.
Pre-construction checklist
Once you have completed a site survey, and prepared your design, it preparations yourself and bring in specialist contractors only for
is time to work out when the construction and planting should take specific jobs. Either way, try to visualize the project from start to
place, and who will do the work. You may decide to do some of the finish to make it run as efficiently as possible.

STAGE PROJECT NAME DETAILED INFORMATION

Major building work, such as the construction of a conservatory or changing

1 PERMISSION access, may need planning permission. Check if in any doubt, and talk to
neighbours to explain plans and settle concerns.

One or more contractors may oversee the project, bringing in specialists as

2 HIRING CONTRACTORS needed. If project-managing the job yourself, you will need to find and hire
bricklayers, pavers, joiners, electricians, etc.

Ask contractors to provide samples of landscaping materials, or visit stone

3 SELECTING MATERIALS and builder’s merchants, and timber yards yourself. Personally select
feature items and commission bespoke pieces.

Double-check amounts to avoid under- or overbuying. Arrange deliveries to

4 MATERIALS ORDER/DELIVERY coincide with different construction stages. This avoids materials getting in
the way and having to be relocated later.

Peg out area and hire a skip. Remove unwanted hard landscaping materials
5 SITE CLEARANCE and features. If it is to be re-laid, lift current lawn with a turf-cutting
machine. Also lift and move existing plants for reuse.

Save quality topsoil for reuse and do not mix with subsoil. Remove it
6 TOPSOIL REMOVAL manually or with a mini digger. Locate topsoil away from the construction
site and pile it up on the future planting areas.

If your plan requires a lot of heavy digging, trenching and re-levelling, hire
7 MACHINERY HIRE/ACCESS a mini digger and operator. Ensure suitable access, clearing pathways and
removing fence panels, as required.

Establish different site levels and excavate accordingly. Organize the

8 FOUNDATIONS AND DRAINAGE digging of foundations and drainage channels, then pour foundations and
lay drainage pipes. If needed, move existing drains.

Bring in an electrician or lighting engineer to install the cabling grid for all
9 LIGHTING AND POWER garden lighting and powered features. Some of these shouldn’t be wired
up until the garden has been completed.

Build all hard landscaping features, including all walls, steps, terraces,
10 BUILDING AND SURFACES pathways, water features, and raised beds. Construct timber decks,
pergolas and screens. Prepare new lawn areas.

Once the contractors, builders or landscapers no longer require access

11 BOUNDARY CONSTRUCTION across the boundary for their machinery, vehicles, and materials, walls and
fences can be completed and/or repaired.

Some basic planting may have to be done during the dormant season,
12 TOPSOIL AND PLANTING while construction continues. Replace or buy in topsoil to make up levels,
then carry out remaining planting.
Building garden structures

Permanent features and hard surfaces, such as footpaths, patio areas, fences, raised beds, ponds
and pergolas, provide the structural framework for your garden design, underlining and enhancing
softer areas of lawn and planting.
Many garden structures are easy to construct, and there are several simple projects that
gardeners with few building skills – or none at all – can tackle safely, and achieve satisfying results
in just a day or two. For example, pergola kits are widely available and
quite simple to assemble, and you can buy pressure-treated timber pre-cut
to length for features such as raised beds or decking.
When executing your design, start with the hard surfaces, but, before you
begin, take time to measure your garden carefully. Check that you have
sufficient space for a path that will be easy to negotiate, and that the area
for a proposed patio or terrace will accommodate your chosen furniture. It
may even be worth selecting furniture before you finalize your design plans;
it’s surprising how much room you need for a dining table and chairs,
Stepping stones are easier
allowing for the chairs to be moved back comfortably with space to walk to lay than a paved pathway.

around them. Paths for main routes should be at least 1.2m (4ft)
wide, and preferably paved or laid with gravel. These will be
easier to navigate than narrow, winding routes or a course of
stepping stones. Wide paths also provide space for mature plants
to spill over the edges without impeding free movement.
Building patios and some paths can be major DIY projects,
and if you intend to pave or deck big areas it may be worth
considering professional help, especially if your plans include
heavy materials, such as stone or composite slabs. Small setts or
bricks laid in intricate designs also require expertise. A gravel
surface requires less skill to lay, and is ideal for an area around
planting, or a path.
Informal ponds are beautiful features and quite easy to
Pergola kits make construction relatively
construct, although for a large site, a digger would be helpful. easy and the results can be stunning.
262/263 Making a garden
BUILDING GARDEN STRUCTURES

Laying a path Marking out a path

Small paving units, such as blocks, bricks, and

cobbles, offer flexibility when designing a path. For
this project we used carpet stones (blocks set on a
flexible mat), which are quick and easy to lay. If you
use recycled bricks, check they are frostproof and
hardwearing; ordinary house bricks are not suitable.
Decorative
edging Soil
Blocks

1 Measure the path and mark with

string and long wood pegs, spaced
every 1.5m (5ft). Don’t forget to allow
2 Dig out the soil between the
string to a depth sufficient to
accommodate layers of hardcore and
for shuttering boards (Step 4) and sand, as well as the thickness of the
decorative edging. Hammer in the blocks. Check levels along the course
pegs gently so they are firm. of the path using a spirit level.

Laying the path

Gravel

Sand Hardcore

You will need

• Tape measure • Hardcore • Rubber mallet
• Long pegs and • Hand rammer or • Broom
string plate compactor • Sharp knife,
• Hammer • Sharp sand trowel
• Spade
• Spirit level
• Nails
• Carpet stones
• Sledge hammer
• Post-hole concrete
• Compost, herbs
• Gravel 5 Spread an 8–10cm (3–4in) layer
of hardcore along the length of
the path. You could use excavated
6 Spread a layer of sharp sand over
the hardcore. Level the surface
by pulling a length of timber across
• Shuttering boards • Edging stones 1 day soil if the path will only get light use. the path towards you – use the
Use a hand rammer or hired plate shuttering along the sides as a guide.
compactor to tamp it down. Fill any hollows with extra sand.

Adding edging and finishing off

9 Carefully knock the shuttering

and pegs away and remove
the string. Use a spade to create
10 Spread a strip of hardcore
along each side of the path
and tamp firm with a sledge hammer.
11 Position edging stones and bed
them in place by tapping them
gently with a rubber mallet. Set stones
12 Brush sharp sand into the joints
(unlike mortar it allows rain to
drain away). Remove the occasional
a “vertical face” to the edge – dig If you’re using heavy edging stones, flush with the path, or leave proud to block from the edge of the path to form
down as far as the hardcore base lay a foundation strip of post-hole stop soil migrating on to the path’s a planting pocket. Carpet stones must
on both sides of the path. concrete mix on top. surface. Backfill with soil. be cut from the backing mat.
 CUTTING BLOCKS
When you are laying a path you
may need to cut blocks or bricks
to fit the pattern or to run around
an obstacle, such as a manhole
cover or the edge of a wall.
To make a neat cut, place the
block on a firm, flat surface. Then,
using a bolster chisel, score a line
across the block where you want
to cut it. Position the bolster on
the score line and hit it sharply

3 4
To prevent puddles on the Carefully nail the shuttering with a club hammer. Use the chisel
surface, the path must slope boards to the pegs to enclose to neaten up any rough areas.
gently to one side to drain into soil the area of the path. Check the levels Remember to wear goggles to
or a soakaway. Angle it away from once more with the spirit level; any protect your eyes while working. Cutting a block to size.
the house or garden walls to avoid necessary adjustments can be made
damp problems. Check levels again. by easing the pegs up and down.

7 Tamp down the sand (see Step 5),

ensuring the surface remains level.
Begin laying whole blocks. Carpet
8 Once you have finished laying
whole blocks, fill any gaps with
blocks cut to fit (see top right). Bed
stones come prespaced, as do most the blocks into the sand with a hand
blocks, but if laying bricks, you will rammer on a flat piece of wood, or
need to use spacers. a plate compactor.

13 Use a trowel to remove sand

and hardcore from the planting
pocket and replace it with loam-based
14 Brush gravel into the joints
between the blocks. If, as here,
you have left a strip of soil along one
Up the garden path
A well-laid path not only provides
safe access through a garden, but
potting compost. Plant a clump- side of the path to act as a soakaway, is also a feature in itself. For period
forming aromatic herb, such as thyme. apply a topping of gravel to keep it charm, use Victorian-style rope
Water well. looking neat and tidy. tiles as an edging.
264/265 Making a garden
BUILDING GARDEN STRUCTURES

Laying a patio Marking out the patio

Pavers are available in a wide range of shapes, sizes,

and materials, including concrete and natural or
reconstituted stone, and make a practical hardwearing
surface for paths and patios. Laying large pavers,
while heavy work, is quick and easy; preparing the
foundations is the hardest part of the job.
You will need
• Pegs and string • Hardcore, sharp • Club hammer

1 2
• Builder’s square sand • Wood spacers For a rectangular or square patio, Skim off turf using a spade or
• Spade • Rake • Stiff brush mark out the paved area with hire a turf cutter. (Reuse turf
• Turf cutter (optional) • Pavers • Pointing tool pegs set at the height of the finished elsewhere, or stack rootside up for
• Hand rammer or • Bricklayer’s trowel • Masking tape surface and joined with taut string. a year to make compost.) Dig out
plate compactor • Ready-mix Use a builder’s square to check the the soil to a depth of 15cm (6in) plus
• Spirit level mortar 2–3 days corner angles are 90 degrees. the thickness of the paving.

Pavers
Compacted
sharp sand Laying the paving slabs

Lawn

Compacted
Soil 5 Top the hardcore with a levelled
and compacted 5cm (2in) layer of
sharp sand. Lay the first line of pavers
6 Tamp down each paver with the
handle of a club hammer.
Maintain even spacing by inserting
hardcore along the perimeter string, bedding wood spacers in the joints. Check
each one on five spaced trowelfuls of and keep checking that the pavers
ready-mixed mortar. are sitting level.

The finishing touches

7 Wait about two days before removing the

wood spacers. Then, either brush dry
ready-mix mortar (or one part cement to three
8 In dry weather, pre-wet the
joints to improve adhesion of the
mortar. For wet mortar, add water to
9 Firm the mortar in place with a
pointing tool (above). Wet mortar
may stain some pavers, but masking
parts builder’s sand) into the joints, or, for a the ready-mix mortar and push it into tape along the joints will protect them
neater, more durable finish, you could use the cracks between the pavers using a when pointing. Brush off excess
a wet mortar mix (see Steps 8 and 9). bricklayer’s trowel. mortar before it sets.
 Cutting a curve into a slab
Although pavers are available in a wide range of shapes,
you may have to cut them to size, or to accommodate
a curve in your design. Pavers, which are usually made
from stone or concrete, are surprisingly brittle; to
prevent them cracking when they are being cut, lay
them flat on a fairly deep, level bed of sand.

1 Protect yourself
with goggles, ear
defenders, anti-vibration
gloves, and a dust mask.
Mark the curve on the
paver with chalk, then,
using an angle grinder
fitted with a stone-
3 Use a hand rammer or plate
compactor to tamp down the area.
Set pegs at the height of the finished
4 Spread a 10cm (4in) deep layer of
hardcore over the area, rake level
(ensuring you retain the slight slope),
cutting disc, slowly cut
part-way through the
paver, going over the
surface, allowing for the patio to have then tamp firm with a hand rammer
line several times.
a slight slope so rain drains away. Check or a plate compactor (above).

2
with a spirit level. Mark out parallel
lines on the waste
area with chalk. Cut
along the lines part-way
through the paver, again
going over each one
slowly several times.
Make sure you don’t
cross or damage your
neatly cut curved line.

3 Starting on one side

of the paver and
working across to the
other, tap firmly along
the length of each cut
strip with a rubber-
headed mallet. Make
sure that the paver is
well supported.

4 Grip each strip firmly

and snap it sharply
along the cut. Remove
all the strips in this way.
Trim off any roughness
along the curved edge
with the angle grinder.

Cutting corners
A few shapely curves can
completely transform a
rectangular patio. Here,
the corners have been
opened up to form a
Keep it clean planting pocket and to
If you don’t stand patio pots on give a gentle sweeping
saucers, water and mud from curve to the adjacent
them may stain the pavers. area of lawn.
Where this occurs, clean the
patio with a pressure washer.
 266/267 Making a garden
BUILDING GARDEN STRUCTURES

Laying decking Putting up support posts

Decking is adaptable and blends with most garden

styles. It can be built from hard- or softwood, or,
more popularly, recycled plastic. If using timber,
ensure supplies come from responsibly managed
sources, and check building regulations and planning
requirements for large or above-ground structures.

Spacers between Internal joist attached

decking boards to support post
1 Mark out a square or rectangular
deck with pegs and string. Check
the corners are at a 90-degree angle
2 Lay a geotextile membrane over
the area, overlapping joins by 45cm
(18in). As well as the four corner posts,
using a builder’s square. Mow grass you will need extra support posts on
very short, or skim off turf to use each side; mark these with pegs about
elsewhere in the garden. 1.2m (4ft) apart.

Making the deck frame

Wood spacer
attached to
Edging timber internal joist
attached to
support post

You will need

• Pegs and string • 75 x 75mm (3 x 3in) • Galvanized bolts,
• Builder’s square support posts washers, screws

5 6
• Geotextile • Post-hole concrete and nails Leave the concrete to set for Hold the first edging timber in place
membrane • Spirit level • Saw and hammer 24 hours before building the deck against the frame (you may need
• Tape measure • 100 x 50mm • Decking boards frame. Cut edging timbers to length help); mark and drill a bolt hole on the
• Spade (4 x 2in) timber • Chisel, wood spacers – note that joins should coincide with a post. Insert a washer and bolt and
• Hardcore lengths post. Predrill bolt holes, countersinking tighten up, but not too tight; leave a
• Metal pole • Drill and router 2 days them with a router. little room for movement.

Building the internal frame and laying the decking

9 Internal joists strengthen the deck.

Run them across the shortest span set
40cm (16in) apart. Support joists with
10 Once all the joists are bolted
to the support posts, insert
short lengths of wood set 1.2m (4ft)
11 Lay a decking board on the
frame (at right angles to the
joists) and cut to length, leaving a slight
12 Predrill holes in the board,
then attach it to each joist
using two corrosion-resistant decking
extra posts (cut the membrane when apart to hold them rigid. Nail or overhang at each end to fit a fascia nails or countersunk screws. Cut the
you concrete them in) aligned with screw the joists and spacers in place board (optional). Centre any joins in remaining boards to size and screw
those on the outer frame. or use joist hangers (see top right). the board over a joist. them to the joists.
 JOIST HANGERS
If your deck is at ground level,
you can screw or nail the frame
together. More robust alternatives
are advisable for raised decks or
where the joists butt against a
wall. Timber-to-timber joist
hangers, made from galvanized Timber-to-timber joist hanger.
mild steel, are nailed or bolted
on to the joists and then
attached to the edging timbers.
Stronger steel joist hangers can

3 4
Dig out post-holes about 30cm Fill the hole with water to be mortared into the wall. You
(12in) square and 38cm (15in) dampen the hardcore and allow may find it easier to bolt a length
deep, and fill the bottom 8cm (3in) to drain. Pour in post-hole concrete of timber to the wall first, and
with hardcore. Tamp firm with a metal mixed to a pouring consistency. Use then hang the joists from it with
pole, insert the post and pack upright a spirit level to check the post is timber-to-timber joist hangers. Joist hanger mortared into a wall.
with more rammed hardcore. vertical; adjust as necessary.

7 Lift the edging timber into

position, use a spirit level to
check it’s horizontal, and mark and
8 Attach all the edging timbers in
the same way, butting the corner
joints neatly. Bolt the timbers to all
drill the timber where it coincides intermediate posts to complete the
with a post. Insert a bolt and frame. Cut the tops off the posts
washer as Step 6. flush with the frame.

13 Use a chisel to lever the

boards into place, spacing them
5mm (¼in) apart with thin strips of
14 Fascia boards fixed around the
edge of your deck make for a
neat finish. Overlap them precisely
Wood treatments
Pretreated decking timber can
be left natural, or you can choose
plastic or wood. Spacing allows the where they meet at the corners. If from a huge variety of coloured
decking boards to expand in the heat your decking is built on a slope, fascia stains or treatments. This deck is
and to let rainwater drain away. boards will hide any ugly gaps. a contemporary grey-brown.
268/269 Making a garden
BUILDING GARDEN STRUCTURES

Putting up Replacing old fence posts

fence posts
The strength of a fence lies in its supporting posts.
Choose 75 x 75mm (3 x 3in) posts made from a
rot-resistant timber, such as cedar or pressure-treated
softwood, and set them in concrete or metal post
supports. Treat the timber with wood preservative
every three to four years to prevent it rotting, and
replace old posts when you spot signs of deterioration.
1 Use a claw hammer or screwdriver
to free one end of the panel. 2 Before putting in a new post, first
remove the old concrete footing.
You will need Remove metal clips and fixings. Clear Once you have removed the fence
soil away from the base of the panel, panels, dig out the soil from round
• Claw hammer
then free the other end. Leave the top the base of each post to expose the
or screwdriver fixing brackets until last for support. concrete block.
• Spade, tape measure
• Bricks, timber, rope
• Trench shovel
• Hardcore Concreting the posts
• Fence posts
• Metal spike or pole
• Spirit level
• Timber battening
• Post-hole concrete
• Bricklayer’s trowel

2 days

Fence post

Post-hole concrete

Hardcore
7 To test that the post is vertical,
hold a spirit level against each
of its four sides. Make any
8 To hold the post upright while
you’re concreting it in place, tack a
temporary wood brace, fixed to a peg
adjustments as necessary, and driven firmly into the ground, to the
check that the post is the right post. Don’t attach it to the side that
Soil
height for the fence panel. you’ll be hanging the panels on.

Fixing bolt-down supports

When erecting posts on a solid
level surface, such as paving, use
bolt-down, galvanized metal
plates. These can be fixed in
place relatively easily and will
help to prolong the life of the
timber posts by holding them
off the ground.

1 Measure and mark the exact

position of the post, as there will
be no opportunity to change it later.
2 Use a percussion or hammer
drill fitted with a masonry bit
to drill the bolt holes. Keep the
3 Fill the drilled holes with
mortar injection resin and
insert Rawl bolts. After the
Position the base plate, marking the drill upright and make sure you recommended setting time, tighten
position of each of the corner bolt penetrate right through the paving the bolts using a spanner – the
holes with a pencil. into the hardcore underneath. bolts will expand to fill the hole.
3 Using the post as a lever, loosen
the block in the hole. Tie a length
of timber to the post, balance it on a
4 If a new post is to go in the
same spot, refill the hole and
compact the soil before digging a
5 Fill the bottom of the hole
with a 10cm (4in) layer of
hardcore. Stand the post on the
6 Use a metal spike or pole to
ram the hardcore in place,
working the post gently back and
pile of bricks (as shown) and use this new post hole using a trench shovel. base, check it’s level with the forth to help settle the material.
simple lever to help minimize any Make it about 60cm (2ft) deep and original fence line, and pack the Aim to fill the hole to about half its
strain as you lift out the post. 30cm (12in) across. hardcore around the sides. depth with compacted hardcore.

9 Fill the post hole to the top with

water and leave it to drain. This
will help settle the hardcore and
10 Pour concrete into the hole,
stirring gently to remove air
bubbles. Shape it around the post,
improve adhesion of the concrete. using a trowel, so rain runs off.
Make up post-hole concrete to Rehang panels after 48 hours.
a pouring consistency. Remove bracing after three weeks.

METAL SPIKE SUPPORTS

If you have firm, undisturbed ground,
use metal spike supports. Position
the spike in place and insert a
“dolly”, a special post-driver, into the
square cup. Hit the dolly with a
mallet to drive the spike into the
ground. Check the angle of the spike
with a spirit level to ensure that it is
going in straight – twist the dolly
handles to correct any misalignment.
New posts, new panels
When the spike is in the ground, A new fence makes a beautiful natural
remove the dolly. Clamp the square backdrop to planting, or, for a more
cup around the post and tighten up. contemporary look, try staining the wood
matt black or dark blue.
270/271 Making a garden
BUILDING GARDEN STRUCTURES

Laying a gravel border

Gravel isn’t just for driveways and paths – when Gravel

used as a decorative mulch in the border it sets

plants off to great effect. If you spread a thick layer
of gravel on top of a geotextile membrane, it
will also suppress weeds and help retain
moisture in the soil.
You will need
• Scissors or sharp knife 1 day Brick edging
• Geotextile membrane
• Metal pins
• Pea gravel
• Tape measure Geotextile membrane

Soil
Laying the membrane

1 Cut a piece of geotextile membrane

to fit your bed or border. For large 2 Presoak container-grown plants in a bucket of water
for about half an hour. Position plants, still in their
areas, you may need to join several strips pots, on top of the membrane. Check the labels to make
3 Use scissors or a sharp knife to
cut a large cross in the membrane
under each plant. Fold back the flaps.
together – in which case, leave a wide sure that each plant has enough room to spread – once Make the opening big enough to allow
overlap along each edge and pin in place. the gravel is down, moving them isn’t easy. you to dig a good-sized planting hole.

Planting up the border

4 Remove the plants from their

pots and lower each one into its
allocated planting hole. Plants should
5 Firm in the root ball with your
hands, then tuck the flaps back
around the base of the plant. If
6 Cover the membrane with a thick, even
layer of gravel. A depth of 5–8cm (2–3in)
should prevent any bald patches appearing.
sit in the ground at the same depth necessary, trim the membrane to Should you need to move plants in the future,
as when in the pot. Fill in around the fit neatly around the plant’s stems. pin a piece of membrane over the old planting
root ball with soil. Water thoroughly. area to stop weeds popping up through the cut.
 AGGREGATE OPTIONS
Permeable paths
The main advantage of using permeable
You can lay most aggregates over
surfacing in a garden is that it allows rain
a geotextile membrane in the same
way as gravel. Other decorative
water to drain through to the soil. But when
options for a planting area include you discover that the materials are durable,
slate chips (shown right), small easy to lay, and cost-effective, they’re
pebbles, ground recycled glass, definitely an attractive alternative to paving.
crushed shells, and coloured
gravels. (See pp.354–355 for more
information on these materials.)

Loose gravel
Look carefully and you’ll see that this gravel has been
poured into a honeycomb grid. This cleverly designed
plastic matting, which you lay like a carpet, prevents
gravel migrating all over the garden or driveway.

Self-binding gravel
Gravels are usually washed clean of soil and stones,
but self-binding gravels, such as Breedon gravel, are
not. When compacted, these fine particles bind the
material together to form a strong, weed-free,
permeable surface.

Keep it neat Shredded bark

A gravel surface works best Bark is pleasantly springy underfoot. Lay it over a
when it’s contained by a solid geotextile membrane, or straight on to compacted
edge. If the gravel border is next soil. Whichever you decide to do, the bark will start
to a lawn, consider laying a brick to break down after a couple of years and should
mowing strip (see p.275). be replaced with fresh bark.
272/273 Making a garden
BUILDING GARDEN STRUCTURES

Building a pergola Making the arches

A pergola is essentially a series of arches linked

together to form a covered walkway. The framework
provides the perfect support for climbing plants, such
as fragrant honeysuckle and roses. Although often
made from timbers or metal components, many
designers choose to use a wood frame kit, as shown
here, the instructions for which are pretty universal.
Extra cross-piece

1 Unpack and identify all the pieces.

Mark the layout of the pergola on
the ground with pegs and string – use
2 Arrange the pieces flat on the
ground to check the fit of the
joints. Make adjustments as necessary.
a builder’s square to check right If the wood isn’t predrilled, clamp
angles. If the area is to be paved, lift the timber in a vice and drill holes
and reuse the turf elsewhere. for the screws and bolts.

Erecting the arches

Cross-piece
attached to two
upright posts
forms an arch
Roof timber

Upright posts

Side timbers

You will need

• Pergola kit • Tape measure • Spirit level
• Pegs and string • Hammer • Ready-mix
• Builder’s square
• Vice
• Wooden battening
• Spray paint
concrete
5 Mark the two upright post
positions for the first arch using
spray paint. Dig out the holes making
6 Ram the hardcore firmly in
place with a metal spike or
pole. Place the upright posts in
• Drill • Spade 2 days
• Screwdriver • Hardcore them about 60cm (2ft) deep and the holes and test that each one
• Galvanized • Metal spike 30cm (12in) across. Fill with 10cm is vertical by holding a spirit level
(4in) of hardcore (see Step 5, p.269). against each of its four sides.
screws or bolts

Constructing the roof

9 Dig two holes for the uprights

on the second arch (see Steps
5 and 6). Do a final check on the
10 Using a spirit level, check
that the side timbers are
horizontal and the uprights are
11 Leave the concrete to set
for 48 hours, then screw or
bolt all the side timbers in place,
12 Most pergolas have extra
cross-pieces to strengthen the
roof (these do not sit on uprights so
relative position of the two arches vertical before concreting them in butting the joints tightly together. are unsupported). Mark their position
by positioning the side timbers on position. Repeat Steps 5–10 until all To avoid splitting the wood it’s midway between the uprights. Predrill
top of their respective uprights. the arches are concreted in place. best to predrill the holes. screw holes in each piece.
3 To make an arch, attach each
end of a cross-piece to the top
of an upright post using galvanized
4 Measure the distance between
the upright posts at the top and
bottom of each arch, adjust the
screws or bolts. Support the wood posts until the spacing is the same,
on a board to help steady and align and then nail wooden battening
the pieces as you work. across to stop them splaying.

7 To hold the upright posts

vertical while you’re concreting
them in, tack a temporary wooden
8 To position the second arch, lay
a side timber on the ground to
work out the spacing. Mark the
A shady retreat
Walking under a shady,
plant-covered pergola is a real
brace to them (see Step 8, p.268). position of the post holes with paint. treat on a hot summer’s day. It
Concrete the posts in place (see Allow for a slight overlap where the would also be the perfect spot
Steps 9 and 10, p.269). side timbers will rest on the uprights. for outdoor entertaining.

WIRING FOR CLIMBERS

A system of wires attached to the
upright posts of your pergola will
give plants the support they need
to start climbing. Fix screw eyes
at 30cm (1ft) intervals around
the four sides of an upright.
Attach galvanized wire to the
lowest screw eye, run it through
all the eyes on the same side of
the upright, and secure it firmly
to the top one. Repeat on the
other three sides of the upright.
13 Screw or bolt the cross-
pieces in place – you will
need someone to hold them steady
14 Position the roof timbers on
top of the cross-pieces. Mark
and predrill holes, and then screw in
Guide shoots of twining plants
on to the wires; tie in shoots
to stop them twisting when you’re place. Leave the bracing on the of stiffer-stemmed climbers. Set up a system of wires for climbers.
drilling. Check that all the fixings on uprights for three weeks until the
the pergola frame are tight. concrete has completely set.
274/275 Making a garden
BUILDING GARDEN STRUCTURES

Making a raised bed

Creating a square or rectangular timber-framed
raised bed is easy, especially if the pieces are
pre-cut to length. Buy pressure-treated wood,
which will last for many years, or treat it with
preservative before you start. If the bed is to
sit next to a lawn, make a brick mowing strip
by following the steps opposite.
Pre-sawn
You will need timbers for
a neat finish
• Spade • Drill, screwdriver
Top timbers rest
• Pre-cut wooden • Heavy-duty coach screws on the base
sleepers • Rubble and topsoil
• Spirit level • Bark
• Tape measure Deep layer of topsoil
Brick mowing strip
• Rubber mallet 1 day Mix of soil
and rubble for
good drainage
Measuring up the base

1 Dig out strips of turf wide

enough to accommodate the
timbers. Pressure-treated wood is an
2 Lay out the timbers in situ and
check that they are level with a
builder’s spirit level (use a plank of
3 Make sure the base is square by
checking that the diagonals are
equal in length. For a perfect square
economic alternative to rot-resistant wood to support a shorter spirit or rectangular bed, it is a good idea
hardwoods, such as oak. Or consider level). Check levels diagonally, as well to have the timbers pre-cut to size
buying reclaimed hardwood. as along the length of the timbers. at a local timber yard.

Building the bed

4 Using a rubber mallet, gently tap

the wood so that it butts up
against the adjacent piece; it should
5 Predrill holes through the
end timbers into the adjacent
pieces at both the top and bottom
6 Arrange the next set of timbers
on top of the base; make sure
they overlap the joints below to give
7 For extra drainage, partially
fill the base with rubble. Then
add topsoil that is free of perennial
stand perfectly level and upright to accommodate a couple of long, the structure added strength. Check weeds. Fill the bed up to about 8cm
according to the readings on your heavy-duty coach screws. Secure with a spirit level before screwing (3in) from the top with soil, plant up,
spirit level. Remove soil as needed. the timbers with the screws. together (see Step 5). then mulch with bark or gravel.
 RAISED VEGETABLE BED
Laying a mowing strip
Grass doesn’t grow well too close to a raised bed, since
Raised beds are ideal for growing
the soil tends to be dry and any overhanging plants create
vegetables, fruit and herbs. They
provide better drainage on heavier
shade. A strip of bricks, sunk slightly lower than the level
soils and a deeper root run for crops of the turf, creates a clean edge to allow for easy mowing.

1
like carrots and potatoes. Raised Using a spare brick
beds also lift up trailing plants, such as to measure the
strawberries, which helps to prevent appropriate width for
rotting. If you buy in fresh topsoil your mowing edge, set
that’s guaranteed weed- and up a line of string to act
disease-free, your crops will have as a guide. Dig out a
strip of soil deep enough
a better chance of doing well. to accommodate the
bricks, plus 2.5cm (1in)
of mortar.

2 Lay a level mortar

mix in the bottom
of the trench as a
foundation for the
bricks. Set them on
top, leaving a small gap
between each one. (This
design is straight, but
mowing edges can be
set around curves.)

3 With a spirit level,

check that the bricks
are aligned and slightly
below the surface of the
lawn (when set in place,
you should be able to
mow straight over
them). Use a rubber
mallet to gently tap
them into position.

4 Finally, use a dry

mix to mortar
the joints between the
bricks, working the
mixture in with a trowel.
Clean off the excess
with a stiff brush.

A clean cut
The mowing strip
makes a decorative
feature and allows you
to manoeuvre the
mower more easily.

Raise your profile

As well as providing an eye-
catching feature, a raised bed gives
you a better view of your plants
and, by lifting them up, less strain
on your back when tending them.
276/277 Making a garden
BUILDING GARDEN STRUCTURES

Making a pond Digging an informal pond

Designing a pond with a flexible butyl rubber

or PVC liner, rather than a rigid preformed type,
allows you to create a feature of almost any size
and shape. To work out how much liner you
need, add twice the depth of the proposed pond
to its maximum length plus the width. Choose
somewhere sheltered and sunny for your water
feature, avoiding heavy shade under trees.
You will need 1 Use a hose to mark the outline of
the pond. Aim for a curved,
natural shape without any sharp
2 Before you start digging, skim
off any turf for reuse elsewhere.
Keep the fertile topsoil (which you
• Hosepipe • Pond or carpet • Sharp knife
• Spade underlay • Decorative corners. To prevent it freezing solid can also reuse) separate from the
• Pickaxe • Flexible pond liner stone in winter, a section of the pond must subsoil. Loosen compacted subsoil
• Spirit level/plank • Waterproof mortar, be at least 45cm (18in) deep. with a pickaxe.
• Sand bucket, trowel 2 days
Decorative Lining and edging
Rolled-up surplus liner stone slabs

Planting shelf

5 To protect the liner, line the

sides and base of the pond with
pond underlay. If using old carpet
6 Centre the liner over the hole,
letting it slide down under its
own weight into the base. Leaving
underlay, beware stray tacks. On plenty of surplus around the rim,
Pond liner Soil Pond or carpet stony soils, spread a 5cm (2in) layer pleat the liner to help fit it to the
Waterproof
mortar
underlay of sand over the base first. shape of the pond. Fill with water.

Making a rill
A rill or channel of water adds
light and movement to a garden.
Employ a qualified electrician to
install a power supply for you.

You will need

• Pegs and string • Submersible
• Spade pump,
• Sand flexible
• Spirit level pipe, filter
• Plastic reservoir • Gravel,
• Plastic liner cobbles
• Sharp knife
• Bricks
• Metal grille
• Geotextile 1 Clear and level the site. Mark
out the length and width of the
rill with pegs and string. Dig out the
2 Line the rill with sand,
compacting it with a piece of
wood. Use a spirit level to check the
3 Line the rill with the plastic liner,
smoothing out any creases. Use
a sharp knife to trim the liner at the
• Waterproof fabric
mortar area to a depth of 15–20cm (6–8in). base is flat. Dig a hole at one end reservoir end so that it drapes over
1 day Cut a shallow shelf all around the and insert the reservoir – check the the rim. Leave 20cm (8in) surplus
rill for the brick edging. rim is level with the base of the rill. material along the other three sides.
3 Dig out the pond to a depth
of 45cm (18in). Make the
sides gently sloping. Leave a shelf
4 Use a spirit level placed on a
straight piece of wood to check
that the ground around the top of the
30–45cm (12–18in) wide around pond is level. Remove any loose soil
the edge, then dig out the centre and all large or sharp stones from the
to a further depth of 45cm (18in). sides and bottom of the pond.

7 When the pond is full, trim the

surplus liner leaving 45cm (18in)
around the rim. Pleat the excess liner
8 Bed the edging stones into the
mortar, overhanging them by 5cm
(2in) to hide the liner. When positioning
Planting up
Wait a week for the mortar to set
before placing water lilies on the
so it lies flat and bury the edges in the vertical stones, stand them on a piece of bottom of the pond and marginals
ground. Lay a bed of waterproof rolled-up surplus liner to protect the on the shelf (see pp.98–99 for more
mortar for the edging stones. liner from being torn. on aquatic plants).

4 Edge the rill with bricks on

three sides (not the reservoir
end). Bed bricks on a 2cm (1in)
5 Place the pump in the reservoir.
Push the pipe on to the pump
outlet, run the pipe along the length
6 Cover over the pipe in the rill
with a level bed of gravel. Place a
metal grille over the reservoir and
Finishing touches
Fill the reservoir with water,
prime the pump, and adjust the
layer of waterproof mortar, making of the rill, and cut it to fit at the far top with cobbles. If you sit them on a flow, according to manufacturer’s
sure that it doesn’t fall into the rill. end. Fit a filter on the free end of sheet of geotextile fabric it will stop instructions. Slate chips make
Mortar between the bricks. the pipe to prevent blockages. debris falling into the water. an attractive edging material.
Planting techniques

Having designed a beautiful garden, assessed your soil and aspect, and worked out what plants
to buy, it is now time to bring them home, get them into the ground and put your ideas into
practice. Take your time when planting; tackling the task in a measured way will help to ensure
your treasures thrive.
Choose a dry, fine spell when the soil is not frozen or too wet. Before starting, gather all necessary
tools together – fork, spade, fertilizer and watering can – so you have everything to hand. Also
make sure the soil is free of weeds, especially any pernicious perennials, before forking in fertilizer
and digging holes. The new plants will need a thorough soaking prior to
planting, and the best way to do this is to emerse them in water while they
are still in their pots, leave until the bubbles disperse, then remove and allow
to drain. Bare-rooted trees, roses or shrubs should be planted between
autumn and early spring; container-grown plants can go in the ground at
any time, but hardy plants are best planted in autumn when the soil is still
warm and moist. Leave more tender types until spring, as young plants may
not survive a cold, wet winter.
Allow space for shrubs and trees to spread – the area needed should be
indicated on the plant label. Bare patches can always be filled in with
seasonal flowers, or screened by containers or an easily moved ornament,
Add fertilizer to the soil
such as a bird bath or light-weight sculpture. for a fine display of lupins.

Early spring or early autumn are

the best times to establish a lawn,
whether you are using turves or
sowing seed, and avoid walking on
new grass for a few months, if possible.
Water it frequently in the early stages
and in dry spells.
Giving your new purchases a good
start will repay dividends for years to
come in the form of strong, healthy
plants that continually give a good
show, season after season. Leave space for trees like this Acer palmatum to spread.
280/281 Making a garden
PLANTING TECHNIQUES

How to plant trees Planting a container-grown tree

A well-planted tree will reward you with years

of healthy growth. Container-grown trees can
be planted at most times of the year, but the best
time is in autumn, when the leaves are starting
to fall. Bare-root plants are a cheaper option and
are available in autumn and winter. Unless it’s very
frosty or there’s been a long dry spell, you should
plant them as soon as you get them home.
You will need 1 Soak the tree thoroughly and
leave it to drain. Meanwhile, clear
the planting area of weeds and debris.
2 Loosen the soil over a wide area,
to the same depth as the tree’s
root ball. Add organic matter to heavy
• Bucket • Bamboo cane • Chipped bark
• Spade and border fork • Tree stake mulch Place the tree, still in its pot, in its clay or sandy soils. Dig a large hole no
• Well-rotted organic • Mallet and nails planting position, making sure that it deeper than the tree’s pot but ideally
matter • Tree tie with spacer up to 2 hours won’t be crowded by other plants. three times the root ball’s diameter.

Planting and staking

5 With a container-grown tree,

you may find that the roots
are packed together tightly. If this
6 With a helper holding the tree
upright, backfill the hole with the
excavated soil. Make sure there are
7 Once you are satisfied that
there are no gaps or air pockets
around the roots, continue to hold
8 Small trees do not require
staking but top-heavy or larger
specimens should be staked. Drive
is the case, gently tease out any no air pockets by working the soil in the tree upright and firm it in using into the soil a wooden tree stake at
encircling roots, as these could between the roots and around the your foot with your toes pointing an angle of 45 degrees. Ensure you
prevent it from establishing well. root ball with your fingers. towards the trunk. do not damage the root ball.

Planting a hedge
An informal mixed hedge of
native species will provide a rich
habitat for wildlife, as well as
attractive flowers, fruits, and
nuts. The best time to plant a
bare-root hedge is autumn, when
plants first become available.

You will need

• Spade
• Rake

1 2 3
• Tape measure A few weeks before planting, Mark the planting line with pegs Set the plants 80cm (32in) apart.
• String and canes remove weeds and dig the area and string. If you have space, put Spacing is critical for hedging, so
• Secateurs over, working in organic matter (as in a double row of plants for extra use a tape measure or marked
Step 2 above). At planting time, screening. It’s also less likely to suffer canes rather than guessing. Dig holes
up to 3 hours weed the area again, tread the gaps if plants die. Set the rows large enough to accommodate the
ground until firm, and rake level. 40cm (16in) apart. roots comfortably.
3 Puncture and scuff up the
walls and base of the hole to
allow for easy root penetration;
4 Remove the tree from its pot.
Lower it into the hole and check
that the first flare of roots will be
the result will be a stronger tree. level with the surface after planting
Don’t loosen the base too much – try scraping off the top layer of
as the tree may sink after planting. compost if you can’t see the flare.

9 The stake should be a third of

the height of the tree, and the
end should face into the prevailing
10 Knock a nail through the tree
tie into the stake to prevent
it slipping down. Water the tree
Spring blossom in a woodland border
In small- to medium-sized gardens choose
compact trees with an attractive overall
wind. Fit a tree tie with a spacer thoroughly and apply a mulching mat habit. This hawthorn (Crataegus) is ideal,
to the stake and trunk. This can around the trunk, which will keep the with pretty, pink blossom in spring,
be adjusted as the tree grows. area around the tree free of weeds. followed by ornamental fruits.

4 Plant the bare-root hedging

plants at the same depth as they
were growing in the field; you’ll see
5 Stagger the plants on the second
row to maximize coverage. Position
the first plant 40cm (16in) in from the
6 Check that the soil around
the plants is firmed in, and then
water each plant thoroughly. Prune
Wildlife-friendly screen
A mixed hedge will attract wildlife
all year. Don’t clip too hard if you
a dark soil stain on the stem. Plant edge of the front row. Keep bare-root back the tips of any tall or leggy want summer flowers and fruit in
roses slightly deeper for stability. plants wrapped until planted to stop shrubs to encourage new, bushy autumn, and take care not to
Firm plants in with your hands. their roots drying out. growth from the base of the plant. disturb nesting birds in spring.
282/283 Making a garden
PLANTING TECHNIQUES

How to plant shrubs You will need

• Spade and fork
• Organic matter
Shrubs form the backbone of a planting scheme, providing • Bucket
structure as well as flowers and foliage. Plants grown in • Mulching
material
containers can be planted all year round if you avoid days when
the ground is frozen, or excessively wet or dry. Before planting, 1 hour

always check the label for the shrub’s preferred site and soil.

1 Dig over the soil, removing any

weeds and working in plenty
of well-rotted manure or garden
2 Stand the plant in its container in
a bucket of water and leave it to
soak. Remove the plant from its pot
3 Firm in gently, ensuring the shrub
is upright and that it is sitting in a
shallow depression to assist watering.
compost. Make the planting hole and tease out any thick, encircling Water in well, then spread a mulch
twice the diameter of the roots. Plant at the same depth that it of organic matter (see right), keeping
container and a little deeper. was in its pot. Backfill with soil. it away from the stems.

How to plant perennials You will need

• Spade and fork
• Organic matter
Unlike annuals and tender patio plants, herbaceous perennials • General fertilizer
come up year after year. Many modern varieties need little • Bucket
• Mulching
maintenance other than deadheading and cutting back in spring. material
Give them a good start by improving the soil at planting time and up to 1 hour
minimize competition for water and nutrients by controlling weeds.

1 Prepare the planting area,

removing perennial weeds and
large stones. On dry ground or
2 Dig a hole a bit deeper and wider
than the pot. After soaking the
plant, remove the pot. Add soil to the
3 Water in well. Apply a thick
mulch to conserve moisture,
suppress weeds and protect roots
heavy clay, work in organic matter hole so that the top of the root ball is from penetrating frosts. Take
(as Step 1, above). On sandy soil, also level with the soil surface. Backfill and precautions against slugs and snails,
apply a general fertilizer. firm in lightly with your hands. and watch for aphids on shoot tips.
 Mulch options
Mulches conserve water, which is why they
are always applied after planting when the
ground is moist. Some improve soil structure
and most discourage weeds, which compete
with garden plants for water and nutrients.
Gravel mulches look attractive while others,
such as leafmould, offer a habitat for
beneficial creatures such as ground beetles.

Garden compost Leafmould

Well-rotted compost and Although low in nutrients,
manure lock moisture leafmould is excellent
and nutrients into the for improving soil and
soil. As the mulch rots retaining moisture, and
down it releases plant it looks good around
food and improves the woodland-style plantings.
soil structure. Apply a To make it, fill perforated
layer 10cm (4in) deep in bin bags with autumn
late winter to minimize leaves, seal up and leave
weed growth. for about 18 months.

Chipped bark Gravel mulch

A popular mulch, bark Gravel laid over landscape
comes in various grades, fabric creates a decorative
the finest being the most weed-suppressant foil for
ornamental. It rots down alpines and Mediterranean-
slowly and is a good weed style plantings. Plant through
suppressor and moisture the fabric by cutting a cross
conserver, but doesn’t and folding back the flaps
add many nutrients. Top before replacing the gravel
up worn areas annually. (see also pp.270–271).

Seasonal colour and interest

A mixture of shrubs and perennials
provides a rich tapestry of colour, form,
and texture that changes in mood as the
seasons progress. If space allows, plant
the perennials in drifts for greater impact.
284/285 Making a garden
PLANTING TECHNIQUES

How to plant Preparation for planting

climbers
Walls, fences, and trellis offer planting space for a
wide range of climbers and wall shrubs. Using plants
vertically is especially important in courtyard gardens,
where space is at a premium. Flowers and foliage soften
bare walls and boundary screens, as well as creating
potential nesting sites for birds. Avoid over-vigorous
climbers that could overwhelm their situation.
1 Before soil preparation, attach a
support of vine eyes and horizontal
wires, or a trellis, to the wall or fence.
2 Dig over a large area around
the planting site. Work in
plenty of bulky organic matter,
You will need Set the lowest wire about 50cm (20in) such as well-rotted manure or
• Vine eyes • Granular • Trowel or hand fork above soil level, and space the wires garden compost, to combat
• Galvanized wire or trellis fertilizer • Chipped bark mulch 30–45cm (12–18in) apart. dryness at the base of the fence.
• Border fork and spade • Bamboo canes
• Bulky organic matter • Garden twine 1 to 2 hours

Planting and aftercare

5 Arrange a fan of bamboo canes

behind the planting hole, leaning
them back towards the fence. The
6 Plant the climber, backfilling the
hole with enriched soil. Untie the
stems from their original support
7 Tie the stems to the canes using
soft garden twine and a loose
figure-of-eight knot. Train the outer
8 Firm the climber in using your fists
and then take a trowel or hand fork
to fluff up the soil where it has been
canes will lead the climber’s stems up and untangle them carefully. Cut off stems on to the lower wires and compacted. Next, create a shallow
to the horizontal wires and spread any weak shoots and spread them train the central stems upwards to water reservoir (with a raised rim)
them over a wider area. out ready to attach. cover the higher wires. around the base of the plant.

Support for climbers

Climbers and wall shrubs scale
vertical surfaces in a variety of
ways, and the support you
provide depends on their vigour
and method of climbing. Some,
such as jasmine, honeysuckle,
and wisteria, are twiners;
clematis have coiling leaf stalks;
and sweet peas, passionflowers,
and vines cling with tendrils.

Horizontal wires Trees and other host plants Trellis

These offer the most adaptable To encourage a rambler rose to Wooden trellis can be used against
support for climbers, wall-trained clamber up into a fruit tree, plant it a wall or as a screen. Climbing roses,
shrubs, and fruit trees. Training 1m (3ft) away from the trunk and give honeysuckle, clematis, and passionflower
stems horizontally increases it a rope to climb (peg it to the ground may secure themselves, but tying them
flower and fruit production. and run it to the lowest branch). in also helps.
3 On poor soils, apply a dressing
of all-purpose granular fertilizer
(follow manufacturer’s instructions).
4 Dig a planting hole 45cm (18in)
from the fence, and twice the
diameter of the root ball. Check
Water the climber well a few hours the depth is the same as the original
before planting, or plunge the pot compost level, though clematis
into a bucket of water. should be planted 10cm (4in) deeper.

Fragrant cover
The honeysuckle in this
planting sequence will
eventually produce a
mass of evening-scented

9 Water well, then apply a mulch

of chipped bark to help combat
weeds, conserve moisture, and
flowers, loved by bees
and moths. Good ground
preparation will ensure
keep the roots of plants such as that the plant won’t run
clematis cool. Ensure the mulch short of water, which can
doesn’t touch the stems. lead to powdery mildew.

PLANTING IN POTS
Large containers, especially glazed
ceramic pots or oak half barrels,
create the opportunity for covering
walls, fences, and screens, even
without a bed or border. Some
pots and troughs come with
integral, freestanding trellis support,
but you can also add a trellis fan as
shown here. Try small- to medium-
sized species and cultivars, such as
Obelisks No support needed Clematis alpina and C. macropetala,
These provide ideal support for Plants such as Boston ivy have
as well as annual climbers like
large-flowered clematis, jasmine, tendrils that adhere to walls without
and climbing roses, and annual support. Ivy and climbing hydrangea Eccremocarpus scaber (Chilean glory
climbers, such as sweet peas, have self-clinging roots on their vine) and morning glory (Ipomoea).
morning glory, and runner beans. stems. Some initial support is useful.
286/287 Making a garden
PLANTING TECHNIQUES

Laying a lawn Preparing the ground

The best time to lay, or seed, a new lawn is

early autumn or spring. Dig the area, adding a
margin of 15cm (6in), and improve the drainage
of heavy clay and wet soils by working lots of
grit into the topsoil. For free-draining soils, dig
in an 8–10cm (3–4in) layer of bulky organic
matter to conserve moisture and fertility.
You will need
• Spade or fork
• Rake and hoe
• Broom
• Hosepipe
1 Dig over the lawn area, removing
big stones and perennial weeds,
and break up the surface into a fine
2 Rake the ground level to
remove any depressions left
after walking. Leave for five weeks
• All-purpose granular fertilizer • Edging iron crumb structure. Rake level, then, to allow weed seeds to germinate,
• Sieved topsoil mixed with keeping your weight on your heels, then hoe lightly to remove them.
horticultural sand 1 day walk over the length of your plot, Rake level and apply a dressing of
• Wooden plank and then across the width. all-purpose granular fertilizer.

Laying the turf

3 Arrange turf delivery a few days after

applying fertilizer. Carefully unroll the
turf, laying whole pieces and working out
4 To ensure that the grass knits together,
butt the edges of the turfs, lifting them
so that they are almost overlapping when
from an edge. Stand on a plank to distribute pushed down. This helps to combat any
your weight. Tamp down turfs with a rake. shrinkage. Firm again with a rake.

Finishing and shaping

5 Continue to lay the next row of turf,

ensuring that the joins are staggered like
wall bricks. This produces a much stronger
6 To help adjacent pieces of turf
to grow together and root
firmly, brush in a blend of sieved
7 Water well during dry spells to
prevent shrinkage. Shape lawn
edges when the turf has rooted (try
structure. Use an old knife for cutting, and topsoil and horticultural sand. Use gently lifting an edge). Lay out curves
avoid using small pieces at the edges. a stiff broom to work in the top with a hosepipe and cut using an
dressing and raise flattened grass. edging iron or border spade.
SPOT WEEDING
Seeding a lawn
For large areas of lawn, seeding is the cheapest option
During lawn establishment, perennial
and, although it will be about a year before the grass can
weeds often take root, especially
rosette-forming dandelions and thistles,
take heavy use, it should start to green up and look good
which can smother the turf. Use an old in under a month. Worn patches in existing lawns can also
kitchen knife, forked daisy grubber, or be repaired by reseeding with an appropriate grass mix.
long-handled, lawn-weeding tool to
extract them. Try to remove all the
taproot. Do not use lawn weedkillers
for at least six months.
1 Select a seed mix
that suits your
conditions and lawn use,
eg, hard-wearing family
or fine, ornamental lawn.
Weigh out seed for
1sq m (1sq yd) following
pack directions. Pour into
a paper cup; mark where
the seed reaches.

2 You should have dug,

firmed, levelled, and
raked the lawn bed at
least five weeks previously
(see opposite). A few days
before sowing, remove
any weeds and add a top
dressing of fertilizer. Rake
level, removing any stones.

3 Sow in early autumn

when the soil is warm
and moist, or in spring
when plants start to grow
actively. Mark out 1sq m
(1sq yd) sections using
canes, and measure out
the grass seed using the
marked paper cup.

4 Scatter half the seed

in one direction, and
then go over at right
angles with the remainder,
keeping within the
template. Move the
template along and repeat
the process. As a guide,
one handful of seed
weighs roughly 30g (1oz).

5 Work over the seeded

lawn lightly with a rake
until the seed is just
covered with soil. Protect
from birds using netting.
Seedlings should appear
within 14 days. Once the
grass has reached 5cm
(2in), cut with the mower
blades set high.

A green carpet
The velvet green of a well-maintained
lawn is the perfect foil for border
flowers. Lawns create a sense of
space in the garden and provide
colour, even in the depths of winter.
288/289 Making a garden
PLANTING TECHNIQUES

Aftercare and maintenance

Making a garden is a process that doesn’t end when
the construction and planting stages are complete.
Even in low-maintenance plots, gardens only thrive
when the plants are tended and the soil replenished.
Some jobs are regular weekly tasks, but many others
are only annual or twice yearly.

When and how to water

Environmentally conscious gardeners and people living in drought-
prone areas are increasingly aware of the need to save water.
Containers, together with some types of vegetable crops and
bedding plants, may need regular summer irrigation. Shrubs, trees
and perennials need watering only at planting time and during dry
spells in the first year or two, or until they are well established. No
matter how brown the grass may turn, established lawns never
actually need watering and will eventually recover from drought.
If you need to water, do so in the cool of the morning or evening
to minimize evaporation, and water close to the soil rather than
overhead, targeting specific plants. Mulches, such as bark and spent
mushroom compost, help seal in moisture and reduce competition
from weeds. It is better to water heavily, with extended intervals Preventing erosion
With shallow-rooting plants like this box, frequent watering can wear away
between (allowing moisture to penetrate well into the soil and the protective coating of compost. Reduce the problem by directing water
encourage deep rooting) than to water lightly but more frequently. on to a large crock or tile so that flow is gently dissipated.

Making watering easy

Although watering can be an enjoyable also makes sense to collect rainwater at sites
task, if you are pressed for time or have around the garden and to make use of
a large plot, some shortcuts are welcome. recycled or grey water, eg, from the bath or
Automatic irrigation can be very efficient and, washing-up (but only if no strong or heavily
if properly managed, helps to save water. It perfumed products have been used).

Deadheading promotes new flower growth.

BENEFITS OF DEADHEADING
The aim of the plant is to set seed and
reproduce: to achieve this it makes flowers
and diverts most of its resources to develop
a seedhead. To encourage more flowers you
need to remove faded blooms before they
have a chance to form seed. This is especially
important for annuals which can stop
flowering altogether and even die if you
Leaky hose Timed watering Water butts don’t deadhead regularly. But perennials,
A perforated hosepipe (leaky If you are often away from Raised up high enough so that including so-called patio plants, can also be
hose) connected to an outdoor the garden for more than a you can comfortably fit a watering encouraged to flower for much longer if they
tap or water butt will channel couple of days or are too can under the tap, water butts are deadheaded. Removing old, blemished
water directly to where it is busy to water all your patio are a convenient way to reduce heads also improves the appearance of
needed; eg, snaking through containers regularly, consider dependence on the mains supply.
leafy crops, or through a newly installing an automatic Consider fitting extension kits to plants and reduces the risk of disease.
planted border. irrigation system with a timer. increase capacity.
The benefits of pruning Feeding and weeding
It is not essential to prune any plant, but thinning and cutting back to Clay loams are naturally fertile, while sandy soils tend to
varying degrees or selectively removing whole branches can produce many be nutrient poor. Adding bulky organic matter, such as
useful effects. It can rejuvenate an old, congested specimen, giving it a new well-rotted manure, improves the quality and structure
lease of life; help short-lived shrubs to live longer; increase the supply of of both types of soil as well as providing nutrients. During
flowering or fruiting wood; improve the shape and appearance of a plant; the growing season, wherever you garden intensively, you’ll
and reduce the incidence of disease. need to add extra fertilizer. Control weeds by digging
them out or hoeing, or with a glyphosate weedkiller,
except on turf which will require a lawn weedkiller.

Containers
Flowering container
plants, in particular,
require extra fertilizer.
Try a convenient,
slow-release formula
if you can’t manage
weekly feeds.

The right cut Alternate buds Soluble food

Cut back to just above a strong bud or pair Where buds form alternately along a stem, Liquid feeds are fast
of buds. Cutting halfway between buds make a slanting cut, as shown, so that rain acting and ideal for
causes die-back, which can introduce disease. water drains away from the bud. bedding and patio
plants in containers, as
well as greenhouse
crops such as tomatoes.
Removing branches
As a tree matures, it may become too
large for its site, or send out branches in
inconvenient directions, and require pruning.
Damaged or diseased branches and crossing
limbs also need to be taken out to maintain
the health of the tree. Hire a qualified tree Weedkillers
surgeon to tackle very large branches, or For convenience
those higher than head height. When and for treating
pernicious weeds,
pruning, take off a branch in sections – if you use a synthetic- or
remove it with one cut close to the trunk, it natural-based
will be pulled down by its own weight and weedkiller, which is
may tear the bark on the trunk, leaving the
tree vulnerable to infection.
1
To cut back branches, make two
incisions: one, half way through,
from beneath the branch; the second
absorbed through
the leaves to kill
the roots.
from the top to meet the undercut.

Weeding by hand
Among existing plants,
remove weed seedlings
by hand. Use a hoe on
dry days, severing the
stems where they meet
the roots just beneath
the soil, or dig them out
with a fork.

2 Remove the remaining branch stub,

starting from the upper surface of the
branch, just beyond the crease in the bark
3 This pruning method produces
a clean cut, leaving the plant’s
healing tissue intact. The tree will
where the branch meets the trunk. Angle soon produce bark to cover the
the cut away from the trunk. exposed area.
PLANT AND MATERIALS GUIDE
 292/293 Plant and materials guide
PLANT GUIDE

Large trees
Plant guide

Acacia dealbata Acer campestre

Mimosa is an evergreen tree with fern-like, silvery grey-green The lobed leaves of the deciduous field maple are red when
divided leaves. Orange in bud before turning yellow, the fragrant young, green by late summer, then yellow and red in autumn.
clusters of flowers add colour and scent from winter to spring. The green flowers in spring produce the helicopter fruits that
Susceptible to frost, so plant in a sheltered site in full sun. children love to play with. A. campestre ‘Schwerinii’ makes an
H15–30m (50–100ft) S6–10m (20–30ft) OO H3 excellent hedge, or can be grown in a large container.
rU1 H8–25m (25–80ft) S4m (12ft) OOO H6 rSU2

Acer platanoides ‘Crimson King’ Acer rubrum ‘October Glory’

Selecting the right plant for the right The Norway maple is a vigorous, spreading, deciduous tree. By autumn, the lobed, glossy, dark green foliage of the red
‘Crimson King’ has large, lobed, dark red-purple leaves that maple has turned bright red; erect clusters of tiny red flowers
place is an essential skill for any garden turn orange in autumn. The red-tinged yellow flowers are borne are produced in spring. ‘October Glory’ is a reliable cultivar,
in mid-spring. Fast-growing, it makes a useful screen, but is at though for best colour, grow it in acid soil. To fully appreciate
designer, and this directory will help its best centre stage as an ornamental specimen. its beauty give this large deciduous tree plenty of space.
you to make those critical decisions. H25m (80ft) S15m (50ft) OOO H7 rSU1 H20m (70ft) S10m (30ft) OOO H6 rSU3

RHS hardiness ratings

The table below shows the corresponding
lowest temperature range for each of the
ratings in the RHS system of hardiness, used
in this directory alongside the more general
ratings. Please see p366 for more information.

H1a warmer than 15°C (59°F)

H1b 10–15°C (50–59°F)
H1c 5–10°C (41–50°F)
H2 1–5°C (34–41°F)
H3 -5–1°C (23–34°F) Alnus glutinosa ‘Laciniata’ Betula nigra
The deciduous common alder produces yellow-brown male Red-brown when young, becoming blackish or grey-white as
H4 -10– -5°C (14–23°F) catkins in late winter or early spring, and small, egg-shaped it ages, the peeling bark of the black birch is its main attraction.
H5 -15– -10°C (5–14°F) fruit in summer. Most types have long, rounded, dark green Yellow-brown catkins appear in early spring, and its glossy,
leaves, but those of ‘Laciniata’ are mid-green with triangular diamond-shaped leaves turn buttery yellow in autumn. If
H6 -20– -15°C (-4–5°F) lobes. Will do well in a coastal garden; useful as a screen. space allows, plant in a group for maximum impact.
H7 colder than -20°C (-4°F) H25m (80ft) S10m (30ft) OOO H7 rV5 H18m (60ft) S12m (40ft) OOO H7 rUvw5
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter £ H1c–H1a no tolerance to frost
r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil 123456780 tree shape

Betula utilis var. jacquemontii Cedrus atlantica f. glauca Cercidiphyllum japonicum

The smooth, peeling white bark of this Himalayan birch Glaucous blue-green foliage, erect, cylindrical cones in autumn The leaves of this fast-growing deciduous tree are bronze
comes into its own in a winter garden. Oval, tapered dark and a silvery-grey bark are the attractions of this coniferous when young, turning mid-green, then yellow, orange and red
green leaves turn yellow in autumn, and yellow-brown tree. The blue Atlas cedar does well growing on chalk and is in autumn. Acid soil produces the best colour. Fallen leaves
catkins appear in early spring. The reliable cultivar ‘Silver striking as a specimen in a sunny lawn, but its eventual size smell of burnt sugar when crushed. The Katsura tree is best
Shadow’ has an eye-catching pure white trunk. makes it unsuitable for all but the largest of gardens. used as a specimen in a woodland setting.
H18m (60ft) S10m (30ft) OOO H7 rU5 H40m (130ft) S10m (30ft) OOO H6 rU5–6 H20m (70ft) S15m (50ft) OOO H5 rU5

Eucalyptus gunnii Fagus sylvatica ‘Riversii’ Pinus wallichiana

To encourage the rounded, bluish young leaves of the cider The beauty of this cultivar of the common beech lies in its deep The Bhutan pine is a graceful, broadly conical, evergreen tree
gum, which are more attractive than the grey-green adult purple leaves, which need full sun for best colour. A spreading, with long, drooping, blue-green leaves and smooth, grey bark,
foliage, cut back hard in early spring. The whitish-green bark deciduous tree, it can be used for hedging, in a woodland which is grey-green when young but later becomes darker, scaly
is shed in late summer, revealing pink- or orange-tinted new garden, or as a focal point. For dramatic effect, plant next to and fissured. It produces fresh green foliage in spring, and
bark, as clusters of small white or cream flowers appear. a golden-leaved tree, such as Catalpa bignonioides ‘Aurea’. decorative pine cones that ripen to brown in autumn.
H25m (80ft) S15m(30ft) OOO H5 rV3 H25m (80ft) S15m (50ft) OOO H6 rU2 H20–35m (70ft) S6–12m (20–40ft) OOO H6 ru2

TREES FOR EVERGREEN INTEREST

• Acacia dealbata p.292 • Pinus sylvestris ‘Aurea’
• Arbutus unedo p.296 p.295
• Cedrus atlantica • Pinus wallichiana p.293
f. glauca p.293 • Quercus ilex p.293
• Chamaecyparis • Taxus baccata p.293
pisifera ‘Filifera • Taxus baccata ‘Fastigiata’
Aurea’ p.294 p.299
• Cupressus macrocarpa • Tsuga canadensis ‘Aurea’
‘Goldcrest’ p.297 p.299
• Eucalyptus gunnii p.293
• Laurus nobilis p.298
Quercus ilex Taxus baccata • Olea europaea p.298
A majestic, round-headed evergreen tree, the holm oak has A slow-growing evergreen conifer with distinctive dark green, • Picea breweriana p.295
glossy, dark green leaves, which are silvery-grey when needle-like leaves, the common yew is a familiar sight in • Picea pungens ‘Koster’
young. Striking yellow catkins are followed in autumn by churchyards. When closely-clipped it is excellent for hedging p.295
small acorns. It makes a good screen and hedge, and thrives and topiary. The golden-leaved cultivar ‘Standishii’ is ideal for
on exposed coastal sites. It also does well on shallow chalk. brightening a shady area. All parts of the plant are poisonous.
H25m (80ft) S20m (70ft) OO H4 rSu1 H20m (70ft) S10m (30ft) OOO H7 rStu5
294/295 Plant and materials guide
PLANT GUIDE

Medium-sized trees

Acer negundo ‘Variegatum’ Carpinus betulus ‘Fastigiata’ Catalpa bignonioides ‘Aurea’

There are maples for spring flowers, summer foliage or autumn The dependable, deciduous, spring-flowering common The beautiful, spreading, deciduous Indian bean tree is popular
colour. A fast-growing, deciduous tree, A. negundo is known hornbeam has glowing coppery autumn colour and is great for its large, dramatic heart-shaped leaves, clusters of tubular
as the ash-leaved maple because of its divided leaves; those for hedging. It is an excellent substitute for beech on drier flowers, and long bean-like seed pods. It makes a striking
of the cultivar ‘Variegatum’ are splashed white at the margins. soils. The narrow, upright cultivar ‘Fastigiata’ opens up as specimen tree, but can also be grown in a border. The leaves
It looks good planted near dark-leaved plants. it matures, making a striking specimen tree. of ‘Aurea’ are bronze when young, maturing to yellow.
H15m (50ft) S10m (30ft) OOO H6 rSuV1 H15m (50ft) S12m (40ft) OOO H7 rSu7 H12m (40ft) S12m (40ft) OOO H6 ruV1

Chamaecyparis pisifera ‘Filifera Aurea’ Davidia involucrata Fraxinus excelsior ‘Pendula’

This hardy evergreen tree tolerates most soils other than The elegant handkerchief tree is so known because of the The common ash is a vigorous, deciduous tree, grown for its
waterlogged sites, and can be grown as a specimen or as conspicuous white bracts that surround the small flowerheads rounded habit and attractive foliage. In autumn it produces
hedging. C. pisifera ‘Filifera’ has slender, whip-like shoots and in spring. It is deciduous, with sharp-pointed, red-stalked leaves bunches of winged fruits, and in winter conspicuous black
dark green leaves; ‘Filifera Aurea’ is similar, but has golden and smooth grey bark. Ridged fruits hang from long stalks in buds appear. ‘Pendula’ is a graceful, weeping form with
yellow leaves and is slower to reach maturity. autumn. A fine specimen tree. long branches that droop, often as far as the ground.
H12m (40ft) S5m (15ft) OOO H7 ruV5 H15m (50ft) S10m (30ft) OOO H5 rSUV5 H15m (50ft) S10m (30ft) OOO H6 ruv8

Gleditsia triacanthos ‘Sunburst’ Morus nigra Nyssa sinensis

Also known as honey locust, this striking deciduous tree has The black mulberry forms a rounded, deciduous tree with heart- Grown for its pretty foliage and brilliant autumn colour, the
delicate, fern-like foliage, spines on the trunk and branches, shaped leaves that have rough upper surfaces and toothed Chinese tupelo forms a broadly conical, deciduous tree. The
and long, curved seed pods in autumn. The cultivar ‘Sunburst’ margins. The fruit is green, turning red and then purple-black, slender, tapered leaves turn bright shades of orange, red, and
is fast-growing and thornless, with golden yellow foliage in becoming edible only when fully ripe. Beware of planting next to yellow in autumn, making it a valuable ornamental. Grow as
spring and autumn. Best as a specimen tree. pale paving as the fruit will stain it when it falls. a specimen tree; it looks very effective alongside water.
H12m (40ft) S10m (30ft) OOO H6 ru5 H12m (40ft) S15m (50ft) OOO H6 RuV1 H12m (40ft) S10m (40ft) OOO H5 rSuV5
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter £ H1c–H1a no tolerance to frost
r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil 123456780 tree shape

Paulownia tomentosa Picea breweriana Picea pungens ‘Koster’

This fast-growing, deciduous tree is grown for its graceful The popular Brewer’s weeping spruce is a hardy, slow-growing, A hardy evergreen tree with scaly, grey bark and sharp, stout,
habit, attractive large leaves, and showy, foxglove-like flowers. blue-green conifer with horizontal branches and long, slim, bluish-green leaves. Cultivars of the Colorado spruce make
The fragrant, pinkish-lilac flowers, marked yellow and purple pendent branchlets that give it a distinctive appearance. wonderful ornamentals where space permits; ‘Koster’ has
inside, open in late spring before the leaves appear. The tree Purple cones decorate the branches in autumn. It can be needle-like, silvery-blue leaves that fade to green with age
can be pollarded, which will result in very large leaves. grown as an effective windbreak or as a specimen tree. and cylindrical light brown cones with papery scales.
H12m (40ft) S10m (30ft) OOO H5 ru2 H15m (50ft) S4m (12ft) OOO H6 ruv4 H15m (50ft) S5m (15ft) OOO H7 rUV6 –3

Pinus sylvestris ‘Aurea’ Prunus padus ‘Watereri’ Robinia pseudoacacia ‘Frisia’

The Scots pine is widely grown for its timber, but its cultivars A deciduous, spreading tree, the bird cherry produces slender, Deciduous and fast-growing, false acacia has elegant dark
make excellent garden trees, either planted singly or in groups. pendent spikes of fragrant, star-shaped white flowers in green leaves and coarsely fissured bark. Pea-like flowers are
Upright conifers, they have whorled branches when young, and mid-spring, followed by small black fruits. The leaves turn borne in early summer, followed by dark brown seed pods.
develop a rounded crown with age. ‘Aurea’ has striking golden red or yellow in autumn. The conspicuous long flower spikes The pretty cultivar ‘Frisia’, with golden yellow foliage that
yellow leaves in winter. of the cultivar ‘Watereri’ create a spectacular spring display. turns orange in autumn, makes a superb focal point.
H15m (50ft) S9m (28ft) OOO H7 ruv2 H15m (50ft) S10m (30ft) OOO H6 ruV1 H15cm (50ft) S8m (25ft) OOO H6 ruV3

TREES AS FOCAL POINTS

• Acer griseum p.296 • Laburnum x watereri
• Betula nigra p.292 ‘Vossii’ p.298
• Betula utilis var. • Larix kaempferi ‘Pendula’
jacquemontii p.293 p.298
• Carpinus betulus p.94 • Nyssa sinensis p.294
• Carpinus betulus • Paulownia tomentosa
‘Fastigiata’ p.294 p.295
• Cornus controversa • Prunus serrula p.298
‘Variegata’ p.297 • Pyrus salicifolia ‘Pendula’
• Cornus kousa var. p.299
chinensis ‘China Girl’ • Robinia pseudoacacia
Salix alba var. sericea Salix x sepulcralis ‘Chrysocoma’ p.297 ‘Frisia’ p.295
The silver willow is a fast-growing, deciduous, spreading tree, A wide-spreading, deciduous tree with supple yellow stems • Davidia involucrata p.294
conical in shape when young. The leaves are long, narrow and that reach the ground, the golden weeping willow is grown for • Dicksonia antarctica p.297
an intense silver-grey, and emerge at the same time as the its beautiful cascading habit. Slender yellow or green catkins • Gleditsia triacanthos
yellow catkins in early spring. The foliage sparkles in the are borne with the narrow yellow-green leaves in spring. It
‘Sunburst’ p.294
breeze, and it makes an elegant specimen tree. looks particularly striking when planted by water.
H15m (50ft) S8m (25ft) OOO H6 rUv1 H15m (50ft) S15m (50ft) OOO H5 rUv8
296/297 Plant and materials guide
PLANT GUIDE

Small trees

Acer griseum Acer japonicum ‘Vitifolium’ Acer palmatum ‘Bloodgood’

The chief attraction of this deciduous maple is its unusual bark, A pretty, deciduous tree with broad, fan-shaped leaves that Japanese maples make lovely ornamental trees. ‘Bloodgood’
which is orange to mahogany-red and peels laterally in papery turn scarlet, gold, and purple in autumn. The leaves are similar forms a deciduous, bushy-headed shrub or small tree and is
rolls. The dark green leaves turn bright crimson and scarlet in to those of a grapevine, hence the cultivar name. In mid-spring grown for its deeply cut, dark reddish-purple leaves, which
autumn, and the ornamental bark gives this spectacular tree it bears clusters of small, delicate, reddish-purple flowers. Can turn bright red in autumn. Small purple flowers are borne
a valued winter role in small gardens. be grown as a bushy tree or large shrub. in mid-spring, followed by attractive red-winged fruits.
H10m (30ft) S10m (30ft) OOO H5 rSUv1 H10m (30ft) S10m (30ft) OOO H6 rSUv1 H5m (15ft) S5m (15ft) OOO H6 rSU1

Acer palmatum ‘Osakazuki’ Acer palmatum ‘Sango-kaku’ Amelanchier lamarckii

A stunning Japanese maple for autumn colour. The mid-green For colour interest all year, this delicate Japanese maple is a With abundant white flowers in spring and brilliant red leaf
leaves are larger than average and turn a brilliant scarlet before perfect choice. The divided leaves are orange-yellow in spring, colour in autumn, this deciduous hardy shrub or small tree
falling. Dainty red-winged fruits appear in late summer. It can maturing to green, then turning yellow in autumn before they provides plenty of seasonal interest. The young oval leaves
be grown in a large container but must not be allowed to dry fall. In winter, the new shoots, borne on ascending branches, unfold bronze before the star-shaped flowers emerge, and
out, and needs shelter from cold winds. turn coral-pink, deepening in colour as winter advances. the small red fruits that follow are attractive to birds.
H6m (20ft) S6m (20ft) OOO H6 rSu1 H6m (20ft) S5m (15ft) OOO H6 rSu2 H10m (30ft) S12m (40ft) OOO H7 rSuV1

Arbutus unedo Cercis canadensis f. alba ‘Forest Pansy’ Cercis siliquastrum

This handsome evergreen with flaky, red-brown bark and A pretty, multi-stemmed tree or shrub with vivid, reddish- The Judas tree is an eye-catching, spreading, bushy tree, with
attractive, glossy green leaves forms a large shrub or small purple, heart-shaped leaves that are velvety to the touch. bright purple-rose spring flowers and long, purple-tinted pods
tree in sheltered gardens. Lily-of-the-valley-like blooms appear Magenta buds open to pale pink, pea-like flowers in mid-spring that appear in late summer. Its heart-shaped leaves are bronze
in early winter and the rounded fruits, ripening to red in autumn, before the characteristic leaves appear. Impressive as a single when young, turning yellow in autumn. Although hardy it
give rise to the common name, strawberry tree. specimen but also useful for the back of the border. originates from the Mediterranean, so avoid very cold sites.
H8m (25ft) S8m (25ft) OOO H5 ru1 H10m (30ft) S10m (30ft) OOO H5 rSUv1 H10m (30ft) S10m (30ft) OOO H5 rSuV1
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter £ H1c–H1a no tolerance to frost
r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil 123456780 tree shape

Cornus controversa ‘Variegata’ Cornus kousa var. chinensis ‘China Girl’ Corylus avellana ‘Contorta’
This elegant deciduous tree with horizontally-tiered branches A broadly conical deciduous tree, this dogwood has tiny green The corkscrew hazel is a slow-growing, small deciduous tree
creates a distinctive architectural profile. Flat heads of flowerheads in summer surrounded by decorative petal-like or shrub with unusual twisted shoots, which are seen at their
star-shaped white flowers appear in summer, followed by white bracts. Fleshy red fruits develop later, followed by rich, best in winter when the long yellow catkins appear. Ideal as a
blue-black fruit. ‘Variegata’ has bright green leaves with purple-red autumn leaves. ‘China Girl’, free-flowering even focal point in a winter garden, the stems can also be cut for
creamy white margins, and makes a beautiful focal point. when young, has large creamy-white bracts that age to pink. striking indoor displays.
H8m (25ft) S8m (25ft) OOO H5 ru1 H7m (22ft) S5m (15ft) OOO H6 rSV5 H5m (15ft) S5m (15ft) OOO H6 rSuv2

Crataegus orientalis Crataegus persimilis ‘Prunifolia’ Cupressus macrocarpa ‘Goldcrest’

Hawthorns are widely used for hedges and as ornamentals. An excellent small deciduous tree, with rich brown bark and The Monterey cypress is a coastal tree in the wild and will
Many are thorny but C. orientalis is almost thornless. It is an long, dramatic thorns. It is grown mainly for its polished, deep tolerate dry growing conditions, which makes it useful as
attractive, compact, deciduous tree with deeply cut, dark green leaves that turn brilliant orange and red in autumn. Dense a hedge or windbreak in exposed sites. ‘Goldcrest’ is a
green leaves. White flowers appear in profusion in late heads of white flowers are produced in early summer followed handsome, narrowly conical tree with lemon-scented golden
spring, followed by yellow-tinged red fruit. by clusters of long-lasting, bright red berries. foliage. It looks stunning grown against a dark background.
H6m (20ft) S6m (20ft) OOO H6 rSuV2 H8m (25ft) S10m (30ft) OOO H7 rSuv1 H5m (16ft) S2.5m (8ft) OO H4 ru4

TREES FOR SPRING INTEREST

• Acacia dealbata p.292 • Paulownia tomentosa
• Acer palmatum p.295
‘Sango-kaku’ p.296 • Prunus ‘Mount Fuji’
• Amelanchier lamarckii p.298
p.296 • Prunus padus ‘Watereri’
• Betula utilis var. p.295
jacquemontii p.293 • Prunus ‘Spire’ p.298
• Cercis siliquastrum p.296 • Prunus x subhirtella
• Crataegus orientalis p.297 ‘Autumnalis Rosea’
• Crataegus persimilis p.299
‘Prunifolia’ p.297 • Pyrus salicifolia ‘Pendula’
Dicksonia antarctica Ficus carica ‘Brown Turkey’ • Davidia involucrata p.294 p.299
A spectacular and hardy tree fern, D. antarctica brings drama A popular variety of fig that thrives in cool climates, ‘Brown • Laburnum x watereri • Salix alba var. sericea
into the garden. In spring its arching pale green fronds unfurl Turkey’ has large lobed leaves and pear-shaped edible fruits, ‘Vossii’ p.298 p.295
from the top of a mass of fibrous roots that form the trunk. It green at first, maturing to purple-brown. Grow as a fan against • Malus ‘Evereste’ p.298
is evergreen in mild climates, but in cold winters protect the a sunny wall or as a freestanding tree; in cold areas keep in a
• Malus ‘Royalty’ p.298
crown by covering it with straw. pot and move under cover in winter.
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Small trees

Laburnum x watereri ‘Vossii’ Larix kaempferi ‘Pendula’ Laurus nobilis

This elegant, spreading, deciduous tree has glossy green Unusually among the conifers, larches are deciduous. A small Bay laurel is a conical evergreen tree grown for its aromatic,
leaves, cut into oval leaflets, and bears magnificent long grafted weeping cultivar, ‘Pendula’ has fine green linear leaves leathery, dark green leaves, which are used as flavouring in
golden chains of pea-like flowers in late spring. It makes an that turn bright yellow in autumn. It needs to be trained; the cooking. Clusters of small, greenish-yellow flowers appear in
impressive specimen tree in a small garden, but can also be height of the stake will determine how tall the plant is. Its spring, followed by black berries in autumn. It can be grown in
trained over a pergola. The leaves and seeds are poisonous. compact, waterfall-like habit makes it ideal for a small garden. a pot, and looks attractive when trimmed into formal shapes.
H8m (25ft) S8m (25ft) OOO H5 ru1 Hto 5m (15ft) Sto 3m (10ft) OOO H7 ru8 Hto 10m (30ft) Sto 8m (25ft) OO H4 rSuV5

Malus ‘Evereste’ Malus ‘Royalty’ Olea europaea

This crab apple is an excellent choice for a small garden as This pretty crab apple is smothered in deep pink to bright purple An elegant, slow-growing evergreen, the olive tree has
it forms a neat, conical shape. A profusion of white, shallow, flowers, which open from dark red buds in spring. The glossy grey-green leaves and tiny, fragrant, creamy-white flowers
cup-shaped flowers open from pink buds in late spring, followed leaves are dark red-purple and maintain their colour well in summer. The green olives only ripen to black in hot, dry
by small, red-flushed, orange-yellow fruit. The green leaves turn through the season, turning red in autumn. Inedible small conditions. It makes a stunning feature in a sunny, sheltered
yellow and orange in autumn before falling. purple fruits follow the flowers. A fine specimen tree. spot, or grow in a large pot and move under cover in winter.
H7m (22ft) S6m (20ft) OOO H6 rSuV5 H8m (25ft) S8m (25ft) OOO H6 rSUV2 H10m (30ft) S10m (30ft) OO H4 ru1

Prunus ‘Mount Fuji’ Prunus serrula Prunus ‘Spire’

Ornamental cherries make very attractive specimen trees for A dramatic choice for winter interest, this deciduous tree is Attractive over a long season, the leaves of this upright,
small gardens. This beautiful deciduous tree has pale green prized for its glossy mahogany bark with pale horizontal lines. deciduous cherry are bronze when young, green in summer,
young leaves, darkening to deep green, then turning orange Small white flowers are produced at the same time as the new then orange and red in autumn. In spring, bowl-shaped,
and red in autumn before they fall. Clusters of fragrant, leaves in late spring, followed by small inedible cherries on long soft pink flowers emerge in clusters against the new
white, cup-shaped flowers are borne in mid-spring. stalks. The leaves turn yellow in autumn. leaves. Makes a beautiful feature in a small garden.
H6m (20ft) S8m (25ft) OOO H6 rUV1 H10m (30ft) S10m (30ft) OOO H6 rUV1 H10m (30ft) S6m (20ft) OOO H6 rUV3
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter £ H1c–H1a no tolerance to frost
r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil 123456780 tree shape

Prunus x subhirtella ‘Autumnalis Rosea’ Pyrus salicifolia ‘Pendula’ Rhus typhina

A popular tree for its early-flowering nature, this delicate This delightful ornamental pear tree has an elegant weeping Known as the stag’s horn sumach because of its red velvety
spreading cherry is perfect for a small garden. Clusters of tiny, habit and silvery-grey, willow-like leaves. An abundant show shoots, this distinctive deciduous tree is particularly fine in
double, pale pink flowers appear in winter during mild spells. of creamy-white flowers in spring is followed by small, hard, autumn when its deeply divided leaves turn shades of orange
The green leaves are narrow and bronze when young, turning inedible pears in late summer. Grow as specimen tree on a and red. The fruits are formed in dense, hairy, crimson-red
golden-yellow in autumn. lawn, where its graceful habit can be seen to advantage. clusters on female plants. Plant singly or in a shrub border.
H8m (25ft) S8m (25ft) OOO H6 rUV1 H5m (15ft) S4m (12ft) OOO H6 rU8 H5m (15ft) S6m (20ft) OOO H6 rUV1

Sorbus aria ‘Lutescens’ Sorbus commixta Stewartia sinensis

A pretty deciduous tree, this eye-catching whitebeam has Sorbus are excellent ornamental trees for city gardens as they A good choice for autumn foliage colour, this small deciduous
striking silvery-grey young foliage that gradually turns tolerate atmospheric pollution. S. commixta bears large white tree is also prized for its unusual peeling red-brown bark
grey-green. White flowers in late spring are followed by flowerheads in spring and has elegant foliage, which turns and showy, white fragrant flowers that appear in midsummer.
orange berries in autumn. A freestanding tree of great shades of yellow, red, and purple in autumn. ‘Embley’ has Autumn brings an impressive display of red, orange, and yellow
beauty, it can also be used for mass planting or screening. bright red leaves in late autumn, and plenty of crimson fruit. leaves. It prefers acid soil.
H10m (30ft) S8m (25ft) OOO H6 rSU2 H10m (30ft) S7m (22ft) OOO H6 rSUV5 H6m (20ft) S3m (10ft) OOO H5 rSuV5

TREES FOR AUTUMN COLOUR

• Acer campestre p.292 • Crataegus persimilis
• Acer griseum p.296 ‘Prunifolia’ p.297
• Acer japonicum • Gleditsia triacanthos
‘Vitifolium’ p.296 ‘Sunburst’ p.294
• Acer palmatum • Malus ‘Evereste’ p.298
‘Bloodgood’ p.296 • Nyssa sinensis p.294
• Acer palmatum • Prunus ‘Mount Fuji’ p.298
‘Osakazuki’ p.296 • Prunus padus
• Acer palmatum ‘Watereri’ p.295
‘Sango-kaku’ p.296 • Prunus ‘Spire’ p.298
• Acer platanoides • Rhus typhina p.299
Taxus baccata ‘Fastigiata’ Tsuga canadensis ‘Aurea’ ‘Crimson King’ p.292 • Robinia pseudoacacia
Irish yew has a narrow, upright habit, eventually forming A graceful species of conifer, there are many varieties of • Acer rubrum ‘October ‘Frisia’ p.295
a distinguished, columnar shape. This makes it useful as a Eastern hemlock available. ‘Aurea’ is an elegant, compact, Glory’ p.292 • Sorbus commixta p.299
focal point or accent plant in a border. Small red berries and fairly slow-growing tree with golden yellow juvenile • Amelanchier lamarckii p.296 • Stewartia sinensis p.299
appear in summer. ‘Fastigiata Aurea’ is similar but has foliage, which darkens to green with age. It is useful for
• Cercidiphyllum japonicum
variegated yellow-green leaves. All parts are poisonous. evergreen interest in partially shaded areas.
p.293
H10m (30ft) S2m (6ft) OOO H6 rtVW4 H8m (25ft) S4m (12ft) OOO H6 rSuV5
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Large shrubs

Aralia elata ‘Variegata’ Azara microphylla Buddleja alternifolia ‘Argentea’

The Japanese angelica tree, A. elata, is an elegant, deciduous An attractive evergreen shrub or small tree with large sprays The slender, arching branches of this robust deciduous shrub
shrub with striking grey-green leaves that turn many shades of of small, glossy, dark green leaves. Small clusters of vanilla- have narrow grey-green leaves and carry dense clusters of very
yellow, orange, or purple in autumn. Large heads of small white scented, deep yellow flowers are borne in late winter and fragrant lilac flowers in summer. Its weeping habit makes it
flowers appear in late summer. The leaves of ‘Variegata’ have early spring, making it a useful shrub for winter interest. suitable for training as a standard. Prune after flowering to
creamy-white margins that shine out in a shady border. It will tolerate part-shade and grows well against a wall. prevent branches from becoming tangled.
H5m (15ft) S5m (15ft) OOO H5 SUV H7m (22ft) S4m (12ft) OOO (boderline) H4 rSV H4m (12ft) S4m (12ft) OOO H6 rSUV

Buddleja globosa Camellia reticulata ‘Leonard Messel’ Chimonanthus praecox ‘Grandiflorus’

This eye-catching upright shrub has handsome, semi-evergreen, Camellias are invaluable evergreen spring-flowering shrubs Known as wintersweet, this deciduous shrub produces pale
dark green leaves. Small, bright, orange-yellow balls of fragrant for acid soils in sheltered sites. ‘Leonard Messel’ produces yellow flowers that hang from its bare stems throughout winter,
flowers appear in early summer, and will brighten up a border. a profusion of large, semi-double, pink flowers in spring that perfuming the air with intoxicating scent. Grow it as a specimen
It prefers a sunny position and tolerates chalky soil, but does stand out vividly against a background of matt, dark green shrub, as part of a border planting, or train it on a sunny wall.
not respond well to hard pruning. leaves. It is ideal as a specimen or in a woodland setting. The stems can be cut for indoor displays.
H5m (15ft) S5m (15ft) OOO H5 rU H4m (12ft) S3m (10ft) OOO H5 Suv H4m (12ft) S3m (10ft) OOO H5 rU

Clerodendrum trichotomum var. fargesii Cordyline australis ‘Red Star’ Cornus mas
This spectacular deciduous shrub has an upright habit and The New Zealand cabbage palm is a popular evergreen shrub Shrubs that flower in winter, such as this Cornelian cherry,
attractive bronze young leaves. Fragrant, white, star-shaped grown for its striking foliage. In warm regions, it makes an are a valuable asset to the designer. It bears little clusters of
flowers with green sepals open from pink and greenish-white eye-catching architectural plant for a sheltered courtyard tiny yellow flowers on bare branches in late winter, before the
buds in late summer. Jewel-like, bright blue berries, surrounded garden; in frost-prone areas, keep it in a pot in a cool greenhouse leaves appear. Bright red fruits are produced in late summer,
by pronounced maroon calyxes, follow the flowers. during winter. ‘Red Star’ has rich red-bronze, sword-like leaves. and the leaves turn red-purple in autumn.
H6m (20ft) S6m (20ft) OOO H5 rU H3–10m (10–30ft) S1–4m (3–12ft) OO H3 rSU H5m (15ft) S5m (15ft) OOO H6 rSu
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Corylus maxima ‘Purpurea’ Cotinus coggygria Rubrifolius Group Cotinus ‘Grace’

The intense colour of this deciduous, deep purple-leaved This bushy, deciduous shrub is known as the smoke bush A vigorous smoke bush cultivar that can be grown as a small
hazel makes an immediate impact in a garden. Attractive because its fluffy plumes of pale pink summer flowers produce a bushy tree or as a tall multi-stemmed shrub. Large, dark pink
purple-tinged catkins appear in late winter, and edible nuts smoky effect. The dark purple leaves colour best in full sun, and flower clusters appear above the foliage in summer, and the
ripen in autumn. Grow as a specimen plant or as a focal point turn scarlet and orange in autumn. A fine structural shrub to soft purple-red leaves turn a brilliant orange-red before falling.
in a shrub border. The best colour is produced in full sun. plant on its own, it is also useful at the back of a border. An excellent choice for autumn colour.
H6m (20ft) S5m (15ft) OOO H6 rSu H5m (15ft) S5m (15ft) OOO H5 rSuV H6m (20ft) S5m (15ft) OOO H5 rSuv

Cotoneaster frigidus ‘Cornubia’ Cotoneaster lacteus Cytisus battandieri

A large, arching, semi-evergreen shrub, this cotoneaster has This dense, evergreen shrub sports distinctive, dark green, An elegant, deciduous shrub, the pineapple broom gained its
narrow green leaves that are tinted bronze in autumn. Creamy- leathery leaves. Cup-shaped, milky-white flowers appear in common name from the scent of its yellow pea-like flowers,
white, early summer flowers are produced in profusion, followed summer, followed by clusters of dark red fruit that persist well which emerge in summer. Its attractive, silvery-green leaves
by heavy clusters of bright red fruit that are attractive to birds. into winter. It makes an attractive hedge or screen, and it can are covered in soft, silky hairs. Ideal as a freestanding shrub,
It can be trained as a single-stemmed tree. also be grown as a small tree. but grow it against a sunny wall in colder areas.
H10m (30ft) S10m (30ft) OOO H6 ru H4m (12ft) S4m (12ft) OOO H6 rSu H5m (15ft) S5m (15ft) OOO H5 Ru

SHRUBS FOR FOCAL POINTS

• Acer palmatum • Fatsia japonica p.306
Dissectum • Fothergilla species p.95
Atropurpureum • Hamamelis x intermedia
p.304 ‘Pallida’ p.302
• Cordyline australis • Juniperus communis
‘Red Star’ p.300 ‘Hibernica’ p.302
• Cornus alba ‘Sibirica’ • Magnolia liliiflora ‘Nigra’
p.305 p.307
• Corylus maxima • Magnolia stellata p.307
‘Purpurea’ p.301 • Photinia x fraseri
• Cotinus coggygria ‘Red Robin’ p.303
Dipelta floribunda Elaeagnus x ebbingei ‘Gilt Edge’ Rubrifolius Group • Sambucus nigra ‘Eva’ p.309
This handsome deciduous shrub offers interest through the A hardy, evergreen, dense shrub, ‘Gilt Edge’ has brown scaly p.301 • Viburnum plicatum
seasons. Masses of fragrant pale pink flowers with yellow stems and glossy leaves with green centres and golden yellow • Cotinus ‘Grace’ p.301 f. tomentosum ‘Mariesii’
markings appear in late spring, its light green leaves turn yellow margins. Small, lightly-scented flowers are produced from mid- • Euphorbia characias p.309
in autumn, and it has attractive peeling bark in winter. Grow it to late autumn. The plant’s hardiness makes it a good choice for
subsp. wulfenii ‘John • Yucca filamentosa ‘Bright
as a specimen plant or in a shrub border. a shelter belt or hedge, especially in coastal areas.
Tomlinson’ p.312 Edge’ p.317
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PLANT GUIDE

Large shrubs

Elaeagnus ‘Quicksilver’ Hamamelis x intermedia ‘Pallida’ Hippophae rhamnoides

With silvery shoots and narrow, silver-grey leaves, this Witch hazel is a handsome shrub that produces spider-like Sea buckthorn thrives in harsh conditions and makes an
fast-growing shrub makes a great foil for dark-leaved plants. scented flowers on bare branches in winter. There are many excellent screening plant for a coastal garden. It has a bushy
Although bushy, with a loose, spreading crown, it can be trained cultivars. ‘Jelena’ has large, coppery-orange flowers and orange habit, but can be trained to make a small tree, and has thorny
as a small tree. Star-shaped, fragrant, creamy-yellow flowers and red autumn foliage. ‘Pallida’ bears large, fragrant, yellow stems with narrow, silver-grey leaves. Grow male and female
open from silvery buds in late spring or summer. flowers and has golden autumn leaves. plants together to produce brilliantly orange-coloured berries.
H4m (12ft) S4m (12ft) OOO H5 ru H4m (12ft) S4m (12ft) OOO H5 RSuV H6m (20ft) S6m (20ft) OOO H7 ruv

Hydrangea paniculata ‘Unique’ Ilex aquifolium ‘Silver Queen’ Itea ilicifolia

Hydrangeas are mainly grown for their showy flowerheads, but Common holly has dark green leaves, but there are many This spectacular evergreen shrub has holly-like, shiny, dark
some have pretty bark and others develop good autumn colour. cultivars with white, cream, or yellow variegation. ‘Silver green leaves. Long catkins made up of small, greenish-white
H. paniculata ‘Unique’ bears large, creamy-white flowerheads Queen’ is a male variety (it does not bear berries); it forms an flowers appear in late summer, and a honey-like scent is
from midsummer to early autumn, and its leaves turn yellow upright evergreen, with purple stems and striking leaves with discernible on warm evenings. A fine freestanding shrub for
before falling. It’s best planted singly or in a shrub border. broad, creamy-white margins. It is ideal for hedges and screens. mild areas, but plant it against a wall in more exposed sites.
H3–7m (10–22ft) S2.5m (8ft) OOO H5 RSUV H10m (30ft) S4m (12ft) OOO H6 rSUV H3–5m (20–15ft) S3m (10ft) OOO H5 rU

Juniperus communis ‘Hibernica’ Ligustrum ovalifolium ‘Aureum’ Mahonia x media ‘Charity’

Junipers tolerate a wide range of soils and growing conditions, A vigorous, semi-evergreen shrub, golden privet has variegated With their attractive foliage, bright yellow flowers, and
are tough enough for hot, sunny sites, and need little pruning. leaves with bright yellow margins and bears dense clusters of decorative fruits, mahonias make magnificent architectural
‘Hibernica’, also known as the Irish juniper, forms a slender white flowers in midsummer, followed by black berries. It clips features in a winter garden. ‘Charity’ is fast-growing and has
column of crowded, needle-like leaves, each with a silver line, easily and is ideal for hedging and topiary. Shade tolerant, it can spiny holly-like leaves. Bright yellow to lemon yellow flowers
and makes an excellent structural plant for formal schemes. be planted to brighten a shady corner of the garden. are produced in spikes from late autumn to late winter.
H3–5m (10–15ft) S30cm (12in) OOO H7 ru H4m (12ft) S4m (12ft) OOO H5 rSU H5m(15ft) S4m (12ft) OOO H5 Suv
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Olearia macrodonta Photinia x fraseri ‘Red Robin’ Pittosporum tenuifolium

New Zealand holly is a vigorous evergreen shrub with This hardy evergreen shrub is grown for its conspicuous, deep A charming, upright evergreen shrub with pale grass-green,
sharply-toothed, sage green leaves, which provide mellow red young foliage, which is produced in spring on the tips of wavy leaves and attractive black stems. The small dark purple
colour all year. Fragrant, white, daisy-like flowers are borne in the branches. It looks good in a woodland garden or in a flowers, produced in abundance in spring, are honey-scented at
early summer. A handsome freestanding shrub in mild areas, it shrub border, and can also be used for hedging. ‘Red Robin’ dusk. In mild regions, it can be grown as a specimen plant on a
also makes an excellent screen for exposed coastal gardens. is a compact cultivar, with especially bright red young leaves. lawn, or used for simple topiary.
H6m (20ft) S5m (15ft) OOO (borderline) H4 rU H5m (15ft) S5m (15ft) OOO H5 RSUV H4–10m (12–30ft) Sto 5m (15ft) OO H4 RSUV

Rhamnus alaternus ‘Argenteovariegata’ Rhododendron luteum Syringa vulgaris ‘Mrs Edward Harding’
This handsome, bushy, evergreen shrub bears glossy grey- An elegant deciduous azalea, R. luteum bears rounded clusters Lilacs form spreading deciduous shrubs with pretty heart-
green leaves with creamy-white margins. Small yellow-green of funnel-shaped yellow flowers in late spring, which have a shaped leaves, and make useful screening plants. Sweetly-
flowers appear in early summer, followed by spherical red delightful scent. The rich green leaves turn shades of crimson, scented flowerheads appear from spring to early summer.
berries in a warm summer, which ripen to black. It does well purple, and orange in autumn, making it a valuable garden plant There are over 500 cultivars of common lilac to choose
in coastal and city gardens, but needs shelter in colder areas. over a long season. It requires acid soil. from; ‘Mrs Edward Harding’ has double, purple-red flowers.
H5m (15ft) S4m (12ft) OOO H5 Ru H4m (12ft) S4m (12ft) OOO H5 Ruv Hto 7m (22ft) Sto 7m (22ft) OOO H6 Ru

SHRUBS FOR HOT, DRY SITES

• Artemisia arborescens • Lavatera x clementii
p.310 ‘Barnsley’ p.307
• Buddleja globosa p.300 • Lonicera nitida
• Ceanothus thyrsiflorus var. ‘Baggesen’s Gold’ p.314
repens p.310 • Origanum ‘Kent Beauty’
• Choisya x dewitteana p.314
p.305 • Pinus mugo ‘Mops’ p.315
• Cistus cultivars p.311 • Potentilla fruticosa
• Convolvulus cneorum p.311 cultivars p.315
• Cytisus battandieri p.301 • Ribes sanguineum p.308
• Escallonia ‘Apple • Rosmarinus officinalis
Tamarix ramosissima ‘Pink Cascade’ Viburnum opulus Blossom’ p.305 p.316
Tamarisks are excellent shrubs for exposed coastal gardens The guelder rose is a good choice for a wildlife garden as birds • Helianthemum ‘Wisley • Salvia officinalis cultivars
where they can make an effective screen. They have attractive, love the translucent red berries; as a bonus, the leaves also turn Primrose’ p.313 pp.316–7
feathery foliage, formed of needle-like leaves. T. ramosissima a rich red in autumn. The late spring blooms are attractive, too, • Lavandula angustifolia • Santolina pinnata p.317
is deciduous, with arching branches and upright plumes of forming lacecap-like heads of white flowers. This deciduous plant
‘Munstead’ p.314
small, pink flowers; ‘Pink Cascade’ has rich pink flowers. is vigorous and is commonly seen in hedgerows.
H5m (15ft) S5m (15ft) OOO H5 Ru H5m (15ft) S4m (12ft) OOO H6 RSUV
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PLANT GUIDE

Medium-sized shrubs

Abelia x grandiflora Acer palmatum Dissectum Atropurpureum Group Aucuba japonica ‘Crotonifolia’
A vigorous, semi-evergreen shrub with glossy dark green Most Japanese maples are low-growing and shrubby, and look Hardy evergreen shrubs, spotted laurels are easy to grow and
foliage and an abundance of fragrant, pink-flushed white their best at the front of a border; many have beautiful foliage tolerant of a wide range of growing conditions – shade, dry sites,
flowers from midsummer to mid-autumn. Plant either as a and fiery autumn colour. A. palmatum var. dissectum forms a and even areas with polluted air. ‘Crotonifolia’ has large, glossy
freestanding shrub, or as an informal hedge. It is best mound of narrow, very finely-toothed leaves, and Dissectum green leaves speckled with yellow marks. In mid-spring, small
fan-trained against a sunny wall in colder areas. Atropurpureum Group has red-purple leaves. red-purple flowers appear, followed by red berries.
H3m (10ft) S4m (12ft) OOO H5 RU H2m (6ft) S3m (10ft) OOO H6 RSuv H3m (10ft) S3m (10ft) OOO H5 RSTuv

Berberis darwinii Berberis julianae Buddleja crispa

This vigorous, dense, mounded evergreen shrub has glossy dark A handsome evergreen shrub with spiny-margined, glossy deep Perfect for planting in the shelter of a sunny wall or fence, this
green foliage on prickly stems. During spring, it bears drooping green leaves, this plant is often used as a screen. From spring deciduous shrub has striking leaves covered in soft, greyish-
clusters of bright orange flowers, which are followed by round to early summer, clusters of scented yellow or red-tinged white down and woolly white young shoots. Small, fragrant,
blue-black fruit. It makes an attractive informal hedge, and flowers are produced, followed by egg-shaped, blue-black lilac-pink flowers appear in long, dense clusters from mid- to
tolerates heavy clay soils. fruits. It is best planted where its scent will be appreciated. late summer. Attractive to bees and butterflies.
H3m (10ft) S3m (10ft) OOO H5 RSU H3m (10ft) S3m (10ft) OOO H5 RSU H3m (10ft) S3m (10ft) OO H4 RU

Buddleja davidii ‘Dartmoor’ Camellia japonica ‘Bob’s Tinsie’ Ceanothus ‘Concha’

An outstanding butterfly bush cultivar, ‘Dartmoor’ has arching Camellias make elegant evergreen flowering plants for gardens Ceanothus are cultivated for their flowers, which may be blue,
stems and soft green leaves that are white beneath. In late with acid soil. New variations of C. japonica appear every year white, or pink. C. ‘Concha’ is a good choice for a warm, sunny
summer and autumn, it bears broad, open-branched plumes and there is a huge range of cultivars to choose from. ‘Bob’s wall or fence. It forms a dense evergreen shrub with finely
of highly scented, pinkish purple flowers. Loved by butterflies Tinsie’ has an upright habit, and bears small, clear red flowers toothed, dark green leaves and produces masses of reddish-
and ideally suited to wildlife gardens. from early to late spring. Shelter from cold, drying winds. purple buds in late spring that open up to dark blue flowers.
H2.5m (8ft) S2.5m (8ft) OOO H6 RSU H2m (6ft) S1m (3ft) OOO H5 SUv H3m (10ft) S3m (10ft) OO H4 RU
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Chaenomeles speciosa ‘Moerloosei’ Choisya x dewitteana ‘Aztec Pearl’ Cornus alba ‘Aurea’
Ornamental quinces make reliable garden shrubs, and can A compact, elegant example of Mexican orange blossom, this This golden-leaved, vigorous dogwood offers a combination
even be trained against a shaded wall or fence. This variety pretty evergreen shrub with slim dark green leaves is suitable of summer and winter interest. Throughout summer it forms
(also sold as ‘Apple Blossom’) bears large clusters of white for a small garden or container. Fragrant clusters of white a mound of broad greenish-yellow leaves and, after these fall
flowers, flushed dark pink, in spring and early summer, star-shaped flowers emerge from pink buds in late spring, and in late autumn, the dark red stems create a stunning display.
followed by aromatic fruits. Prune after flowering. appear again in smaller numbers in late summer and autumn. Cut down a third of the stems in spring to rejuvenate the plant.
H2.5m (8ft) S5m (15ft) OOO H6 RSU H2.5m (8ft) S2.5m (8ft) OO H4 RsU H3m (10ft) S3m (10ft) OOO H7 RSu

Cornus alba ‘Sibirica’ Cornus sericea ‘Flaviramea’ Daphne bholua ‘Jacqueline Postill’
A deciduous, upright dogwood, ‘Sibirica’ forms a dense The winter shoots of this vigorous dogwood display their most A shrub for a border or rock garden, D. bholua is best planted in
thicket of young scarlet stems. These are seen at their best vivid colour when grown in a sunny site. The plant bears white a sheltered position where the richly fragrant flowers will be
in sunshine, and set a dull winter garden ablaze with their flowers from late spring to early summer, and the dark green appreciated. This cultivar is vigorous, evergreen, and bears
fiery colours. It is one of the best cultivars for autumn leaves turn red and orange in autumn. The form ‘Flaviramea’ clusters of deep purple-pink flowers, white inside, over a long
colour, its dark green leaves turning red before falling. produces bright yellow-green winter stems. flowering season in late winter. Mulch to retain moisture.
H3m (10ft) S3m (10ft) OOO H7 RSU H2m (6ft) S4m (12ft) OOO H7 RSU H2m (6ft) S1.5m (5ft) OO H4 RSUV

SHRUBS FOR SHADE

• Aucuba japonica • Mahonia japonica
‘Crotonifolia’ p.304 p.307 (dry shade)
(dry shade) • Rhododendron ‘Kure-no-
• Azara microphylla yuki’ p.315 (dry shade)
p.300 (dry shade) • Sarcococca hookeriana
• Buxus sempervirens var. digyna p.317
‘Suffruticosa’ p.310 (dry shade)
(dry shade) • Viburnum opulus p.303
• Chaenomeles speciosa (damp conditions)
‘Moerloosei’ p.305
(dry shade)
Erica arborea var. alpina Escallonia ‘Apple Blossom’ • Cornus alba ‘Aurea’ p.305
This tree heath makes a dense, compact, upright shrub, Tolerant of maritime conditions, this attractive evergreen shrub (damp conditions)
crowded with needle-shaped, bright green evergreen leaves. with glossy dark green leaves is a good choice for a coastal • Cornus sericea
Masses of tiny, fragrant, bell-shaped white flowers appear in garden. It is compact and bushy, and produces clusters of pink ‘Flaviramea’ p.305
spring. Grow it in acid soil for the best results, and prune hard and white flowers, similar to apple blossom, from early to
(damp conditions)
after flowering to keep it in shape and encourage new growth. midsummer. Grow as a hedge or windbreak.
H2m (6ft) S90cm (36in) OO H4 RU H2.5m (8ft) S2.5m (8ft) OO H4 RU
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PLANT GUIDE

Medium-sized shrubs

Exochorda x macrantha ‘The Bride’ Fatsia japonica Fuchsia magellanica

Pure white, showy, saucer-shaped flowers on arching branches The castor oil plant is valued for its bold evergreen foliage and In frost-free regions, this deciduous shrub, the hardiest of
cover this spreading evergreen shrub in late spring, making a architectural habit. Its long-stalked, palmate, shiny dark green the fuchsia species, can be grown on its own or as informal
beautiful display. Mound-forming and wider than it is tall, it is leaves give a subtropical effect, while striking branched hedging. It carries small, lantern-like flowers with red tubes,
suitable for growing as a specimen plant, although it can also clusters of creamy-white flowers emerge in autumn, followed long red sepals and purple petals, from midsummer through
be grown in a shrub border. by small black berries. It is tolerant of coastal exposure. into autumn. The flowers are followed by black fruits.
H2m (6ft) S3m (10ft) OOO H6 RSUv HS1.5–4m (5–12ft) OOO H6 RsUv Hto 3m (10ft) Sto 3m (10ft) p H4 RSUv

Hebe ‘Midsummer Beauty’ Hibiscus syriacus ‘Diana’ Hydrangea arborescens ‘Annabelle’

Hebes are adaptable evergreen shrubs that suit a wide range of Large showy flowers are the main allure of hibiscus cultivars. Excellent as specimen plants or in groups, in a mixed border
growing conditions, including containers. ‘Midsummer Beauty’, They thrive in a sunny border and flower over a long period. or in containers, hydrangeas are versatile garden shrubs.
an upright, rounded shrub with purplish-brown stems and bright ‘Diana’ is an erect, deciduous shrub with toothed, dark green ‘Annabelle’, one of the most elegant cultivars, is deciduous
green leaves, bears tapering plumes of medium-sized, leaves that produces trumpet-shaped, white flowers with and, from summer to early autumn, bears large, spherical
lilac-purple flowers from midsummer to late autumn. wavy-margined petals, from late summer to mid-autumn. flowerheads, crowded with creamy-white flowers.
H2m (6ft) S1.5m (5ft) p H4 RSUv H3m (10ft) S2m (6ft) OOO H5 RUv H2.5m (8ft) S2.5m (8ft) OOO H6 RSuv

Hydrangea aspera Villosa Group Hydrangea macrophylla ‘Mariesii Lilacina’ Hydrangea quercifolia SNOW QUEEN
An impressive deciduous shrub with lance-shaped, downy This rounded, deciduous shrub is grown for its mauve-pink to The oak-leaved hydrangea is grown chiefly for its deeply lobed,
dark green leaves that form an attractive background for the blue, showy lacecap flowers, which appear from mid- to late dark green leaves, which turn magnificent tints of bronze and
flattened lacecap flowerheads. Produced from late summer to summer. It makes a fine freestanding shrub, and is also useful purple in autumn before falling. From midsummer to autumn,
autumn, the lacecaps have large, purple-blue central clusters for mass planting in shady areas. Leave the flowerheads on SNOW QUEEN, also known as 'Flemygea', produces large,
with a ring of lilac-white flowers on the outer edge. over winter to protect the plant from frost damage. white, conical flowerheads, which fade to pink as they age.
H1–3m (4–10ft) S1–3m (4–10ft) OOO H5 RSUv H2m (6ft) S2.5m (8ft) OOO H5 RsUv H2m (6ft) S2.5m (8ft) OOO H5 RsUv
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Indigofera heterantha Jasminum nudiflorum Kolkwitzia amabilis ‘Pink Cloud’

Elegant, fern-like, grey-green leaves clothe the arching Winter jasmine has long, slender, arching, leafless shoots A hardy, deciduous shrub, the beauty bush forms a dense
branches of this spreading, multi-stemmed, deciduous shrub. bearing bright yellow flowers from winter to early spring. twiggy shape. Bell-shaped pink flowers, with yellow-flushed
From early summer through to autumn, small, purple-pink, Oval, dark green leaves emerge after flowering. It is ideal throats, are borne in profusion from late spring to early summer.
pea-like flowers are carried in dense spikes. It thrives when for training on a low wall or trellis. Prune once flowering has Pale, bristly seed clusters follow. It makes a fine freestanding
fan-trained against a sunny wall, especially in colder areas. finished to maintain a neat shape. shrub, but can be planted as an informal hedge.
H2–3m (6–10ft) S2–3m (6–10ft) OOO H5 RUv H3m (10ft) S3m (10ft) OOO H5 RSu H3m (10ft) S4m (12ft) OOO H6 Ru

Lavatera x clementii ‘Barnsley’ Magnolia liliiflora ‘Nigra’ Magnolia stellata

Throughout the summer, this semi-evergreen mallow bears One of the most reliable of all magnolias, this cultivar produces This graceful, deciduous shrub is slow-growing but well worth
very pale, blush-pink, red-eyed flowers. The lobed leaves beautiful large, dark purple-red upright flowers in early summer the wait. The star magnolia bears pure white, sometimes
are grey-green and downy. The cultivar ‘Bredon Springs’ has and intermittently into the autumn. It is compact and deciduous, pink-flushed, star-shaped flowers in early spring, before the
a similar habit and flowering period, but the flowers are with glossy dark green leaves that provide a foil to the flowers. leaves emerge. A compact shrub, it is initially bushy and then
mauve-flushed and dusky pink. Both suit sandy soils. Grow as a specimen plant for the best effect. spreading. Spring frosts may damage early blooms.
H2m (6ft) S2m (6ft) OOO H5 RU H3m (10ft) S2.5m (8ft) OOO H6 RSUv H3m (10ft) S4m (12ft) OOO H6 RSUv

SHRUBS FOR FOLIAGE INTEREST

• Acer palmatum Dissectum • Elaeagnus x ebbingei
Atropurpureum ‘Gilt Edge’ p.301
p.304 • Elaeagnus ‘Quicksilver’
• Aralia elata ‘Variegata’ p.302
p.300 • Fatsia japonica p.306
• Artemisia arborescens • Hydrangea quercifolia
p.310 SNOW QUEEN p.306
• Aucuba japonica • Ilex aquifolium ‘Silver
‘Crotonifolia’ p.304 Queen’ p.302
• Berberis darwinii p.304 • Mahonia japonica p.307
• Clerodendrum trichotomum • Photinia x fraseri
var. fargesii p.300 ‘Red Robin’ p.303
Mahonia japonica Myrtus communis ‘Flore Pleno’ • Cordyline australis • Physocarpus opulifolius
Invaluable in a winter garden, this handsome evergreen Myrtle is a sun-loving, evergreen Mediterranean shrub with
‘Red Star’ p.300 ‘Diabolo’ p.308
shrub thrives in shady spots. Its spectacular, sharply-toothed, aromatic foliage. Masses of pretty, fragrant white flowers
dark green leaves glow with rich red tints in winter. Arching appear in late summer. The double blooms of 'Flore Pleno' look • Corylus maxima • Sambucus racemosa
spikes of fragrant, pale yellow flowers appear from late autumn like small pompons. It thrives in a sunny border and can also ‘Purpurea’ p.301 ‘Plumosa Aurea’ p.309
to early spring, followed by blue-purple berries. be planted in a container, but needs shelter in cold areas. • Cotinus ‘Grace’ p.301 • Tamarix ramosissima
‘Pink Cascade’ p.303
H2m (6ft) S3m (10ft) OOO H5 STUv H3m (10ft) S3m (10ft) OO H4 RvW
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PLANT GUIDE

Medium-sized shrubs

Nandina domestica Osmanthus x burkwoodii Paeonia delavayi

The fruit, flowers, and foliage of this evergreen shrub give This hardy evergreen shrub is grown for its glossy dark green In early summer, this magnificent tree peony produces single,
it a long season of interest. The leaves have warm red tints leaves, and clusters of tiny, creamy-white trumpet-shaped cup-shaped, dark crimson flowers on long lax stems. The
in spring and autumn, and small star-shaped white flowers flowers, which are sweetly scented and appear from mid- handsome, deeply cut, dark green leaves are tinged burgundy
emerge in midsummer, followed by bright red berries. The to late spring. Its dense habit makes it useful for hedging in spring. A stunning deciduous shrub for a mixed border; it
cultivar ‘Fire Power’ is a compact form with bright red leaves. and topiary. Trim into shape after flowering. does not tolerate being moved.
H2m (6ft) S1.5m (5ft) OOO H5 RUv H3m (10ft) S3m (10ft) OOO H5 RsU H2m (6ft) S1.2m (4ft) OOO H5 RSUV

Philadelphus ‘Belle Étoile’ Physocarpus opulifolius ‘Diabolo’ Pieris japonica ‘Blush’

Mock oranges are grown for their beautiful flowers, which Grown chiefly for its attractive purple foliage and upright A versatile evergreen shrub for acid soils, P. japonica has
are often scented and usually white. ‘Belle Étoile’ makes an red stems, this spreading deciduous shrub also produces narrow, glossy leaves, which are an attractive coppery-red
arching, deciduous shrub with tapering leaves. Its fragrant clusters of small pinkish-white flowers in late spring, followed when young. Tassels of white flowers appear from early to
white flowers are single with a maroon flush at the centre, by maroon fruit. The peeling bark gives additional winter mid-spring. The compact cultivar ‘Blush’ has dark green leaves
and are freely produced from late spring to early summer. interest. Cut down to the ground in spring to rejuvenate. and its pink-flushed white flowers open from dark pink buds.
H1.2m (4ft) S2.5m (8ft) OOO H6 RSU H2m (6ft) S2.5m (8ft) OOO H7 RSU H2m (6ft) S2m (6ft) OOO H5 RSUv

Pyracantha SAPHYR JAUNE Ribes sanguineum ‘Pulborough Scarlet’ Rosa ‘Geranium’

Firethorns can be grown as a freestanding feature, against a Fairly upright when young, this flowering currant becomes This spectacular shrub rose has arching branches and small,
wall, or for hedging. This cultivar, also known as ‘Cadaune’, is spreading with maturity. It is a vigorous, deciduous shrub, dark green leaves. A profusion of open, scarlet flowers, with
an upright, evergreen shrub with spiny branches, dark green with aromatic leaves and clusters of dark red, white-centred prominent cream stamens is produced in summer, followed
leaves, and small, white late-spring flowers. Its bright yellow tubular flowers in spring, followed by round, blue-black berries. by blazing orange-red, bottle-shaped hips in autumn, which
autumn fruits provide a flash of colour as winter approaches. It is ideal for the back of a mixed border. extend the season of visual interest.
H4m (12ft) S3m (10ft) OOO H6 RSU H3m (10ft) S2.5m (8ft) OOO H6 RU H2.5m (8ft) S1.5m (5ft) OOO H6 RUV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Rubus ‘Benenden’ Sambucus nigra ‘Eva’ Sambucus racemosa ‘Plumosa Aurea’

An ornamental, deciduous member of the bramble family This graceful elder is attractive for most of the year. The dark A bushy plant with arching shoots; the deeply cut leaves, which
with arching, thornless stems, this shrub is grown for its large, purple lacy foliage provides colour contrast in a mixed border. are bronze in youth and mature to golden yellow, provide
pure white, rose-like flowers, which appear in abundance from Showy pale pink, lemon-scented, flattened flowerheads appear a bright splash of colour in a border. Small, creamy yellow
late spring to early summer. It is suitable for a shady shrub in midsummer, followed by dark red elderberries. Full sun is flowers appear in mid-spring, followed by round, glossy red
border, and is very attractive to butterflies. best for foliage colour. It is also sold as ‘Black Lace’. fruits in summer. The foliage may scorch in hot sun.
H3m (10ft) S3m (10ft) OOO H5 RSU H3m (10ft) S2m (6ft) OOO H6 RSUV H3m (10ft) S3m (10ft) OOO H7 RSUv

Skimmia x confusa ‘Kew Green’ Spiraea nipponica ‘Snowmound’ Viburnum x bodnantense

In spring, this compact, mounded, evergreen shrub produces At its peak in early summer, this spiraea presents a marvellous Useful for providing winter interest in a garden, this shrub
dense, conical heads of fragrant, creamy-white flowers above display, with clusters of bowl-shaped white flowers carried all produces clusters of scented, tubular, rose-tinted flowers on
deep green, pointed, aromatic leaves. Suitable for a shady along the upper sides of the arching stems. Deciduous, fast- bare stems over a long season, from late autumn to spring.
border or woodland garden, it also looks attractive in a growing, and densely leaved, it forms a spreading shape and It is upright and deciduous, with toothed, dark green leaves.
container. An adaptable shrub, it can cope with polluted air. is perfect for growing near the back of a sunny mixed border. A range of cultivars is available; ‘Deben’ has white flowers.
H3m (10ft) S1.5m (5ft) OOO H5 sTUv H2.5m (8ft) S2.5m (8ft) OOO H6 RUV H3m (10ft) S2m (6ft) OOO H6 RSUV

SHRUBS FOR GROUND COVER

• Calluna vulgaris ‘Gold • Juniperus procumbens
Haze’ p.310 p.313
• Ceanothus thyrsiflorus • Juniperus squamata
var. repens p.311 ‘Blue Carpet’ p.314
• Cotoneaster dammeri • Lonicera pileata p.314
p.312 • Picea abies ‘Reflexa’
• Cotoneaster horizontalis p.315
p.312 • Potentilla fruticosa
• Cotoneaster salicifolius ‘Dart’s Golddigger’
‘Gnom’ p.312 p.92
• Euonymus fortunei • Prunus laurocerasus
Viburnum carlesii ‘Aurora’ Viburnum plicatum f. tomentosum ‘Mariesii’ ‘Emerald Gaiety’ ‘Zabeliana’ p.315
Suitable for a border or woodland garden, this deciduous shrub This viburnum has distinctive extended horizontal branches that p.312 • Santolina
is densely bushy with irregularly toothed, dark green leaves. create a striking architectural effect, which is best appreciated • Hebe pinguifolia chamaecyparissus p.92
‘Aurora’ is mainly grown for its clusters of perfumed flowers, when the shrub is grown as a specimen plant in a lawn. The ‘Pagei’ p.313 • Vinca major p.93
which emerge in mid-spring. The buds are initially red and then flowers are white and the heart-shaped, dark green leaves
• Helianthemum ‘Wisley • Vinca minor ‘La Grave’
open up to the pink tubular blooms. turn red-purple in autumn.
Primrose’ p.313 p.317
H2m (6ft) S2m (6ft) OOO H6 RSUV H3m (10ft) S4m (12ft) OOO H5 RSUV
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PLANT GUIDE

Small shrubs

Artemisia arborescens Ballota ‘All Hallows Green’ Berberis x stenophylla ‘Corallina Compacta’
Grown for its silver-grey, feathery foliage, this evergreen shrub Originally from the Mediterranean, ballota thrives in dry, This is a compact cultivar of the much larger evergreen shrub,
is tolerant of exposed sites and is useful in a coastal garden. It free-draining, sunny sites and makes an attractive edging plant. B. x stenophylla, which can be grown as an informal hedge. Like
carries clusters of small yellow flowers in summer and autumn, This cultivar forms a bushy evergreen subshrub with heart- its parent, it has arching stems and narrow, spine-tipped, dark
but is most valued for its elegant leaves. It is also suitable for shaped, lime green leaves. Small, pale green flowers appear green leaves. In late spring, small clusters of pale orange
a herb or rock garden. in midsummer. Trim in spring to keep the shrub compact. flowers open from red buds along the branches.
H1m (3ft) S1.5m (5ft) OO H4 RU H60cm (24in) S75cm (30in) OOO H5 RU H30cm (12in) S30cm (12in) OOO H5 RSU

Berberis thunbergii ‘Aurea’ Berberis thunbergii f. atropurpurea Berberis thunbergii f. atropurpurea

Create a splash of colour in the garden with this compact, ‘Atropurpurea Nana’ ‘Helmond Pillar’
deciduous berberis, which has vivid yellow young foliage, A dwarf, dome-shaped berberis with rounded, red-purple This deciduous barberry has distinctive columnar stems and
maturing to yellow-green. Pale yellow flowers are produced leaves, a dense, twiggy habit, and small bright red berries dark wine-red leaves, which turn bright red in autumn. Tiny
along the branches in mid-spring, followed by glossy red fruit. that are attractive to birds. It tolerates polluted air and is yellow flowers appear in spring, followed by red berries.
Suitable for hedging, but the leaves may scorch in full sun. a very adaptable shrub, ideal for a border or a rock garden. Its upright habit makes it useful for filling gaps in a border.
H1.5m (5ft) S2m (6ft) OOO H7 SU H60cm (24in) S75cm (30in) OOO H7 RSU H1.2m (4ft) S60cm (24in) OOO H7 RSU

Buxus sempervirens ‘Elegantissima’ Buxus sempervirens ‘Suffruticosa’ Calluna vulgaris ‘Gold Haze’
Mainly grown for its foliage, box is easily clipped into shape, This compact, very slow-growing selection of box is good Heathers are robust plants and make good low-maintenance
making it perfect for edging and topiary. ‘Elegantissima’ is for hedging or screens, and is one of the best types for the ground cover. There are many cultivars to choose from, all
a variegated cultivar and makes a dome-shaped bush with structure of a knot garden or parterre. Its dense habit makes derived from C. vulgaris, a hardy, bushy, evergreen shrub that
small, narrow, white-margined evergreen leaves. Tiny, it easy to trim into different shapes. It prefers partial shade, grows on acid soils in the wild. ‘Gold Haze’ has pale yellow
star-shaped flowers appear in spring. but can tolerate full sun if it is not allowed to get too dry. leaves and short spikes of white bell-shaped flowers.
H1.5m (5ft) S1.5m (5ft) OOO H6 SU H1m (3ft) S1.5m (5ft) OOO H6 SU H60cm (24in) S45cm (18in) OOO H7 RU
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Calluna vulgaris ‘Spring Cream’ Caryopteris x clandonensis ‘Worcester Gold’ Ceanothus x delilianus ‘Gloire de Versailles’
A compact heather with mid-green leaves, which are tipped The small but vivid blue flowers are the main attraction of Also known as California lilac, ceanothus are grown for their
with cream in spring, this cultivar produces short spikes of Caryopteris. The cultivar ‘Worcester Gold’ has lavender-blue abundant blue, pink, or white flowers. ‘Gloire de Versailles’
white bell-shaped flowers that remain from midsummer flowers, which are produced from late summer to early autumn is a fast-growing, bushy, deciduous shrub with finely-toothed,
until late autumn. Along with other heathers, it is attractive on the current year’s shoots. They stand out against a dense mid-green leaves. From midsummer to autumn, it produces
to bees. Grow on a moist, but free-draining sunny bank. mound of warm yellow, deciduous foliage. loose bunches of scented, powder blue flowers.
H35cm (14in) S45cm (18in) OOO H7 RU H1m (3ft) S1.5m (5ft) OO H4 RU H1.5m (5ft) S1.5m (5ft) OO H4 RU

Ceanothus thyrsiflorus var. repens Ceratostigma willmottianum Cistus x dansereaui ‘Decumbens’

Also known as creeping blueblossom, this is a useful, low- This loosely-domed, deciduous shrub produces clusters of Rock roses prefer a sunny site and can be grown in beds or
growing, evergreen ceanothus. It forms a natural mound of pale to mid-blue flowers from late summer through to autumn. containers. The flowers, usually white or pink, only last a day
glossy mid-green foliage and, in late spring, produces an The pointed, bristly leaves are initially mid- to dark green with but are carried in profusion. ‘Decumbens’ is a low-growing,
abundance of fluffy, pale to dark blue flowers. A perfect purple margins and then turn red in autumn. It needs a warm, spreading, evergreen shrub that bears large white flowers
shrub for the front of a border or to clothe a sunny bank. sunny sheltered site to thrive. with a crimson blotch at the base of each petal.
H1m (3ft) S2.5m (8ft) OOO (borderline) H4 RU H1m (3ft) S1.5m (5ft) OOO (borderline) H4 RUv H60cm (24in) S1m (3ft) OO H4 RU

SHRUBS FOR SPRING INTEREST

• Berberis darwinii p.304 • Photinia x fraseri
• Camellia japonica ‘Bob’s ‘Red Robin’ p.303
Tinsie’ p.304 • Prunus x cistena p.315
• Camellia reticulata • Prunus laurocerasus
‘Leonard Messel’ p.300 ‘Zabeliana’ p.315
• Ceanothus ‘Concha’ p.304 • Rhododendron ‘Kure-no-
• Ceanothus thyrsiflorus yuki’ p.315
var. repens p.311 • Ribes sanguineum
• Choisya x dewitteana ‘Pulborough Scarlet’
‘Aztec Pearl’ p.305 p.308
• Euphorbia characias • Viburnum x burkwoodii
subsp. wulfenii ‘John ‘Anne Russell’ p.317
Cistus x purpureus Convolvulus cneorum Tomlinson’ p.312 • Viburnum carlesii ‘Aurora’
The narrow, green leaves of this rounded, evergreen shrub With its silky, silvery leaves and stems, this convolvulus is an
• Exochorda x macrantha p.309
make a good foil for the single, crinkled, dark pink flowers, asset even when not in bloom. The delicate flowers emerge
which appear in succession throughout summer. Each petal from pink buds from late spring to summer, and are white and ‘The Bride’ p.306 • Viburnum opulus p.303
has a crimson mark at the base. The stems are upright and funnel-shaped with yellow centres. In colder areas, grow in a • Lonicera pileata p.314 • Viburnum plicatum
red-flushed. It is drought-tolerant and needs a sunny site. pot and move into a conservatory or greenhouse over winter. • Magnolia stellata p.307 f. tomentosum ‘Mariesii’
p.309
H1m (3ft) S1m (3ft) OO H4 RU H60cm (24in) S90cm (36in) OO H4 RU
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PLANT GUIDE

Small shrubs

Coronilla valentina subsp. glauca Cotoneaster dammeri Cotoneaster horizontalis

The leaves of this bushy, rounded evergreen shrub are an Evergreen cotoneasters offer colour and texture all year round, Grown for the herringbone pattern formed by its branching
attractive blue-green and fleshy. From late winter to early and are at their best in autumn when the berries develop. stems, this decorative shrub is best grown as ground cover
spring, and again in late summer, fragrant, yellow, pea-like C. dammeri is vigorous and spreading with long arching stems, or trained against a wall. Small white flowers appear in spring,
flowers appear, followed by slim pods. Either grow it in a and makes excellent ground cover. Small, white flowers are followed by bright red fruits, which make a brilliant display.
shrub border or at the base of a warm, sunny wall. borne in early summer, followed in autumn by round red berries. The glossy, dark green deciduous leaves turn red in autumn.
H80cm (32in) S80cm (32in) OO H4 RU H20cm (8in) S2m (6ft) OOO H6 RsU H1m (3ft) S1.5m (5ft) OOO H7 RsU

Cotoneaster salicifolius ‘Gnom’ Daphne cneorum Daphne odora ‘Aureomarginata’

This dwarf, evergreen shrub makes a prostrate, dense dome, A low-growing, evergreen shrub with trailing branches and This evergreen species of daphne is one of the most fragrant
with wide-spreading branches bearing small, slender, dark dense clusters of scented, pale to deep rose-pink flowers flowering shrubs for a winter garden. The variegated cultivar
green leaves. In early summer, white flowers are produced in late spring. The leaves are small, leathery, and dark green. ‘Aureomarginata’ has leaves with narrow yellow margins.
and these are followed by clusters of bright red fruits in the Grow it in a border near a path or window, where its fragrance Clusters of pink trumpet-shaped flowers appear from
autumn. It is a good choice for ground cover. will be appreciated. It resents transplanting. midwinter to early spring, followed by red fruit.
H30cm (1ft) S2m (6ft) OOO H6 RU H30cm (12in) Sto 1m (3ft) OOO H5 RSU H1.5m (5ft) S1.5m (5ft) OO H4 RSU

Euonymus fortunei ‘Emerald Gaiety’ Euphorbia characias subsp. wulfenii Hebe ‘Great Orme’
Poor soil and full sun suit many E. fortunei cultivars, making ‘John Tomlinson’ Adaptable shrubs, hebes will grow in a wide range of garden
them useful shrubs for difficult sites. They make good ground This striking evergreen shrub produces upright stems with situations, from a mixed border to a rock garden. ‘Great Orme’ is
cover, and can be fan-trained against a wall if supported. The grey-green leaves one year, followed the next spring by large an open, rounded, evergreen shrub with deep purplish shoots and
evergreen ‘Emerald Gaiety’ is compact and bushy, with bright showy heads of small, bright, yellow-green cup-shaped glossy, dark green leaves. Spikes of deep pink flowers, fading to
green leaves with white margins, tinged pink in winter. flowers, which last from early spring to early summer. white, appear from midsummer to mid-autumn.
H1m (3ft) S1.5m (5ft) OOO H5 RSU H1.2m (4ft) S1.2m (4ft) OO H4 RU H1.2m (4ft) S1.2m (4ft) OO H4 RSUV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Hebe macrantha Hebe ochracea ‘James Stirling’ Hebe pinguifolia ‘Pagei’

This evergreen is bushy, initially open-branched and then Hebes with small leaves lying flat against the stems are known An evergreen, semi-prostrate shrub, ‘Pagei’ has small, slightly
later spreading, with oval, fleshy, bright green leaves. In as whipcords and make good rock garden plants. ‘James Stirling’ cupped blue-green leaves. Short spikes of delicate pure white
early summer, large white flowers are produced in clusters forms a dense, small bush, and has rich ochre-yellow leaves, flowers emerge in profusion in late spring or early summer. It
of three. It is suitable for a container or rock garden, and which look especially attractive in winter. Small white flowers is an excellent plant for a rock garden or for ground cover, and
needs little or no pruning. are produced in late spring and early summer. needs little or no pruning. It flowers best in full sun.
H60cm (24in) S90cm (36in) OO H4 RSUV H45cm (18in) S60cm (24in) OO H4 RSUV H30cm (12in) S90cm (36in) OOO H5 RSUV

Hebe ‘Red Edge’ Helianthemum ‘Wisley Primrose’ Helichrysum italicum subsp. serotinum
A decorative small shrub, ‘Red Edge’ has grey-green leaves that Also known as rock roses, helianthemums are sun-loving, The curry plant is a low-growing, evergreen subshrub with
have narrow red margins and veins when the foliage is young. carpeting plants that thrive in a rock garden or on a sunny woolly stems and intensely aromatic, slim, silver-grey leaves.
Lilac-blue flowers, which fade to white, are produced in spikes bank. ‘Wisley Primrose’ forms low hummocks of evergreen, From summer to autumn, it produces dark yellow flowers, which
in summer. It is mound-forming and makes an attractive plant grey-green foliage, and bears plenty of saucer-shaped, pale many designers remove if using the plant for its foliage. One of
for edging, or for the front of a border. yellow flowers with deep yellow centres, throughout summer. the best silver shrubs for a dry, sunny site.
H45cm (18in) S60cm (24in) OO H4 RSUV Hto 30cm (12in) Sto 45cm (18in) OO H4 RU H60cm (24in) S1m (3ft) OO H4 RU

SHRUBS FOR SUMMER COLOUR

• Abelia x grandiflora p.304 • Lavandula stoechas p.314
• Buddleja globosa p.300 • Magnolia liliiflora
• Buddleja davidii ‘Nigra’ p.307
‘Dartmoor’ p.304 • Paeonia delavayi p.308
• Caryopteris x clandonensis • Perovskia ‘Blue Spire’
‘Worcester Gold’ p.311 p.314
• Cistus x purpureus p.311 • Phygelius x rectus ‘African
• Cytisus battandieri p.301 Queen’ p.314
• Escallonia ‘Apple • Potentilla fruticosa
Blossom’ p.305 ‘Goldfinger’ p.315
• Helianthemum ‘Wisley • Rhododendron ‘Golden
Juniperus x pfitzeriana ‘Pfitzeriana Aurea’ Juniperus procumbens Primrose’ p.313 Torch’ p.315
Junipers are hardy conifers, tolerant of a wide range of soils Creeping juniper is a dwarf species with long, stiff branches • Kolkwitzia amabilis • Rhododendron
and growing conditions. J. x pfitzeriana is a spreading shrub, that intertwine to form a mat, making it excellent as ground ‘Pink Cloud’ p.307 luteum p.303
eventually forming a flat-topped bush with tiered foliage. cover and in rock gardens. It has needle-like, bluish-green • Lavandula angustifolia • Rosa ‘Geranium’ p.308
‘Pfitzeriana Aurea’ has golden yellow leaves, which turn leaves, and small brown or black berry-like cones. It grows
‘Munstead’ p.314
yellowish-green over winter. Junipers need little pruning. best in a sunny, open position.
H90cm (36in) S2m (6ft) OOO H6 RU Hto 50cm (20in) Sto 2m (6ft) OOO H7 RU
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PLANT GUIDE

Small shrubs

Juniperus squamata ‘Blue Carpet’ Lavandula angustifolia ‘Munstead’ Lavandula stoechas

The wide-spreading stems of this vigorous, prostrate juniper This evergreen, compact, bushy lavender has narrow, aromatic, French lavender is a compact shrub that blooms from late spring
create a wide, undulating, low mat of prickly foliage, making grey-green leaves. From mid- to late summer, dense spikes to summer. Dense spikes of fragrant dark purple flowers, topped
it an excellent plant for ground cover. The cultivar ‘Blue Carpet’ of small, fragrant blue-purple flowers are produced on long by distinctive rose-purple bracts, are carried on long stalks
is fast-growing, with needle-like, aromatic leaves that are a stalks. Lavenders prefer warm conditions but suit a variety above the silvery-grey leaves. It grows best in a warm, sunny
bright steely blue. of situations, from a shrub border to a rock garden. site, and also makes a good container plant.
H30cm (12in) S2–3m (6–10ft) OOO H7 RU H45cm (18in) S60cm (24in) OOO H5 RU H60cm (24in) S60cm (24in) OO H4 RU

Lonicera nitida ‘Baggesen’s Gold’ Lonicera pileata Origanum ‘Kent Beauty’

This decorative, dense evergreen shrub has long arching shoots With its wide-spreading habit, the shrubby honeysuckle is A pretty addition to a rock garden or container, this decorative
and masses of tiny bright yellow leaves. Small yellow-green a good plant for ground cover. It is a low-growing evergreen subshrub (a cultivar of the herb oregano) has slender trailing
flowers are borne in mid-spring and are occasionally followed with narrow dark green leaves, and in late spring it produces stems and smooth aromatic leaves. In late summer, hop-like
by purplish fruits. Its golden foliage will brighten up a border, tiny, funnel-shaped, creamy-white flowers, which are clusters of pale pink flowers appear above rose-tinted green
or it can be planted as a hedge. occasionally followed by purple fruits. bracts. It prefers a sunny position.
H1.5m (5ft) S1.5m (5ft) OOO H6 RU H60cm (24in) S2.5m (8ft) OOO H6 RU H10cm (4in) Sto 20cm (8in) OO H4 RU

Perovskia ‘Blue Spire’ Phlomis fruticosa Phygelius x rectus ‘African Queen’

Russian sage forms a clump of grey-green toothed leaves. A mound-forming evergreen shrub, Jerusalem sage has This upright evergreen shrub has dark green leaves and
In late summer, grey-white upright stems carry elegant spires aromatic, wrinkled, grey-green leaves, which are woolly graceful upward-curving branches. The pendent tubular flowers
of small, tubular purple-blue flowers. An eyecatching plant for underneath, and produces short spikes of hooded dark yellow produced by the cultivar ‘African Queen’ are brightly coloured:
a border, it looks particularly effective when planted in groups. flowers from early to midsummer. It looks effective when pale red with orange-red lobes and yellow mouths. Deadhead
The frosty-looking stems are attractive in winter. massed in a border, and also suits a sunny gravel garden. regularly to encourage further flowering.
H1.2m (4ft) S1m (3ft) OOO H5 RU H1m (3ft) S1.5m (5ft) OOO H5 RU H1m (3ft) S1.2m (4ft) OOO H5 RUv
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Picea abies ‘Reflexa’ Pinus mugo ‘Mops’ Potentilla fruticosa ‘Abbotswood’

This is an unusual creeping variety of Norway spruce with The evergreen dwarf mountain pine forms a spherical mound In summer and early autumn, this low, domed shrub is covered
red-brown bark and blunt, dark green needle-like leaves. of thick branches bearing dark green needles and brown cones. with small white flowers, set against a background of divided,
The long trailing branches form a dense spreading carpet, It grows best in a sunny position and would suit a rock garden dark blue-green leaves. Shrubby potentillas are compact,
making this an excellent conifer for ground cover. It needs or large container; the shrub’s rounded shape also creates a bushy, deciduous plants and their long flowering season
a sunny position to thrive. cloud-like effect when it is planted en masse. makes them ideal for a mixed border or a low hedge.
Hto 15cm (6in) Sindefinite OOO H7 RUv H1m (3ft) S1m (3ft) OOO H7 RU H75cm (30in) S1.2m (4ft) OOO H7 RU

Potentilla fruticosa ‘Goldfinger’ Prunus x cistena Prunus laurocerasus ‘Zabeliana’

There are numerous cultivars of shrubby potentilla to choose Valued for its foliage and flowers, this ornamental cherry is The cherry laurel is an evergreen bushy shrub, which looks its
from, with flower colours ranging from white, yellow, and a slow-growing, upright deciduous shrub with glossy oval best in spring when long spikes of cup-shaped, fragrant white
orange to shades of pink and red. ‘Goldfinger’ is covered in leaves that are red when young, maturing to a rich purple- flowers appear. ‘Zabeliana’ has a low, wide-spreading habit,
large, saucer-shaped, rich yellow flowers, from late spring red. Delicate white flowers appear in late spring, before the making it suitable for ground cover. The flowers are followed
to autumn, and has small deep green leaves. leaves, and may be followed by dark purple fruit. by red, cherry-like fruits, which later turn black.
H1m (3ft) S1.5m (5ft) OOO H7 RU H1.5m (5ft) S1.5m (5ft) OOO H6 RUV H1m (3ft) S2.5m (8ft) OOO H5 RsUV

AUTUMN- AND WINTER-

FLOWERING SHRUBS
• Azara microphylla (late • Jasminum nudiflorum
winter to early spring) (winter to early spring)
p.300 P.307
• Chimonanthus praecox • Mahonia japonica (late
‘Grandiflorus’ (winter) autumn to early spring)
p.300 P.307
• Cornus mas (winter) • Mahonia x media
p.300 ‘Charity’ (late autumn
• Coronilla valentina subsp. to late winter) p.302
glauca (late winter to • Sarcococca hookeriana
early spring) p.312 var. digyna (winter)
Rhododendron ‘Golden Torch’ Rhododendron ‘Kure-no-yuki’ • Elaeagnus x ebbingei p.317
This small evergreen shrub has medium-sized leaves and A dwarf azalea with a compact habit, ‘Kure-no-yuki’ has small ‘Gilt Edge’ (mid- to • Viburnum x bodnantense
is popularly grown for its trusses of flowers, which emerge leaves and produces clusters of pure white flowers in mid- late autumn) p.301 (late autumn to spring)
as salmon-pink buds and open to funnel-shaped, pale spring. Azaleas prefer sheltered conditions in deep, acid soil • Hamamelis x intermedia p.309
creamy-yellow blooms in late spring and early summer. and do best in a woodland garden in dappled shade. This
‘Pallida’ (mid- and
Rhododendrons need acid soil and some shade to thrive. cultivar would make a pretty feature in a Japanese garden.
late winter) p.302
H1.5cm (5ft) S1.5m (5ft) OOO H6 SUV H1m (3ft) S1m (3ft) OOO H5 SUV
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PLANT GUIDE

Small shrubs

Rosa ANNA FORD Rosa ‘Golden Wings’ Rosa PEARL DRIFT

There are roses for virtually every situation, but whether This bushy, spreading shrub rose is suitable for hedging or a A vigorous shrub rose, spreading in habit, PEARL DRIFT produces
they are grown in pots, against a wall, or in a border, most border. It has prickly stems and light green leaves, and bears clusters of lightly scented, semi-double, pale pink flowers from
prefer a sunny site. This is a compact, dwarf floribunda rose cupped, fragrant, single pale yellow flowers from summer to summer to autumn, against a background of glossy dark green
with dark green leaves and semi-double, orange-red blooms autumn. A position in full sun will encourage repeat flowering. leaves. It is ideal for a mixed cottage-style border, and is also
that appear over a long season from summer to autumn. Apple green hips follow the flowers. sold under the official cultivar name of ‘Leggab’.
H45cm (18in) S40cm (16in) OOO H6 RUV H1.1m (3.5ft) S1.3m (4.5ft) OOO H6 RUV H1m (3ft) S1.2m (4ft) OOO H6 RUV

Rosa ‘The Fairy’ Rosa WILDEVE Rosmarinus officinalis

Suited to a border or a container, ‘The Fairy’ is a small shrub This robust rose has long, arching stems and forms a bushy Rosemary is a tough evergreen Mediterranean shrub, grown
rose with a dense cushion-forming habit. The thorny stems are shrub. The flower buds are pink, and open to fully-double, for its aromatic leaves. It forms an attractive upright plant
covered with small, glossy leaves, and from late summer to apricot-flushed pink fragrant blooms, which appear from late with slim, leathery leaves, and produces tubular, purple-blue
autumn it produces sprays of small, double, pink flowers. spring to early summer. Grow WILDEVE in a mixed border, or to white flowers from mid-spring to early autumn. It needs a
H60–90cm (24–36in) S60–90cm (24–36in) use for hedging. Its official cultivar name is 'Ausbonny'. well-drained site and suits a rock or herb garden.
OOO H6 RUV H1.1m (3.5ft) S1.25m (2.5ft) OOO H7 RUV H1.5m (5ft) S1.5m (5ft) OO H4 RU

Ruta graveolens Salvia microphylla Salvia officinalis ‘Purpurascens’

This evergreen subshrub, also known as common rue, is From late summer to autumn this salvia bears crimson flowers The aromatic downy leaves of this shrubby evergreen or semi-
grown for its aromatic, deeply divided blue-green leaves and among its mid- to deep green leaves. It makes a colourful evergreen perennial are purple when young, and later greyish-
is sometimes used as a medicinal herb. Cup-shaped yellow addition to a late season border or herb garden, but needs a green. Purple sage is used as a culinary herb but is also
flowers appear in summer. ‘Jackman’s Blue’ is a compact sunny site to produce its best flower display. decorative in a gravel garden or mixed border. Blue purple
cultivar with intensely glaucous foliage. H90–120cm (36–48in) S60–100cm (24–39in) flowers are borne on spikes in early and midsummer.
H1m (3ft) S75cm (30in) OOO H5 RU OO H4 RU Hto 80cm (32in) S1m (3ft) OO H4 RU
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Salvia officinalis ‘Tricolor’ Santolina pinnata subsp. neapolitana ‘Sulphurea’ Sarcococca hookeriana var. digyna
This cultivar of the common sage has grey-green leaves with An evergreen shrub native to the Mediterranean, santolina The robustness of this winter-flowering evergreen makes it a
creamy-white margins, flushed pink when young. It makes a forms a low, domed shape. The primrose-yellow, tubular useful shrub for difficult sites in the garden, as it will tolerate
compact plant and colours best in a sunny site. The leaves are flowers form button-like heads on long stems above narrow, dry shade and air pollution, and needs very little attention. It
aromatic and can be used for culinary purposes, while the feathery, grey-green leaves. It is useful as edging, and as has slender, tapered dark green leaves and is prized for its
flowers are attractive to bees and butterflies. part of a Mediterranean-style scheme. highly fragrant white flowers, followed by black fruit.
Hto 80cm (32in) S1m (3ft) OOO H5 RU H75cm (30in) S1m (3ft) OOO H5 RU H1.5m (5ft) S2m (6ft) OOO H5 STUV

Viburnum x burkwoodii ‘Anne Russell’ Viburnum davidii Vinca minor ‘La Grave’
This compact, deciduous or semi-evergreen shrub produces This evergreen shrub forms a dome of dark green gleaming Woodland plants in the wild, periwinkles bear decorative,
clusters of intensely fragrant white flowers from mid- to late foliage on branching stems. The flowers appear above the star-shaped flowers on slender stems. The evergreen foliage
spring. ‘Anne Russell’ is suited to growing in a shrub border or deeply veined, oval leaves in late spring, producing flattened and pretty flowers make attractive ground cover, although
woodland garden; plant it close to a seating area or pathway heads of small white blooms. Where male and female plants they can be invasive and may need cutting back regularly. ‘La
to make the most of its spring scent. are grown together, metallic-blue fruits form on the female. Grave’ (also seen as ‘Bowles’s Blue’) has lavender-blue flowers.
H1.5m (5ft) S1.5m (5ft) OOO H6 RSUV H1–1.5m (3–5ft) S1–1.5m (3–5ft) OOO H5 RSUV H10–20cm (4–8in) Sindefinite OOO H6 RSUV

EVERGREEN SHRUBS
• Aucuba japonica • Escallonia ‘Apple
‘Crotonifolia’ p.304 Blossom’ p.305
• Azara microphylla p.300 • Fatsia japonica p.306
• Berberis darwinii p.304 • Itea ilicifolia p.302
• Berberis julianae p.304 • Ligustrum ovalifolium
• Camellia japonica ‘Bob’s ‘Aureum’ p.302
Tinsie’ p.304 • Olearia macrodonta p.303
• Camellia reticulata • Osmanthus x burkwoodii
‘Leonard Messel’ p.300 p.308
• Ceanothus ‘Concha’ p.304 • Pieris japonica
• Choisya x dewitteana ‘Blush’ p.308
Weigela florida ‘Foliis Purpureis’ Yucca filamentosa ‘Bright Edge’ ‘Aztec Pearl’ p.305 • Rhamnus alaternus
This is a dark-leaved cultivar of the deciduous, arching shrub A dramatic architectural plant, the yucca suits a hot, dry site, • Cotoneaster lacteus p.301 ‘Argenteovariegata’
Weigela florida. Funnel-shaped flowers, deep pink on the making it a good specimen plant for a warm courtyard. Yucca • Daphne bholua p.303
outside and pale pink to white inside, are produced in late filamentosa produces stems of bell-shaped white flowers, ‘Jacqueline Postill’ p.305 • Skimmia x confusa
spring and early summer, and look striking against the tapered tinged green, from mid- to late summer. The leaves of ‘Bright
• Elaeagnus x ebbingei ‘Gilt ‘Kew Green’ p.309
bronze-green foliage. Grow in a mixed or shrub border. Edge’ have broad yellow margins.
Edge’ p.301
H1m (3ft) S1.5m (5ft) OOO H6 RSU H75cm (30in) S1.5m (5ft) OOO H5 RU
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PLANT GUIDE

Climbers

Actinidia kolomikta Akebia quinata Ampelopsis brevipedunculata

This deciduous climber’s main attraction is the masses of Also known as the chocolate vine, A. quinata is a vigorous This vigorous, deciduous climber is valued for its attractive
purple-tinged young leaves, which later turn dark green with semi-evergreen with attractive leaves and strong, twining foliage and ornamental berries. The small summer flowers
distinctive pink and silver splashes. Small, slightly scented stems. Clusters of cup-shaped, purplish female flowers in are green, and are followed by eye-catching, round, pinkish
white flowers appear in early summer. Although it is slow to spring are followed by unusual sausage-shaped fruits. Grow purple berries, which later turn a clear blue. Ideal for a warm,
establish, it is well worth the wait. against a wall or train into a tree or pergola. sheltered wall since fruiting is best in a sunny site.
H5m (15ft) OOO H5 RU H10m (30ft) OOO H6 RSUV H5m (15ft) OOO H6 RSUV

Campsis x tagliabuana ‘Mme Galen’ Clematis armandii Clematis ‘Bill MacKenzie’

The trumpet creeper is a fast-growing, deciduous climber, This popular clematis is a vigorous climber and one of the A vigorous, scrambling clematis, ‘Bill MacKenzie’ has small,
which clings by aerial roots. In late summer or early autumn, hardiest of the evergreen species, bearing glossy, dark green single, yellow lantern-like nodding flowers in late summer and
‘Mme Galen’ bears clusters of tubular, reddish-orange flowers leaves and producing masses of small, white scented flowers autumn, followed by large silky seedheads. The plant needs
that look striking against the rich green divided leaves. It may in early spring. It prefers a sunny, sheltered site and will clothe support from wires or netting, or leave it to scramble through
take a few seasons to establish. a wall or shed with ease. shrubs and trees.
H3–5m (10–15ft) OO H4 RUV H3–5m (10–15ft) OO H4 RSUV H7m (22ft) OOO H6 RSUV

Clematis ‘Étoile Violette’ Clematis florida var. florida ‘Sieboldiana’ Clematis ‘Huldine’
From midsummer to late autumn, this deciduous viticella This deciduous or semi-evergreen clematis bears showy, A vigorous, deciduous, summer-flowering clematis, well suited
clematis produces masses of small, nodding, deep violet single creamy white flowers with a distinctive domed cluster to walls and fences. The small, cup-shaped, almost translucent
flowers with cream stamens. Flowers are produced on the of purple stamens in late spring or summer. It does best in a white flowers with pale mauve margins and a mauve stripe
current year’s growth. ‘Étoile Violette’ can be grown through warm, sunny sheltered location where its roots are shaded beneath appear in summer. They are particularly attractive in
other shrubs or on a wall or fence. and moist. It is also suitable for growing in large containers. sunshine when the stripes are more evident.
H3–5m (10–15ft) OOO H6 RSUV H2–2.5m (6–8ft) OO H3 RSUV H3–5m (10–15ft) OOO H6 RSUV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Clematis ‘Markham’s Pink’ Clematis montana var. rubens Clematis ‘The President’
This early-flowering macropetala clematis is vigorous and White-flowered Clematis montana is a popular favourite: easy A free-flowering early clematis, ‘The President’ produces large,
prolific, producing masses of bell-shaped, double, rich pink to grow, vigorous, and very adaptable to a wide variety of single, rich blue-purple flowers in summer, followed by spiky
flowers from spring to early summer, followed by silky garden conditions. Many cultivars are available, including this seedheads. It suits pergolas and fences but its compact habit
seedheads in autumn. Try growing through a shrub or pale pink flowering form, which bears a mass of four-petalled also makes it ideal for large containers. It makes a good partner
small tree, or against a wall or fence. flowers with cream anthers in late spring and early summer. for climbing roses that flower at the same time.
H2.5–3.5m (8–11ft) OOO H6 RSUV H10m (30ft) OOO H5 RSUV H2–3m (6–10ft) OOO H6 RSUV

Eccremocarpus scaber Hardenbergia violacea Hedera colchica ‘Sulphur Heart’

The Chilean glory flower is an evergreen, perennial, fast- The purple coral pea is a strong-growing Australian native The Persian ivy cultivars ‘Sulphur Heart’ and ‘Dentata
growing climber with attractive ferny leaves. In warmer and does best in a sunny position outdoors, but is suitable Variegata’ have similar large light green leaves with cream
areas it will quickly clothe a trellis or pergola, or scramble for a greenhouse in cold regions. From late winter to early splashes. ‘Sulphur Heart’ (also known as ‘Paddy’s Pride’) grows
through a large shrub or small tree. From late spring to summer, clusters of violet pea-like flowers appear against more rapidly, however, and the slightly more elongated leaves
autumn, spikes of orange-red tubular flowers appear. the leathery rich green leaves. are splashed with creamy yellow.
H3–5m (10–15ft) OO H3 RU H2m (6ft) or more OO H3 RSU H5m (15ft) OOO H5 RUV

CLIMBERS FOR SPRING AND

SUMMER FLOWERS
• Campsis x tagliabuana • Lonicera periclymenum
‘Mme Galen’ p.318 Serotina Group p.320
• Clematis armandii p.318 • Passiflora caerulea p.320
• Clematis ‘Bill • Rosa ‘Compassion’ p.320
Mackenzie’ p.318 • Rosa ‘Félicité
• Clematis ‘Étoile Perpétue’ p.320
Violette’ p.318 • Solanum crispum
• Clematis ‘Markham’s ‘Glasnevin’ p.321
Pink’ p.319 • Solanum laxum
• Clematis montana var. ‘Album’ p.321
rubens p.319 • Tropaeolum
Hedera helix ‘Oro di Bogliasco’ Hedera helix ‘Parsley Crested’ • Clematis ‘The speciosum p.321
This striking ivy, also known as ‘Goldheart’, has dark, glossy As its name suggests, this ivy has dark green leaves with President’ p.319 • Wisteria floribunda
evergreen leaves with a gold central splash. A self-clinging waved and crested margins. A vigorous, evergreen self- • Jasminum officinale ‘Multijuga’ p.321
climber, it makes an excellent wall ivy, slow to establish but clinging climber with thick upright stems, it is hardy, easy to ‘Argenteovariegatum’
then fast-growing. Unlike most variegated ivies, it will grow, and ideal for garden walls and fences, although its
p.320
tolerate shade. aerial roots may damage old brickwork.
H8m (25ft) OOO H5 RSUV H2m (6ft) OOO H5 RUV
320/321 Plant and materials guide
PLANT GUIDE

Climbers

Humulus lupulus ‘Aureus’ Hydrangea anomala subsp. petiolaris Jasminum officinale ‘Argenteovariegatum’
Hops make a good choice for shady walls and fences, although The climbing hydrangea is vigorous and produces large, open Strong-growing and semi-evergreen, climbing jasmine has
H. lupulus ‘Aureus’ produces its best leaf colour in sun. This lacecap heads of creamy-white flowers in summer, on a pretty, ferny foliage and bears clusters of strongly scented,
strong-growing, herbaceous perennial climber has yellow- background of broad, rounded leaves. The stems have rich white star-shaped flowers in summer. The variegated cultivar
green, boldly lobed leaves and hairy, twining stems; spikes brown peeling bark. Young plants need support until they are ‘Argenteovariegatum’ has finely divided, grey-green leaves
of female flowers (hops) appear in late summer. established; they then climb by self-clinging aerial roots. with cream margins.
H6m (20ft) OOO H6 RSUV H15m (50ft) OOO H5 RSUV H12m (40ft) OOO H5 RSU

Lonicera periclymenum Serotina Group Parthenocissus henryana Parthenocissus tricuspidata ‘Veitchii’

A twining, vigorous climber, the late Dutch honeysuckle can be This deciduous ornamental vine, sometimes known as the Also known as Boston ivy, P. tricuspidata is vigorous and
grown alone or through a small tree or shrub. The spring foliage Chinese Virginia creeper, clings to surfaces by the adhesive woody, and will clothe a wall or other support quite quickly,
is lush and new shoots are purple when young. In summer, it tips of its tendrils, making it a useful climber for growing on clinging without assistance. The cultivar ‘Veitchii’ is noted for
produces long-tubed fragrant creamy white flowers streaked a wall. It produces the best colour in partial shade, its silver- its autumn colour, when the mid-green ivy-like leaves turn a
with dark red-purple. veined leaves turning a rich red in autumn before they fall. deep red-purple before falling.
H7m (22ft) OOO H6 RSU H10m (30ft) OOO (borderline) H4 RSUV H20m (70ft) OOO H5 RU

Passiflora caerulea Rosa ‘Compassion’ Rosa ‘Félicité Perpétue’

A good climber for a sunny, warm wall or fence, the blue A hybrid tea rose, ‘Compassion’ is an upright, freely branching This rambler is a semi-evergreen rose with long, slender stems
passion flower is fast-growing, with rich green divided leaves. climber with dark green leaves. The flowers are rounded and and dark green leaves. The summer flowers are fully double,
The striking flowers are usually white, with purple, blue and fully double, salmon pink tinged with apricot, and fragrant. pale pink in bud and opening to faintly pink-tinged white. It is a
white coronas. The orange-yellow fruits that follow are They appear from summer to autumn; deadheading will beautiful rose for an arch or arbour, or it can be grown through
decorative, but not edible. prolong the flowering season. It is a good choice for a wall. a shrub or small tree.
H10m (30ft) or more OO H4 RUV H3m (10ft) OOO H6 RUV Hto 5m (15ft) OOO H6 RUV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Rosa ‘Golden Showers’ Schizophragma integrifolium Solanum crispum ‘Glasnevin’

Cupped, double to semi-double, lightly fragrant yellow flowers Schizophragmas are slow-growing and mainly cultivated for Vigorous and scrambling, S. crispum is a good choice for a
are borne on this upright climbing rose from summer to autumn, their hydrangea-like blooms – flattened heads of creamy-white warm, sunny wall or fence. The cultivar ‘Glasnevin’ produces
providing a long-lasting display against the glossy leaves. flowers with conspicuous, oval cream-coloured bracts, which sprays of long-lasting, deep purple-blue, star-shaped flowers
‘Golden Showers’ will tolerate shady conditions, and works appear in summer among the pointed green leaves. The plant from summer to autumn, and is evergreen in warmer areas.
well with blue- and purple-flowered clematis. will attach itself to a wall surface by aerial roots. It is ideal for training through a shrub or small tree.
Hto 3m (10ft) OOO H6 RSUV H12m (40ft) OOO H5 RSU H6m (20ft) OO H3 RSUV

Solanum laxum ‘Album’ Tropaeolum speciosum Vitis coignetiae

Known as the potato vine, S. laxum is a scrambling The flame nasturtium has fleshy, twining stems and long- This ornamental vine is grown for its decorative foliage and
semi-evergreen or evergreen climber which produces stalked divided leaves, and is an excellent plant to train into vivid autumn colour. It is a vigorous, deciduous climber with
clusters of lightly fragrant flowers over a long season from trees, shrubs or hedges, where its brilliant colour will contrast large, heart-shaped leaves, brown-felted beneath, that turn
summer to autumn. The cultivar ‘Album’ is a white-flowered with the green foliage. Long-spurred scarlet flowers appear bright red in autumn. Small, inedible, blue-black grapes appear
form of the normally blue-flowered plant. from summer into autumn, followed by spherical blue fruits. at the same time. Train into a tree or shrub, or over a pergola.
H6m (20ft)OO H3 RUV Hto 3m (10ft) or more OOO H5 RSV H15m (50ft) OOO H5 RSU

CLIMBERS FOR FOLIAGE INTEREST

AND COLOUR
• Actinidia kolomikta p.318 • Parthenocissus tricuspidata
• Akebia quinata p.318 ‘Veitchii’ p.320
• Ampelopsis • Tropaeolum
brevipedunculata p.318 speciosum p.321
• Hedera colchica ‘Sulphur • Vitis coignetiae
Heart’ p.319 p.321
• Hedera helix • Vitis vinifera
‘Oro di Bogliasco’ ‘Purpurea’ p.321
p.319
• Hedera helix ‘Parsley
Crested’ p.319
Vitis vinifera ‘Purpurea’ Wisteria floribunda ‘Multijuga’ • Humulus lupulus
An ideal climber for a warm, sunny wall or fence, the claret Showy, pendent spikes of pea-like early summer flowers ‘Aureus’ p.320
vine is a vigorous form of the grape vine, but is grown for its make wisterias popular with garden designers. W. floribunda • Hydrangea anomala
autumn foliage rather than the inedible grapes. It is a woody (Japanese wisteria) is a vigorous, twining climber with pretty subsp. petiolaris p.320
deciduous vine with toothed leaves which are grey at first, leaves, available as a range of cultivars: ‘Multijuga’ bears
• Parthenocissus henryana
then mid-purple, turning a very deep purple in autumn. fragrant, lilac-blue blooms; ‘Alba’ has white flowers.
p.320
H7m (22ft) OOO H5 RSUV H9m (28ft) or more OOO H6 RSUV
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PLANT GUIDE

Tall perennials

Acanthus spinosus Aconitum ‘Spark’s Variety’ Agastache foeniculum

From late spring through to midsummer, majestic spikes of Upright stems bearing deep violet, hooded flowers, well above With its aniseed-scented leaves and spikes of violet-blue
white flowers sheltered by purple bracts rise from a bed the dark green, deeply divided leaves, identify this as one of the flowers from midsummer to early autumn, anise hyssop suits
of prickly, dark green leaves. This clump-forming perennial monkshoods. The flowers appear from mid- to late summer a mixed border. For paler-coloured flowers, try the cultivar
prefers rich soil and makes a striking architectural plant. and perform best in moist, fertile soil, in a woodland garden or ‘Alabaster’, which has delicate white blooms. Both prefer
Cut stems last well in flower arrangements. border. Taller plants may need staking. All parts are poisonous. a sunny site, thriving in rich, fertile soil.
H1.5m (5ft) S60–90cm (24–36in) OOO H5 rSU H1.2–1.5m (4–5ft) S45cm (18in) OOO H7 SV H90–150cm (3–5ft) S30cm (12in) OO H3 rU

Anemone x hybrida Asphodeline lutea Cephalaria gigantea

The Japanese anemone bears semi-double, pink flowers on The yellow asphodel strikes a dominant pose in the border as The giant scabious needs a sizeable border for the best display
wiry stems from late summer to mid-autumn. The white- its rocket-like spikes of star-shaped flowers stand above other of its tall flower stems bearing pale yellow, ruffled blooms in
flowered ‘Honorine Jobert’ will shine in any border and like late-spring perennials. Eye-catching blue-green leaves stud summer. Make the most of them by planting at the back of a
the other Japanese anemones, prefers rich soil. It dislikes the length of each flower stem. Most well-drained soils will border against a dark background, such as a conifer hedge or
cold, wet conditions during winter months. suit this clump-forming perennial. fence, for contrast.
H1.2–1.5m (4–5ft) Sindefinite OOO H7 rSV H1.5m (5ft) S30cm (12in) OOO (boderline) H4 rU Hto 2.5m (8ft) S60cm (24in) OOO H7 rSUV

Cirsium rivulare ‘Atropurpureum’ Crambe cordifolia Cynara cardunculus

The deep crimson flowers of this clump-forming perennial, Looking like a mass of confetti, the tiny white flowers of this Few plants produce such large flowerheads as the cardoon.
coupled with its prickly green leaves, should make thistles more perennial appear suspended in mid-air. The coarseness of the Fierce-looking bracts sit below brush-like flowerheads of
popular border plants than they are. Suited to damp conditions rich green leaves is softened by a cloud of blooms from late blue-purple florets to create a dazzling summer and early
in a wild garden, they attract insects during the flowering spring to midsummer. Crambes are suited to a wild garden and autumn display. Protect plants from strong winds and in cold
season from early to midsummer. will tolerate coastal conditions. The flowers attract bees. areas, mulch around the plant base.
H1.2m (4ft) S60cm (24in) OOO H7 rUV Hto 2.5m (8ft) S1.5m (5ft) OOO H5 rU H1.5m (5ft) S1.2m (4ft) OOO H5 rU
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Delphinium Blue Fountains Group Delphinium Pacific Hybrids Dierama pulcherrimum

This hardy delphinium is the ideal choice for a windy garden as A cottage garden favourite, this tall perennial comes in a The delightful name of angel’s fishing rod perfectly suits this
the plant is compact; the flowers grow to just 80cm (32in) high range of colours, including blue, pink, white, and violet. After elegant perennial whose pendent, pink bells move gracefully
and do not need staking. Early summer blooms appear in short the midsummer flowering, cut back the stems to encourage in the slightest breeze against narrow, grass-like, green leaves.
spikes in a variety of shades of blue, mauve-blue, and white. another flush of double flowers in late summer and early This combination looks good in the middle of a border or as
Suited to a cottage garden or mixed border. autumn. Protect from strong winds. edging alongside a pathway.
H80–100cm (32–39in) S60cm (24in) OOO H5 rU H1.2–2m (4–6½ft) S90cm (36in) OOO H6–H5 rU H1–1.5m (3–5ft) S60cm (24in) OO H4 rU

Dryopteris wallichiana Echinops bannaticus Ensete ventricosum

Wallich’s wood fern, named after the Danish plant collector, The globe thistle is a good plant for a wild garden; it is very This monster-sized plant brings a touch of the exotic to a
Nathaniel Wallich, is a deciduous fern that sports a shuttlecock- attractive to bees, with its spherical, blue flowerheads held garden. The Abyssinian banana has large, paddle-like, bright
like array of young, green fronds with rusty-brown, furry above a spiny mass of grey-green leaves from mid- to late green leaves with bright red mid-ribs below. White flowers are
mid-ribs, in spring. Provide shelter, shade and a generous summer. The dense clumps can be divided from autumn to borne in summer. Provide winter protection against frost.
depth of rich, moist soil. spring. The variety ‘Taplow Blue’ has powder-blue flowers. H6m (20ft) or more Sto 5m (15ft)
H90cm (36in) or more S75cm (30in) OOO H5 SV H0.5–1.2m (1½–4ft) S75cm (30in) OOO H7 rU O H2 (min. 7°C/45°F) rSV

PERENNIALS FOR
ARCHITECTURAL INTEREST
• Acanthus spinosus p.322 • Musa basjoo p.324
• Asplenium scolopendrium • Phormium cookianum
Crispum Group p.326 subsp. hookeri
• Astelia chathamica p.326 ‘Tricolor’ p.333
• Athyrium filix-femina • Phormium tenax
p.327 Purpureum Group
• Cynara cardunculus p.322 p.324
• Dryopteris wallichiana • Sisyrinchium striatum
p.323 ‘Aunt May’ p.333
• Echinops bannaticus p.323
• Ensete ventricosum p.323
Eryngium agavifolium Foeniculum vulgare ‘Purpureum’ • Eryngium agavifolium
An Argentinian plant, sea holly makes a dramatic silhouette in a This attractive perennial is well known for its aniseed-flavoured p.323
border. Long, sword-shaped leaves, sharply toothed along their seeds and feathery mid-green leaves, which are used in cooking. • Euphorbia x martinii p.329
length, form rosettes from which the flowering stems emerge. Flat flowerheads of small yellow flowers appear from mid- to • Foeniculum vulgare
The stalkless, greenish-white flowers form cone-like stuctures. late summer. ‘Purpureum’ is hardier than the species and has
‘Purpureum’ p.323
Stems can be dried for flower arrangements. striking bronze-purple foliage.
• Melianthus major p.324
H1–1.5m (3–5ft) S60cm (24in) OO H4 rUV H1.8m (6ft) S45cm (18in) OOO H5 rU
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PLANT GUIDE

Tall perennials

Helianthus ‘Lemon Queen’ Helianthus ‘Monarch’ Inula magnifica

Sunflowers are always a good choice for the back of a border The almost spidery blooms of this sunflower make it stand This fast-growing, clump-forming plant needs plenty of space
and this variety is no exception. Pale yellow flowers with a out from the usual crowd. Predominantly yellow with a pale in the garden. Large, frilly-petalled flowers are formed, up to
slightly darker eye mark this out as one of the more subtly brown eye, the semi-double flowers appear from early to mid- 20 at a time, in late summer above a foil of dark green leaves
coloured choices. Expect a long-lasting display from late autumn. Long, hot summer months will promote a beautiful with softly hairy undersides. Ideal for a wild garden, the plant
summer to mid-autumn. flowering display. likes sun but will tolerate damp soil.
H1.7m (5½ft) S1.2m (4ft) OOO (borderline) H4 rUV Hto 2m (6ft) S1.2m (4ft) OOO H5 rUV Hto 1.8m (6ft) S1m (3ft) OOO H6 rUVW

Leucanthemella serotina Leucanthemum x superbum ‘Wirral Supreme’ Macleaya microcarpa ‘Kelway’s Coral Plume’
This large-flowered daisy makes excellent cutting material, One of the Shasta daisies, ‘Wirral Supreme’ boasts fully double This pink-flowered plume poppy is at its peak in early and
lasting well in the vase. It is a vigorous plant, with stout stems flowerheads of white petals with pale yellow eyes. These are midsummer, when large, open floral sprays sit above a sea of
that should not need staking, and prefers a moist situation formed from early summer until early autumn, providing a long- grey-green leaves. A tall, showy plant, it is best sited on its
with full sun or partial shade. It is useful for illuminating darker lasting display. A strong growing plant, it needs moderately own, forming an eye-catching screen, or at the back of a large
areas of the garden. fertile soil and sunshine to perform well. mixed border. Macleayas can be invasive.
Hto 1.5m (5ft) S90cm (36in) OOO H7 rSVW Hto 90cm (36in) S75cm (30in) OOO H5 rSUV Hto 2.2m (7ft) S1m (3ft) or more OOO H6 rUV

Melianthus major Musa basjoo Phormium tenax Purpureum Group

Grown more for its grey-green, tooth-edged leaves than its The Japanese banana can grow to 5m (15ft) and even flower Long, fibrous, sword-shaped leaves burst forth from the base
flowers, the honey bush is tolerant of sea air and is a good and produce fruit (unpalatable, however) in cooler climates. It of the New Zealand flax. The red-purple foliage contrasts well
choice for coastal gardens. Use as an architectural focus or is ideal as a specimen plant, or can be used as the centrepiece with paler phormiums or grasses. Alternatively, use it on its
place it in strategic positions around the garden where its of a tropical display. Strong winds can shred the leaves, so try own to dominate a border. The plant Iikes fertile soil in full
angular features can be admired. It is not frost hardy. to provide some protection. sun; mulch the base in winter in frost-prone areas.
H2–3m (6–10ft) S1–3m (3–10ft) OO H3 rUV Hto 5m (15ft) Sto 4m (12ft) O H2 rV H2.5–2.8m (8–9ft) S1m (3ft) OOO H5 rUV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Romneya coulteri ‘White Cloud’ Salvia uliginosa Symphyotrichum ‘Ochtendgloren’

This plant will eventually become a woody perennial once it Native to South America, the bog sage comes into its own from The long-lasting, purple-pink, daisy-like flowers of this aster are
becomes established. Large white petals with a bobble of late summer to mid-autumn, when square stems bearing clear held on branching stems in late summer. It is a strong-growing
yellow stamens in the centre create a winning display. Protect blue flowers emerge above mid-green, toothed leaves. As the plant, producing neat clumps that do not need to be regularly
plants from cold, strong winds, and in frost-prone areas, choose name suggests, bog sage is a moisture-loving plant. It is tall divided. It brightens up borders, can be grown in containers,
a site against a warm wall. and suited to the back of a sunny border. and is also good for cutting.
H1–2.5m (3–8ft) Sindefinite OOO H5 rU Hto 2m (6ft) S90cm (36in) OO H4 rV H1.2m (4ft) S80cm (32in) OO H4 rU

Thalictrum flavum subsp. glaucum Valeriana phu ‘Aurea’ Verbascum ‘Cotswold Queen’
The yellow meadow rue is a clump-forming perennial that The leaves of this plant are soft yellow when young, turning Synonymous with cottage gardens, this semi-evergreen
spreads by means of underground stems or rhizomes. Its blue- green to lime green by summer. The leaves at the base of the perennial will brighten any summer border with its prominent
green foliage is offset by the pale sulphur-yellow flowers stem are scented. Small white flowers appear in early summer spikes of yellow, saucer-shaped flowers. In a garden exposed
formed in summer. The variety ‘Illuminator’ is taller than the to complete the display. A woodland plant in the wild, valerian to the elements, this tall plant will probably need staking.
subspecies and has bright green leaves. suits a cottage garden or any informal scheme. Many Verbascum species are short-lived.
Hto 1m (3ft) S60cm (24in) OOO H7 SV Hto 1.5m (5ft) S60cm (24in) OOO H5 rSV H1.2m (4ft) S30cm (12in) OOO H7 rU

PERENNIALS FOR
ATTRACTING WILDLIFE
• Aquilegia vulgaris ‘William • Geranium macrorrhizum
Guiness’ p.326 p.329
• Centaurea dealbata • Geranium ‘Nimbus’ p.329
‘Steenbergii’ p.327 • Geranium phaeum p.329
• Cirsium rivulare • Helenium ‘Moerheim
‘Atropurpureum’ Beauty’ p.329
p.322 • Knautia macedonica p.330
• Crambe cordifolia p.322 • Monarda ‘Squaw’ p.331
• Digitalis x mertonensis • Nepeta grandiflora ‘Dawn
p.328 to Dusk’ p.331
• Doronicum ‘Little Leo’ • Nepeta ‘Six Hills Giant’
Verbena bonariensis Veronicastrum virginicum p.335 p.331
A popular plant, this verbena comes into its own when grown From summer to autumn, the dainty flower spikes of this • Echinacea ‘Art’s Pride’ • Pulmonaria ‘Diana Clare’
with grasses, allowing its branched flowerheads to punctuate perennial bring white, pink, and purple shades to border p.328 p.337
a border display. It can be grown at the back of beds, but its plantings. For a pure white-flowered variety, look for • Echinops bannaticus p.323
slim stems also look striking at the front. It flowers from V. virginicum ‘Album’ and grow it with dark foliage plants
• Geranium ‘Brookside’
midsummer to early autumn. to bring out its best attributes.
p.328
Hto 2m (6ft) S45cm (18in) OO H4 rUV Hto 2m (6ft) S45cm (18in) OOO H7 rSV
326/327 Plant and materials guide
PLANT GUIDE

Medium-sized perennials

Achillea ‘Lachsschönheit’ Achillea ‘Taygetea’ Agapanthus Headbourne Hybrids

Feathery foliage and large, flat heads of salmon-pink flowers Large, creamy-yellow flowerheads appear in summer and These plants were first raised in the 1940s by the Hon. Lewis
(the plant is also seen labelled ‘Salmon Beauty’) make this autumn, providing perfect landing pads for summer-visiting Palmer in his Hampshire garden, using South African seed. The
clump-forming perennial a good choice to grow with wild insects looking for a source of nectar. Finely-cut, greyish-green resulting hybrids have larger flowers than most African lilies,
flowers or in a mixed border. It is one of the Galaxy Hybrids leaves appear along the length of the stems, acting as a and are hardier. Grow in a mixed border or in pots.
series, which offers a wide range of colours. contrasting foil to the flowers. H60–90cm (24–36in) S90cm (36in)
H75–90cm (30–36in) S60cm (24in) OOO H7 rUV H60cm (24in) S45cm (18in) OOO H7 rUV OO H4 rUV

Anaphalis triplinervis Aquilegia vulgaris ‘William Guiness’ Artemisia ludoviciana ‘Silver Queen’
These are easy garden plants to grow and are very effective There are many granny’s bonnets to choose from, but the Grown predominantly for its downy silver leaves, this artemisia
in a border where the emphasis is on white and silver. The exquisite colours of ‘William Guiness’ (here shown against a is good for contrast in a mixed border or as an element in a
clusters of flowers, borne from mid- to late summer, have background of hosta leaves) make it a popular choice. Tall white and silver planting scheme. Brownish-yellow flowerheads
papery white bracts, and make good cut flowers. flower stems are carried above divided leaves; the plants are emerge from midsummer to autumn. The variety ‘Valerie Finnis’
H80–90cm (32–36in) S45–60cm (18–24in) suited to cottage gardens or mixed borders. has more deeply cut leaf margins.
OOO H7 Ru H90cm (36in) S45cm (18in) OOO H7 rSUV H75cm (30in) S60cm (24in) OOO H6 rU

Asplenium scolopendrium Crispum Group Astelia chathamica Astrantia ‘Hadspen Blood’

The Hart’s tongue fern is evergreen, with wavy-edged fronds, Dense clumps of arching, silver scaly leaves make this an Astrantias are well suited to areas of dappled shade in the
making it a year-round decorative asset in the garden. For the attractive plant for a border or container. Pale yellowish-green garden. The cultivar ‘Hadspen Blood’ is clump-forming, with
lushest plants, choose a position in dappled shade with moist, flowers appear on long stalks from mid- to late spring, followed, deeply cut, mid-green leaves and clusters of dark red flowers
rich soil to prevent sun scorching. A mixed woodland border on female plants, by orange berries. Do not allow roots to surrounded by equally dark red bracts.
would be ideal. become over-wet during the winter months. H30–90cm (12–36in) S45cm (18in)
H30–60cm (12–24in) S60cm (24in) OOO H6 SUV H1.2m (4ft) Sto 2m (6ft) OO H3 rSV OOO H7 rSV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Astrantia major ‘Sunningdale Variegated’ Athyrium filix-femina Campanula ‘Burghaltii’

This astrantia is remarkable for its leaves, which are unevenly It is clear why the Victorians found ferns so charming when you In midsummer, pendent, lavender-coloured bells, opening from
margined with soft yellow and cream. Although the pale pink see the lady fern at its best. Its large, very finely cut fronds, blue-purple buds, dangle from the stems of this mound-forming
flowers are attractive, the foliage is the main feature. Trim back sometimes with red-brown stalks, suit dappled corners of the perennial, against a background of heart-shaped leaves. The
the leaves to encourage new growth and choose a sunny site garden. Shady, sheltered areas or a woodland setting provide plant prefers neutral to alkaline conditions to thrive.
for best variegation. the perfect growing conditions. Alternatively, grow it in a large container.
H30–90cm (12–36in) S45cm (18in) OOO H7 rSV Hto 1.2m (4ft) Sto 90cm (36in) OOO H6 SV H60cm (24in) S30cm (12in) OOO H7 rSUV

Campanula glomerata ‘Superba’ Centaurea dealbata ‘Steenbergii’ Clematis integrifolia

The erect stems of this bellflower bear clusters of deep purple, Tolerant of dry conditions, knapweed is a magnet for bees and This herbaceous perennial carries flowers on the current year’s
bell-shaped flowers throughout the summer. Prolong the butterflies. The rich pink flowers with feathery petals can be shoots, from midsummer to late autumn. The mid-blue flowers
flowering season by cutting plants back to the top of the cut for indoor displays when they appear in summer. The plant have slightly twisted ‘petals’ and cream anthers, and are
leaves after the first flush of blooms. This variety is vigorous looks attractive in wild parts of the garden, or as part of a followed by silvery seedheads which provide an extended
and can even be invasive. cottage garden scheme. season of interest. The plant may need supporting.
H60cm (24in) Sindefinite OOO H7 rSUV H60cm (24in) S60cm (24in) OOO H7 rU H60cm (24in) S60cm (24in)OOO H6 rSU

EARLY-FLOWERING PERENNIALS
• Acanthus spinosus p.322 • Epimedium x perralchicum
• Ajuga reptans p.334 p.335
• Anemone nemorosa • Helleborus argutifolius
‘Bracteata Pleniflora’ p.329
p.334 • Helleborus foetidus p.329
• Bergenia ‘Morgenröte’ • Heuchera ‘Plum Pudding’
p.334 p.336
• Brunnera macrophylla • Lamprocapnos spectabilis
‘Dawson’s White’ p.335 f. alba p.330
• Crambe cordifolia • Phlomis russeliana p.332
p.322 • Pulmonaria ‘Diana Clare’
Clematis tubulosa ’Wyevale’ Digitalis grandiflora • Delphinium Blue p.337
This clematis grows as a free-standing shrub. The late summer The yellow foxglove forms sturdy, imposing clumps of tall Fountains Group p.323 • Rhodanthemum
flowers are pale blue, scented and are produced in clusters, flower spikes with glossy leaves, and is best sited where it will • Dicentra ‘Bacchanal’ hosmariense p.337
resembling hyacinth blooms. Fluffy, silvery seedheads follow, make an impact. Large, tubular flowers with speckled throats p.335 • Valeriana phu ‘Aurea’
which are also decorative. The plant prefers a chalky soil in radiate outwards. Choose dappled shade under trees or a
• Doronicum ‘Little Leo’ p.325
full sun or part shade. sheltered part of the garden for best results.
p.335
H75–130cm (2½–4½ft) S1m (3ft) OOO H5 rSU Hto 1m (3ft) S45cm (18in) OOO H6 SV
328/329 Plant and materials guide
PLANT GUIDE

Medium-sized perennials

Digitalis x mertonensis Dryopteris erythrosora Echinacea ‘Art’s Pride’

This cross between the yellow foxglove and common foxglove This slowly spreading fern from China and Japan emerges from The narrow orange petals of this coneflower surround a
has resulted in a free-flowering perennial bearing large pink the soil as coppery-red young fronds. These gradually turn pink prominent, rust-coloured, cone-shaped disc which appeals
tubular flowers in late spring and early summer. An excellent and then silvery-green with age, forming a lacy network over to all kinds of insects. Flowers are also slightly scented. Grow
plant for attracting bees. Self-sown seedlings will appear the ground. Keep soil around the roots moist and site in a in a mixed border, or wildlife or cottage garden. With their
around the parent plant. sheltered area. It makes a striking plant for a border. sturdy stems, echinaceas also make good cut flowers.
Hto 90cm (36in) S30cm (12in) OOO H5 SV H60cm (24in) S40cm (16in) OO H4 SV H60–90cm (24–36in) S45cm (18in) OOO H5 rU

Echinacea purpurea ‘Alba’ Eremurus stenophyllus Euphorbia griffithii ‘Dixter’

This is the white version of the popular, purple-flowered The lovely tapering flower spikes of foxtail lilies emerge and This is a striking herbaceous perennial that contrasts well with
Echinacea purpurea. Large, reflexed, white petals surround bloom in summer. Staking may be required to prevent the tall other green-leaved euphorbias. Its copper-tinted, dark green
a central yellow cone on long flower stems, from midsummer stems blowing over. Provide a site with free-draining soil, and leaves make an effective background to the orange bracts that
to autumn. These plants work well with grasses and mulch around the crowns with garden compost in autumn. surround the inconspicuous true flowers. The best colour comes
slim-stemmed perennials, such as Verbena bonariensis. Suited to the back of a garden border. from plants grown in dappled shade.
Hto 1.5m (5ft) S45cm (18in) OOO H5 rU H1m (3ft) S60cm (24in) OOO H6 rU H75cm (30in) S1m (3ft) OOO H7 SV

Euphorbia x martinii Euphorbia schillingii Geranium ‘Brookside’

With unusual flowers in a mixture of greens and reds, Pale yellow flowerheads perch above a mass of wiry, leafy This densely growing perennial is ideal for border edges; it
produced on the previous year’s shoots, this euphorbia would stems on this strong-growing herbaceous perennial. Plant it is a vigorous, spreading plant and makes attractive ground
be a welcome addition to any garden. It flowers over a long with other border perennials, choosing colours carefully to bring cover, for sun or part-shade. Abundant violet-blue flowers with
season from spring to midsummer and is a very adaptable out the subtleties of this late summer- to autumn-flowering pale centres appear in summer, held above a mass of finely
plant, tolerating sun and shade. plant. Provide rich soil in dappled shade. divided green leaves.
H1m (3ft) S1m (3ft) OOO H5 rSU H1m (3ft) S30cm (12in) OOO H5 SV H60cm (24in) S45cm (18in) OOO H7 rSU
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Geranium macrorrhizum Geranium ‘Nimbus’ Geranium phaeum

This plant has strongly aromatic, toothed, sticky leaves that A very vigorous and floriferous geranium that becomes a sea The dusky cranesbill is undemanding in its garden requirements.
turn an attractive red in autumn. Clusters of flat pink flowers of blue when the lavender blue flowers appear in summer. This It will tolerate sun but is also a useful plant for deep shade.
with protruding stamens are borne in early summer from a plant is very tolerant of shade and is a good choice for darker Dark maroon flowers with white eyes are produced in early
mass of sprawling stems. This is a good plant for ground borders or corners that receive little direct sunlight. Clip to summer. For a brighter-flowered geranium, try G. psilostemon,
cover or underplanting in a shady site. encourage repeat flowering. with its black-centred magenta flowers.
H50cm (20in) S60cm (24in) OOO H7 SU Hto 1m (3ft) S45cm (18in) OOO H7 STU H80cm (32in) S45cm (18in) OOO H7 RSTU

Gypsophila paniculata ‘Bristol Fairy’ Helenium ‘Moerheim Beauty’ Helleborus argutifolius

Also known as baby’s breath, branching gypsophila creates a Copper-red daisy flowers, each with a distinctive round central The Corsican hellebore is a valuable plant for the designer in
cloud of blossom as a profusion of tiny double-white flowers disc, are borne in early to late summer, filling the garden with search of winter interest. A glossy-leaved perennial, it comes
emerge in midsummer. It looks marvellous in a mixed border warm colour. Deadhead through the season to encourage into flower in late winter and early spring, and the blooms are
and also provides good cut flowers. ‘Bristol Fairy’ has double repeat flowering. The plant’s striking colour and form mix well an unexpected pale green. It grows well in most conditions but
white flowers but may be shorter-lived than G. paniculata. with either hot colours or pastel shades. will not thrive in acid soils.
H1.2m (4ft) S1.2m (4ft) OOO H7 rU H90cm (36in) S60cm (24in) OOO H7 rUV Hto 1.2m (4ft) S90cm (36in) OOO H5 rSV

LATE-FLOWERING PERENNIALS
• Agastache foeniculum • Phlox paniculata
p.322 ‘Balmoral’ p.332
• Anemone x hybrida • Rudbeckia fulgida var.
p.322 sullivantii ‘Goldsturm’
• Aster amellus p.333
‘Veilchenkönigin’ p.334 • Rudbeckia laciniata
• Cynara cardunculus p.322 ‘Goldquelle’ p.333
• Delphinium Pacific • Salvia nemorosa p.337
Hybrids p.323 • Salvia uliginosa p.333
• Helianthus ‘Lemon • Symphyotrichum ericoides
Queen’ p.324 ‘White Heather’ p.333
Helleborus foetidus Hemerocallis ‘Buzz Bomb’ • Helianthus ‘Monarch’ • Symphyotrichum
The stinking hellebore is named for the unpleasant smell its Originally bred in 1961, this brightly coloured daylily is a strong p.324 novae-angliae ‘Andenken
leaves give off when crushed. However, the greenish-white grower, flowering in midsummer. The large, orange-red blooms • Kniphofia ‘Percy’s Pride’ an Alma Pötschke’ p.333
flowers the plant bears in mid-winter and early spring make up with yellow throats are carried above strap-like green leaves p.331 • Symphyotrichum
for this downside. Other good varieties to choose from include over a long season. Grow in a mixed or herbaceous border in
• Liatris spicata ‘Kobold’ ‘Ochtendgloren’ p.325
the Wester Flisk Group, with red-tinted main stems. full sun for maximum effect.
p.331 • Verbena bonariensis p.325
Hto 80cm (32in) S45cm (18in) OOO H7 rSV H60cm (24in) S60cm (24in) OOO H6 rUV
330/331 Plant and materials guide
PLANT GUIDE

Medium-sized perennials

Hemerocallis ‘Marion Vaughn’ Hosta ‘Francee’ Hosta ‘Royal Standard’

A late afternoon-flowering daylily, ‘Marion Vaughn’ is a Hostas are shade-loving foliage plants and versatile in the This clump-forming perennial does well in shade but will also
dependable evergreen with clear lemon-yellow flowers and garden, suited to ground cover, containers, a woodland garden tolerate some sun. Its unmarked pale green leaves have
bright green strap-like foliage, making a crisp addition to a or mixed border. Olive-green heart-shaped leaves with a prominent ribs and provide an excellent foil for the funnel-
mixed border. It looks good growing in a drift with other variable white margin make ‘Francee’ a popular choice. shaped, fragrant white flowers that appear in late summer.
daylilies. Full sun will promote best flowering. Lavender-blue flowers emerge in summer. It is fast-growing and vigorous.
H85cm (34in) S75cm (30in) OOO H6 rUV H55–70cm (22–28in) S1m (3ft) OOO H7 SUV H60cm (24in) S1.2m (4ft) OOO H7 SUV

Hosta sieboldiana var. elegans Knautia macedonica Kniphofia ‘Bees’ Sunset’

With its heavily puckered, blue-green leaves, this large hosta Similar to a scabious, this knautia carries purple-red pincushion This is a yellow-orange variety of the deciduous plant familiarly
makes a dramatic border plant. It tolerates shade although a flowerheads, held above the foliage on branching stems, from known as the red hot poker. Upright, fleshy stems support
very dark position will subdue the production of lilac-coloured mid- to late summer. It is attractive to bees and butterflies and a bottlebrush-like array of the downward-pointing, tubular
flowers in early summer. Place a group of hostas together for ideally suited to a wildflower or cottage garden. It is fairly flowers from early to late summer. Grow in the herbaceous
a stunning foliage effect. drought-tolerant. border in groups for a dramatic display.
H1m (3ft) S1.2m (4ft) OOO H7 SUV H60–80cm (24–32in) S45cm (18in) OOO H7 Ru H90cm (36in) S60cm (24in) OOO H5 RSUV

Kniphofia ‘Percy’s Pride’ Lamprocapnos spectabilis f. alba Liatris spicata ‘Kobold’

This cultivar of the red hot poker produces long spikes of When in flower, the graceful, arching stems of the bleeding The spikes of deep purple flowerheads on this plant are
greenish-yellow flowers, maturing to cream, which emerge heart (or Dutchman’s breeches) look like a miniature washing unusual in that the flowers open from the top downwards.
in late summer and early autumn on long, fleshy stems. The line. New shoots appear in spring with rose pink or white ‘Kobold’ flowers from late summer to early autumn and suits
unusual flower colour makes it suitable for a colour-themed flowers. ‘Alba’ is a less vigorous selection with pure white a mixed border, but needs regular moisture to thrive. Stems can
border using white, green and pale yellow. blooms. It will tolerate some sun if the roots are kept moist. be cut for a cheerful indoor display.
Hto 1.2m (4ft) S60cm (24in) OOO H6 RSUV Hto 1.2m (4ft) S45cm (18in) OOO H6 SV H70cm (30in) S45cm (18in) OOO H7 RUV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Lupinus Band of Nobles Series ‘Chandelier’ Lychnis coronaria Lysimachia ephemerum

If space allows, grow lupins in drifts, allowing complementary Known by the common names of dusty miller and rose Woodland or streamside plants in the wild, these pretty
colours to sit close to one another. The pale yellow, pea-like campion, this short-lived perennial has soft silvery-grey stems herbaceous perennials are best suited to a damp border, bog
blooms of clump-forming ‘Chandelier’ appear in early and and leaves. Late summer sees a long succession of rounded garden or pond margin. In early and midsummer, erect spikes
midsummer and are ideal for a mixed or herbaceous border vermilion blooms. It self-seeds freely. For a pure white form, of saucer-shaped white flowers rise above mid-green tapered
in a cottage-style or informal design. choose ‘Alba’. leaves. Plants may need protection in winter.
H90cm (36in) S75cm (30in) OOO H5 RSU H80cm (32in) S45cm (18in) OOO H7 RSU H1m (3ft) S30cm (12in) OOO H6 RSVW

Lythrum salicaria ‘Feuerkerze’ Monarda ‘Squaw’ Nepeta grandiflora ‘Dawn to Dusk’

Masses of tiny star-shaped, intensely red-purple flowers cover Bergamots are grown for their long-lasting, colourful flowers As the name grandiflora suggests, the pale mauve-pink flowers
the slender upright spikes of this purple loosestrife cultivar, which appear from midsummer to early autumn. ‘Squaw’ is on this catmint are larger than usual. Grow this cultivar near
making a beautiful display from midsummer to early autumn. particularly striking, with its bright scarlet flowers held above a path or garden seat to make the most of the distinctive
The leaves are downy. The plant needs moisture and suits a dark bracts. Bergamots attract bees and butterflies and are fragrance released as the leaves are crushed. The plants
damp border or bog garden. ideal for a wildflower garden. are attractive to bees – and cats.
Hto 90cm (36in) S45cm (18in) OOO H7 RV Hto 1.2m (4ft) S45cm (18in) OO H4 RSUV H65cm (26in) S30cm (12in) OOO H6 RSU

PERENNIALS FOR
FOLIAGE INTEREST
• Adiantum venustum p.334 • Foeniculum vulgare
• Alchemilla mollis p.334 ‘Purpureum’ p.323
• Artemisia ludoviciana • Heuchera ‘Plum Pudding’
‘Silver Queen’ p.326 p.336
• Arum italicum • Hosta ‘Francee’ p.330
subsp. italicum • Hosta sieboldiana var.
‘Marmoratum’ p.334 elegans p.330
• Astelia chathamica p.326 • Lychnis coronaria p.331
• Astrantia ‘Hadspen • Phlox paniculata ‘Norah
Blood’ p.326 Leigh’ p.333
• Athyrium niponicum • Sedum ‘Matrona’ p.333
Nepeta ‘Six Hills Giant’ Origanum laevigatum ‘Herrenhausen’ var. pictum p.334 • Sedum ‘Vera Jameson’
This is a vigorous perennial bearing masses of lavender-blue Strongly aromatic leaves and bright clusters of pink flowers • Eryngium bourgatii p.337
flowers throughout the summer months. Be prepared for it to characterize this woody perennial, an ornamental cultivar of ‘Oxford Blue’ p.335 • Sempervivum tectorum
take up some space in the border. The leaves are light grey, the culinary herb marjoram. The leaves are purple-flushed • Euphorbia x martinii p.329 p.337
and noticeably aromatic when touched. Clumps can be divided when young and in winter, and the flowers appear from late
• Euphorbia epithymoides
in spring or autumn to rejuvenate plants. spring to autumn. Suited to a herb garden or border margin.
p.336
H90cm (36in) S60cm (24in) OOO H7 RSu H60cm (24in) S45cm (18in) OOO H6 Ru
332/333 Plant and materials guide
PLANT GUIDE

Medium-sized perennials

Paeonia ‘Sarah Bernhardt’ Papaver Oriental Group ‘Black and White’ Penstemon ‘Alice Hindley’
The powder-pink, showy double flowers of ‘Sarah Bernhardt’ The bold, beautiful flowers of the Oriental poppy make an A favourite with many gardeners, foxglove-like penstemons are
are large by peony standards and come into their own in immediate impact. There are many cultivars; the large, ruffled reliable and rewarding to grow. Large, tubular bell-like flowers
summer. The individual blooms are heavy and will need petals of ‘Black and White’, each with a black blotch at the open in succession along upright stems from midsummer to
supporting. They are also good for cutting. base, are papery white and surround a boss of dark stamens. autumn. There are many cultivars; the flowers of ‘Alice Hindley’
H95cm (38in) S50–70cm (20–28in) H45–90cm (18–36in) S60–90cm (24–36in) are pale lilac-blue. Feed well.
OOO H6 RSUV OOO H7 ru H90cm (36in) S45cm (18in) OO H4 rSU

Penstemon ‘Andenken an Friedrich Hahn’ Persicaria amplexicaulis ‘Firetail’ Persicaria bistorta ‘Superba’
This hardy, vigorous, bushy penstemon carries elegant This semi-evergreen perennial is a robust, undemanding A long-flowering, semi-evergreen plant with rounded spikes
spikes of bright garnet-red flowers in profusion from garden plant. From midsummer to early autumn, the lush of soft pink, miniature blooms, which present a good show all
midsummer through to mid-autumn, above masses of green foliage is joined by tall, rigid stems bearing small, bright summer and well into autumn. Grow behind ‘Firetail’ (left) for
narrow green leaves. Deadheading will significantly red bottlebrush flowers. Grow as border plants, as ground interesting contrast. Divide particularly vigorous clumps in
prolong the flowering display. cover, or naturalize in a woodland garden. spring or summer to control their size and spread.
H75cm (30in) S60cm (24in) OOO H5 rSu Hto 1.2m (4ft) Sto 1.2m (4ft) OOO H7 RSV Hto 90cm (36in) S90cm (36in) OOO H7 RSUV

Phlomis russeliana Phlox paniculata ‘Balmoral’ Phlox paniculata ‘Norah Leigh’

This sage-like plant looks very effective grown in a large Sweetly scented perennial phlox is a staple of the traditional Variegated forms of phlox are a relatively new phenomenon.
group in a border. The pale yellow, hooded flowers begin cottage garden, grown for its late summer and early autumn The tapering leaves of ‘Norah Leigh’ have green mid-ribs but
to appear in late spring and continue until autumn, with flowers. This vigorous, herbaceous cultivar has large trusses are mainly creamy-white with splashes of green. Clusters of
the best show of colour in early summer. The cut stems of pale pink, flattened flowers, and is a good choice for a pale lilac flowers with deeper pink centres are borne from
are good for dried arrangements. mixed border. It does best in rich soil. summer to autumn over a long season.
Hto 90cm (36in) S75cm (30in) OOO H6 rsU H90cm (36in) S60–100cm (24–39in) OOO H7 RSV Hto 90cm (36in) S60–100cm (24–39in) OOO H7 RV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Phormium cookianum subsp. hookeri ‘Tricolor’ Potentilla atrosanguinea Rudbeckia fulgida var. sullivantii ‘Goldsturm’
The mountain flax from New Zealand comes in a number of These pretty plants have attractive leaves with silver-haired Coneflowers are popular late-season plants, producing
forms. Here, the narrow, arching, strap-like leaves are green undersides, but are mainly grown for their bright, saucer- quantities of yellow flowerheads with dark eyes, held on
with cream and red margins. Yellow-green flowers emerge in shaped flowers, which vary from yellow through to rich red bristly stems, from late summer to mid-autumn. The rich
summer on long, stiff stems, although it is for the foliage that and bloom over a long season from spring to autumn. The green leaves are tapering and toothed. Pair ‘Goldsturm’
the plant is grown. Ideal for a coastal garden. plants thrive in a cool but bright position. with Verbena bonariensis and grasses for a dramatic display.
H1.2m (4ft) S3m (10ft) OO H4 RSV H45–90cm (18–36in) S60cm (24in) OOO H7 rU Hto 60cm (24in) S45cm (18in) OOO H6 RSU

Rudbeckia laciniata ‘Goldquelle’ Sedum ‘Matrona’ Sisyrinchium striatum ‘Aunt May’

The deeply cut green leaves make an effective background for Fleshy leaves, initially green and later flushed purple, and dark Excellent front-of-the-border plants, sisyrinchiums also suit
this double-flowered, lemon-yellow coneflower. ‘Goldquelle’ red stems form the backdrop to the flattened heads of tiny pink a gravel garden. Less vigorous than the green-leaved species,
makes a fine addition to the late summer border and will star-like flowers in late summer. The dried flower heads add the cultivar ‘Aunt May’ has cream-edged, grey-green, narrow
continue flowering until the middle of autumn. Rudbeckias structure and interest to the winter garden. leaves. In summer, the stiff flower stems are studded with
and grasses make a happy combination in a large border. H60–75cm (24–30in) Sto 30–45cm (12–18in) small pale yellow flowers.
Hto 90cm (36in) S45cm (18in) OOO H6 RSU OOO H6 ru H50cm (20in) S25cm (10in) OOO (borderline) H4 rU

PERENNIALS FOR DAMP SOIL

CONDITIONS
• Aconitum ‘Spark’s • Helleborus x hybridus
Variety’ p.322 ‘Pluto’ p.336
• Adiantum venustum p.334 • Inula magnifica p.324
• Alchemilla mollis p.334 • Pachysandra terminalis
• Astelia chathamica p.326 p.336
• Astrantia major ‘Hadspen • Persicaria bistorta
Blood’ p.326 ‘Superba’ p.332
• Athyrium filix-femina • Pulmonaria ‘Diana Clare’
p.327 p.337
• Dicentra ‘Bacchanal’ • Salvia uliginosa p.325
p.335 • Symphyotrichum
Symphyotrichum ericoides ‘White Heather’ Symphyotrichum novae-angliae ‘Andenken an • Dryopteris wallichiana novae-angliae ‘Andenken
A reliable and easy-to-grow perennial, ‘White Heather’ Alma Pötschke’ p.323 an Alma Pötschke’ p.333
produces sprays of small daisy blooms at the end of summer, These Michaelmas daisies bear rich cerise-pink blooms in • Ensete ventricosum p.323 • Valeriana phu ‘Aurea’ p.325
prolonging the season of interest in the garden. A sunny site profusion from late summer to mid-autumn. Mix varieties • Helleborus argutifolius • Veronicastrum virginicum
will ensure an extended spell of flowering. To increase the together to create your own aster display or plant among p.329 p.325
stock, divide larger plants in spring. other perennials for late summer colour.
H1m (3ft) S30cm (12in) OOO H7 rU H1.2m (4ft) S60cm (24in) OOO H7 rSV
334/335 Plant and materials guide
PLANT GUIDE

Small perennials

Adiantum venustum Ajuga reptans Alchemilla mollis

The evergreen Himalayan maidenhair fern is a decorative Spikes of deep blue flowers emerge from the low-growing, Dependable and drought-tolerant, lady’s mantle is grown for its
plant for a shady wall crevice or a damp, shady corner. It dark green leaves of this evergreen perennial from late pretty foliage and frothy sprays of tiny greenish-yellow flowers,
looks delicate but is in fact surprisingly robust. Old growth spring to early summer. The plant spreads rapidly and makes which appear from early summer to autumn and are good for
should be removed in late winter before new pink croziers excellent ground cover. For a less invasive form try ‘Catlin’s cutting. Deadhead after flowering to prevent self-seeding.
unfurl in spring, developing into fresh green fronds. Giant’, which has large bronze-purple leaves. Plant it at the front of a border or in a gravel garden.
H15cm (6in) Sindefinite OOO H7 SV H15cm (6in) S60–90cm (24–36in) OOO H7 SV Hto 60cm (24in) S75cm (30in) OOO H7 RSV

Anemone nemorosa ‘Bracteata Pleniflora’ Anthemis punctata subsp. cupaniana Arum italicum subsp. italicum ‘Marmoratum’
A striking variant of the wood anemone, this creeping perennial This Sicilian daisy naturally prefers a sunny site, such as an A truly exotic-looking plant whether in leaf, flower, or fruit,
bears semi-double white flowers, held over a ruff of closely open, well-drained rock garden. Flowers are long-lasting and lords and ladies is excellent for filling in gaps in border displays.
packed green leaves, from spring to early summer. The plant bloom over a long season from late spring to late summer. The glossy green leaves are veined with white, while the pale
thrives in rich soil. Dappled shade brings out its best features. The plant forms a tight mat at ground level and in winter the cream spathes give way to stalks of bright orange berries. It’s
H8–15cm (3–6in) S30cm (12in) or more OOO H5 silvery-grey leaves turn grey-green. at its best in a sheltered site.
SUV H30cm (12in) S90cm (36in) OO H4 Ru H30cm (12in) S15cm (6in) OOO H6 RSU

Aster amellus ‘Veilchenkönigin’ Athyrium niponicum var. pictum Bergenia ‘Morgenröte’

A clump-forming perennial, this aster produces a mass of tiny, These graceful, deciduous ferns (also known as lady ferns) Known by many as elephant’s ears because of the large,
violet-purple, daisy-like flowers in late summer, which are are easy to grow and will thrive in a shady, sheltered border rounded, leathery green leaves, bergenias are robust,
attractive to butterflies. The mid-green leaves are narrow and or woodland garden, as long as there is sufficient moisture. clump-forming evergreen plants. ‘Morgenröte’ produces
slightly hairy. Divide plants in spring and replant the strongest The arching fronds are light green or greyish, sometimes clusters of bright reddish-pink flowers at the top of strong
sections for most vigorous regrowth. flushed purple, with a purple midrib. purple stems from mid- to late spring.
H30–60cm (12–24in) S45cm (18in) OOO H7 RU Hto 30cm (12in) Sindefinite OOO H6 StV H40cm (18in) S60cm (24in) OOO H6 rSuV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Brunnera macrophylla ‘Dawson’s White’ Calamintha grandiflora ‘Variegata’ Coreopsis verticillata ‘Moonbeam’
This relative of borage is a good choice for a woodland garden. A plant for the woodland garden or a cool, sheltered position, A row of this brightly coloured plant will make a fine edging for
The heart-shaped leaves, carried on stiff stalks, have irregular, this calamint has toothed, pale green leaves, speckled a border. Finely cut leaves mingle together with a profusion of
creamy-white edges. In mid- and late spring, sprays of small creamy-white, which are aromatic when crushed. From yellow, star-like flowers in early summer. A sunny position will
blue flowers are borne above the foliage. Choose a cool, partly summer to autumn, pink-mauve, two-lipped flowers emerge promote the best show. Deadhead to encourage flowering.
shaded site in rich soil. above and level with the topmost leaves. Hto 50cm (20in) S45cm (18in) OO H4
H45cm (18in) S60cm (24in) OOO H6 SuV H30cm (12in) S45cm (18in) OOO H5 SUV RSU

Dianthus ‘Bovey Belle’ Dicentra ‘Bacchanal’ Doronicum ‘Little Leo’

This hardy pink bears clove-scented, bright pink double blooms Layer upon layer of deeply divided, grey-green leaves make an A spring-flowering perennial, this bright daisy is as attractive
on long stems above silver-grey strappy foliage in summer, effective foil for the delicate, crimson, heart-shaped flowers, to wildlife as it is to gardeners. Bees, butterflies, and hoverflies
making an impact in a mixed border or raised bed. Deadhead dangling from arching stems, which appear from mid- to late are regular visitors to the large yellow blooms. Plant in small
regularly to promote further flowering. Pinks make long-lasting spring. ‘Bacchanal’ is one of the darkest cultivars. These are groups at the front of borders, or in containers. The flowers
cut flowers. shade-loving plants and suit a moist, shady border. are also good for cutting.
H25–45cm (10–18in) S40cm (16in) OOO H6 RU H45cm (18in) S60cm (24in) OOO H5 STV H25cm (10in) S30–60cm (12–24in) OOO H5 SVU

SHADE-TOLERANT PERENNIALS
• Aconitum ‘Spark’s Variety’ • Epimedium x perralchicum
p.322 (damp shade) p.335 (dry shade)
• Adiantum venustum p.334 • Euphorbia griffithii ‘Dixter’
(damp shade) p.328 (damp shade)
• Anemone nemorosa • Geranium macrorrhizum
‘Bracteata Pleniflora’ p.329 (dry shade)
p.334 (damp shade) • Geranium ‘Nimbus’ p.329
• Asplenium scolopendrium (dry shade)
Crispum Group p.326 • Helleborus x hybridus
(damp shade) ‘Pluto’ p.336 (dry shade)
• Athyrium niponicum var. • Hosta cultivars p.330
Epimedium x perralchicum Eryngium bourgatii ‘Oxford Blue’ pictum p.334 (damp (damp shade)
Strong-growing woodland plants, epimediums make excellent This is one of the smaller sea hollies. It is a herbaceous, shade) • Lamprocapnos spectabilis
ground cover under trees or shrubs. This hybrid has both clump-forming plant with dark green lower leaves and, in • Dicentra ‘Bacchanal’ f. alba p.330 (damp
interesting foliage – bronze when young, deep green when summer, spiny, silvery flower stems bearing silver-blue, p.335 (damp shade) shade)
mature – and pretty, bright yellow flowers, borne on leafless thistle-like flowers, surrounded by blue-tinged bracts. The
• Dryopteris erythrosora • Pachysandra terminalis
stems in spring. It is also drought-tolerant. flower stems can be dried for indoor arrangements.
p.328 (damp shade) p.336 (dry shade)
H40cm (16in) S60cm (24in) OOO H6 SUV H15–45cm (6–18in) S30cm (12in) OOO H5 Ru
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PLANT GUIDE

Small perennials

Euphorbia epithymoides Geranium clarkei ‘Kashmir White’ Geum ‘Lady Stratheden’

This euphorbia forms a loose, dome-shaped mound of Cranesbills make versatile, undemanding garden plants. The Also sold as Goldball, this cultivar yields large, semi-double,
lime-green stems that carry canary-yellow flowerheads from ‘Kashmir’ cultivars are spreading, herbaceous perennials with rich yellow flowers over a long period throughout summer,
mid-spring to midsummer. The blooms are at their brightest dissected green foliage; they come in blue, pink, purple, and brightening up any border. A clump-forming perennial, it has
when young. The plant dies down in winter, re-emerging the white. This cultivar produces large, whitish summer flowers rounded and kidney-shaped leaves, both of which are hairy
next year with a batch of fresh young shoots. with pale lilac-pink veining. Divide vigorous plants in spring. to the touch. The plant comes true from seed.
H40cm (16in) S60cm (24in) OOO H6 RsUV Hto 45cm (18in) Sindefinite OOO H6 RSU H40–60cm (16–24in) S60cm (24in) OOO H7 RU

Helleborus x hybridus ‘Pluto’ Heuchera ‘Plum Pudding’ Heuchera ‘Red Spangles’

A named cultivar among a group of highly variable hellebores, Compact, evergreen perennials, heucheras are useful for Throughout the summer, the stems of ‘Red Spangles’ rise
‘Pluto’ is a clump-forming perennial noted for its striking all-year-round interest. This cultivar has purple ruffled leaves from among green foliage, supporting small, tubular, rich
flowers. They are purple on the outside but green-tinged with deeper purple veins. Small white flowers are held aloft on scarlet-crimson flowers, adding a splash of vibrant colour
purple within and appear during winter when little else is thin wiry stems in late spring. Grow alongside silvery-leaved to the garden. Grow where it can spill over onto a path, or
offering garden interest. ‘Pewter Moon’ to show both off to good effect. include it in a mixed or shrub border.
H45cm (18in) S45cm (18in) OOO H7 SV H65cm (26in) S50cm (20in) OOO H6 RSUV H50cm (20in) S25cm (10in) OOO H5 RSUV

Lamium maculatum ‘White Nancy’ Oenothera fruticosa ‘Fyrverkeri’ Pachysandra terminalis

Spreading, low-growing plant, excellent for ground cover. The From late spring to late summer, the large, bright yellow Good for ground cover, this tough evergreen perennial is grown
toothed leaves are silver with a green edge, while the summer flowers of this evening primrose appear on upright stems for its foliage and will spread freely given enough moisture. It
flowers are pure white. Grow to cover bare soil and to suppress above the purple-brown-flushed leaves below. The flowers has coarsely toothed, glossy, dark green leaves and tiny white
weeds. ‘Red Nancy’ has silver leaves with purplish-red flowers. bloom during the day and are short-lived but are borne over flowers, which are carried in spikes in early summer. A useful
Hto 15cm (6in) Sto 1m (3ft) or more a long season. The plant will perform best in a sunny site. plant for shady sites.
OOO H7 RSUV H30–90cm (12–36in) S30cm (12in) OOO H5 RU H20cm (8in) Sindefinite OOO H5 STV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Polypodium x mantoniae ‘Cornubiense’ Pulmonaria ‘Diana Clare’ Rhodanthemum hosmariense

The finely dissected fronds of this ground cover fern easily An early spring-flowering perennial, ‘Diana Clare’ is easy to Plants that flower from spring until autumn are much prized in
cover the soil and break up the hard lines of path edges. New grow and needs very little attention once established. In late the garden and this daisy-flowered, shrubby perennial amply
growth starts in spring with the fronds taking several weeks winter and spring, clusters of violet-blue flowers, striped red, fulfils this role. The leaves are silver and deeply lobed while
to unfurl. This is a handsome, resilient plant for a damp and open above green leaves marked with silver. It makes good the flowers are white-petalled with a yellow eye. A plant for
shady spot in the garden. ground cover where the soil is not too dry. a sunny border or rock garden with very free-draining soil.
H30cm (12in) Sindefinite OOO H7 StUV H30cm (12in) S45cm (18in) OOO H7 StV H10–30cm (4–12in) S30cm (12in) OO H4 RU

Salvia nemorosa Sedum ‘Vera Jameson’ Sempervivum tectorum

Wrinkly green leaves form a neutral backdrop to the main A striking stonecrop to grow for colour impact. Purplish, fleshy The common houseleek creates starry patterns over the
attraction of purple, white, or pink flowers during the summer leaves and stems sprawl sideways while rounded heads of ground as its tight red rosettes hug the soil. Grow in old sinks,
and autumn months. The flower stems stand stiff and upright rose-pink flowers are held aloft in late summer and early troughs, or terracotta pots to show off the architectural
and, when seen from a low viewpoint, create a sea of colour. autumn. Mix with silvers and greys to accentuate the bold shapes. Reddish-purple flowers are borne in summer. A
Grow in sun or dappled shade in well-drained soil. colouring; grow in a rock garden or at a border edge. gritty, well-drained compost and full sun are desirable.
Hto 1m (3ft) S60cm (24in) OOO H7 RSU H20–30cm (8–12in) S45cm (18in) OOO H7 RU H15cm (6in) S50cm (20in) OOO H7 RU

PERENNIALS FOR CONTAINERS

• Agapanthus Headbourne • Melianthus major p.324
Hybrids p.326 • Musa basjoo p.324
• Astelia chathamica p.326 • Origanum laevigatum
• Bergenia ‘Morgenröte’ ‘Herrenhausen’ p.331
p.334 • Phlox paniculata ‘Norah
• Geum ‘Lady Leigh’ p.333
Stratheden’ p.336 • Phormium cookianum
• Gypsophila paniculata subsp. hookeri
‘Bristol Fairy’ p.329 ‘Tricolor’ p.333
• Helleborus foetidus p.329 • Phormium tenax
• Hemerocallis ‘Buzz Bomb’ Purpureum Group p.324
Veronica gentianoides Veronica spicata subsp. incana p.329 • Rhodanthemum
This pretty veronica is grown for its spikes of pale blue, Also known as the silver speedwell, this perennial marries silver • Heuchera ‘Plum Pudding’ hosmariense p.337
early-summer flowers held on erect stems above a mound of hairy leaves with spikes of purple-blue flowers, making it a p.336 • Sedum ‘Vera Jameson’
glossy, bright green foliage. In hot-hued borders it makes a good choice for a border comprising cool colours. Summer • Heuchera ‘Red Spangles’ p.337
contrast with reds and oranges, and is also effective when flowering, it is mat-forming and will spread, so clip back if
p.336 • Sempervivum
planted in drifts on its own. It performs best in moist soil. necessary after the blooms have faded.
• Hosta ‘Francee’ p.330 tectorum p.337
H45cm (18in) S45cm (18in) OOO H7 RSUV H30cm (12in) S30cm (12in) OO H4 RSUV
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PLANT GUIDE

Bulbs, corms, and tubers

Allium caeruleum Allium cristophii Allium hollandicum ‘Purple Sensation’

An early summer-flowering ornamental onion, this allium has Huge, rounded flowerheads made up of many star-like, The deep purple, spherical flowerheads of ‘Purple Sensation’
alluring ice-blue rounded flowerheads. The mid-green leaves pinkish-purple blooms ensure this plant’s place as a designers’ look stunning when planted with silver-leaved, shorter plants.
disappear before the flowers open, leaving solitary “lollipops” favourite. A scattering of these bulbs among low-growing This is a summer-flowering bulb that will self-sow around the
punctuating the border display on stiff stems. Well-drained plants adds unexpected interest in early summer. The dried garden, although the resulting seedlings may not be so richly
soil helps to prevent bulbs rotting in winter. seedheads are spectacular in indoor arrangements. coloured. The blooms make decorative dried flowers.
H60cm (24in) S2.5cm (1in) OOO H5 RU H30–60cm (12–24in) S15cm (6in) OOO H5 RU H1m (3ft) S7cm (3in) OOO H6 RU

Anemone blanda ‘White Splendour’ Canna ‘Durban’ Canna ‘Striata’

Quick to establish and form a carpet, this white anemone brings Vividly coloured foliage and bright, “hot” flowers, which appear A statement plant for a bed or border, ‘Striata’ has broad, rich
a gleam of light to gardens in spring. For a different colour, try from late summer to autumn, make cannas an exotic addition green leaves striped with yellow, and showy, bright orange
‘Radar’, which has magenta flowers with a white eye, or ‘Pink to mixed borders. The deep purple, paddle-shaped leaves flowers, carried on dark red-purple stems, from midsummer
Star’, with bright pink blooms. All look delightful in large drifts sometimes have contrasting midribs. Cannas look very to early autumn. As with most cannas, in cold areas rhizomes
below spring-flowering trees. attractive in containers, adding a tropical element to a patio. should be lifted to overwinter in a frost-free place.
h15cm (6in) S15cm (6in) OOO H6 RSU H1.2m (4ft) S60cm (24in) OO H3 ruV H1.5m (5ft) S50cm (20in) OO H3 ru

Convallaria majalis Crinum x powellii Crocosmia x crocosmiiflora ‘Gerbe d’Or’

Lily-of-the-valley is a creeping perennial loved for its sweetly A very decorative plant, this lily produces flared trumpet In a sunny border, the lemon-yellow trumpets of this South
fragrant, white, bell-shaped flowers. Dark green leaves are blooms, up to ten at a time, at the top of rigid stems from late African plant will shine brightly against a background of
upward-pointing, with leafless flowerstalks rising among them summer until mid-autumn. It suits a position at the base of a bronze-tinted, mid-green foliage. Split the clumps every few
in late spring. The plant relishes moist, fertile soil in either full sheltered, sunny wall. In cooler areas, provide a deep winter years for a good supply of flowers. Crocosmias make excellent
or partial shade. All parts are toxic. mulch. For a pure white form, choose the cultivar ‘Album’. cut flowers and can be grown solely for this purpose.
H23cm (9in) S30cm (12in) OOO H7 STV H1.5m (5ft) S30cm (12in) OOO H5 rUv H75–90cm (30–36in) S45cm (18in) OOO H5 rUV
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Crocosmia x crocosmiiflora ‘Venus’ Crocosmia masoniorum x C. x crocosmiiflora Crocus goulimyi

The dense green, strappy foliage of this crocosmia is attractive ‘Firebird’ This is one of the autumn-flowering crocuses, producing
even before the red blooms appear in summer. As each flower A strong-growing crocosmia, ‘Firebird’ has tapering, strap- scented, long-tubed, lilac flowers at the same time as the
opens, a distinctive deep yellow throat is revealed. Overgrown like foliage, joined in summer by arching stems of bright leaves. It can be naturalized in a lawn in drifts, grown around
clumps can be split and divided in spring and used to expand orange-red flowers with speckled throats. It tolerates drier the edges of mixed borders, or planted in containers on a patio
your border display. conditions than many crocosmias, and flowers freely. (use a gritty potting mix to ensure free drainage).
H70cm (28in) S45cm (18in) OO H4 rUV H80cm (32in) S30–45cm (12–18in) OO H4 rUV H10cm (4in) S5cm (2in) OOO H6 rU

Crocus tommasinianus Cyclamen hederifolium Dahlia ‘Bishop of Llandaff’

Silvery-lilac to purple petals are the distinguishing features These fluted pink flowers are carried above the soil surface in The vivid red, semi-double flowers of this dahlia look dramatic
of this late winter- to early spring-flowering crocus. Grow mid- to late autumn before the appearance of any foliage. The against the black-red foliage, making it a striking addition to a
in naturalized drifts in grassy areas or in small clumps in triangular or heart-shaped leaves are dark green with intricate mixed border from summer to autumn. ‘Bishop of Llandaff’ also
terracotta pots on a windowsill. For a white-flowered silver patterning. The plant self-seeds freely and suits a site suits containers. In frost-prone areas, tubers should be lifted
selection, try Crocus tommasinianus f. albus. under trees or shrubs in partial shade. Mulch annually. after the first frost and stored in a cool, dry place.
H8–10cm (3–4in) S2.5cm (1in) OOO H6 rU H10–13cm (4–5in) S15cm (6in) OOO H5 SU H1.1m (3½ft) S45cm (18in) OO H3 rU

BULBS, CORMS, AND TUBERS

FOR SPRING COLOUR
A range of bulbous plants will provide spring
colour, including tulips, daffodils (Narcissus),
crocuses, snowdrops (Galanthus), winter aconites
(Eranthis) and hellebores.
• Anemone blanda var. • Muscari armeniacum
rosea ‘Radar’ p.338 ‘Blue Spike’ p.342
• Anemone blanda var. • Muscari latifolium p.342
rosea ‘Pink Star’ p.338 • Narcissus ‘Tête-à-tête’
• Crocus tommasinianus p.342
p.339 • Scilla siberica p.343
• Erythronium dens-canis • Tulipa ‘Flaming Parrot’
Dahlia ‘David Howard’ Dahlia ‘Gay Princess’ p.340 p.343
The dark green-purple leaves and stems make an excellent foil Waterlily dahlias are so-called because of the flowerhead • Fritillaria meleagris p.340 • Tulipa ‘Prinses Irene’
for the large, double, burnt orange flowers of this dahlia. Stems form, which is double and resembles a waterlily. This cultivar
• Hyacinthoides non-scripta p.343
can be used for indoor arrangements, and regular cutting will has lilac-pink blooms in summer and autumn, above rich green
encourage further flowering. Site in a sunny border. See D. foliage. At 1.5m (5ft) tall it can be planted behind shorter p.340 • Tulipa ‘Queen of Night’
‘Bishop of Llandaff’ for overwintering advice. perennials in a border or grown for cut flowers. • Hyacinthus orientalis p.343
‘Blue Jacket’ p.340
H75cm (30in) S60cm (24in) OO H3 rU H1.5m (5ft) S75cm (30in) OO H3 rU
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PLANT GUIDE

Bulbs, corms, and tubers

Eranthis hyemalis Erythronium dens-canis Eucomis bicolor

Buttercup-yellow cup-shaped flowers, surrounded by a collar of The European dog’s-tooth violet produces heavily marked green The pineapple lily from South Africa needs full sun and rich soil
deeply-cut green leaves, are a welcome sight in the depths of leaves and dainty nodding flowers from winter to early spring, in order to flourish. Maroon-spotted stems appear among the
winter. Relatives of buttercups, winter aconites rapidly spread in colours ranging from white through to pink. The plant likes leaves in late summer, bearing pale green flowers with purple
by way of their underground tubers. Plant where the soil does well-drained soil in dappled shade, and looks attractive grown markings. It will grow best in a sheltered bed against a warm
not dry out in summer. underneath deciduous trees or shrubs. wall. Mulch dormant bulbs in very hard winters.
H5–8cm (2–3in) S8cm (3in) OOO H6 SUV H10–15cm (4–6in) S10cm (4in) OOO H5 SU H30–60cm (12–24in) S20cm (8in) OO H4 rU

Fritillaria imperialis Fritillaria meleagris Galanthus ‘Atkinsii’

Tall, stately, and strong-growing, the crown imperial stands A native of English grasslands, the snake’s head fritillary looks The cold season would not be the same without snowdrops,
regally in the centre of an island bed or within a mixed border stunning when planted en masse in grassy areas, each petal and there are plenty of cultivars to choose from. They flower
or rock garden. Clusters of orange flowers, yellow if you choose featuring a distinctive chequered pattern. These spring- from late winter and can be planted in grass or in small pots
the cultivar ‘Maxima Lutea’, radiate from the top of tall stems flowering bulbs in pinkish-purple or white can be mixed to on their own. Lift and divide clumps when the leaves die back.
in early summer. create a patchwork effect. ‘Atkinsii’ is vigorous, with slender green-marked flowers.
Hto 1.5m (5ft) S25–30cm (10–12in) OOO H7 rU Hto 30cm (12in) S5–8cm (2–3in) OOO H5 rSv H20cm (8in) S8cm (3in) OOO H5 SUV

Galtonia viridiflora Hyacinthoides non-scripta Hyacinthus orientalis ‘Blue Jacket’

A hyacinth relative from South Africa, galtonia has funnel- This is the English bluebell rather than the more upright- Famed for their exquisitely perfumed flowers, hyacinths are
shaped, pale green flowers which add glistening highlights to growing Spanish species. Plant the bulbs in broad drifts under very easy to grow. They are available in a range of colours and
a border. The flowers appear in late summer, suspended from trees in dappled shade for maximum impact in spring. Flowers the bulbs can be planted as spring bedding, singly in pots, or
tall arching stems. In very cold areas, lift the bulbs over winter are traditionally blue, although pink or white forms can be even rooted in water on a windowsill indoors. ‘Blue Jacket’
and store in a cool spot indoors. found. It can become invasive if planted in the border. has navy-blue, waxy flowers with purple veins.
Hto 1m (3ft) S10cm (4in) OO H3 SUV H20–40cm (8–16in) S8cm (3in) OOO H6 SUV H20–30cm (8–12in) S8cm (3in) OO H4 rU
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Iris ‘Golden Alps’ Iris pallida ‘Variegata’ Iris ‘Superstition’

This cream and yellow, tall bearded iris should be planted with The long, tapering, yellow-striped leaves of this iris surround Purple-brown and blue-black combine here with dramatic
its lower stem and rhizome just above soil level. Sword-shaped a succession of showy, scented blue flowers in late spring effect in this deeply coloured, tall bearded iris. Plant with
green leaves form a fan, while summer flowers are held high on and early summer. This is a perfect plant for a hot border or pale-coloured selections such as ‘White Knight’ to create
sturdy stems. Bearded irises come in a range of colours, and all exposed site where the sun can bake the soil surface. Lift a contrasting combination. The dark flowers are also fragrant,
are ideal for a sunny, mixed border. clumps, divide, and replant in early autumn. and appear almost black in fading light.
H90cm (36in) S60cm (24in) OO H4 RU Hto 1.2m (4ft) S45–60cm (18–24in) OOO H6 RU H90cm (36in) S60cm (24in) OOO H7 RU

Leucojum aestivum ‘Gravetye Giant’ Lilium ‘African Queen’ Lilium ‘Black Beauty’
Similar to a large snowdrop, the summer snowflake is an Place some pots of these by your back door and you will be Lilies with this flower form are known as turk’s caps because
attractive plant for damp areas of the garden. Nodding white greeted by deliciously fragrant, bright orange trumpet flowers of the way the petals curve back on themselves, revealing
flowers with green petal tips emerge in spring; the narrow every time you step outside from mid- to late summer. This pollen-laden anthers. ‘Black Beauty’ is a vigorous type and
green leaves providing a subtle backdrop. ‘Gravetye Giant’ lily can also be grown in a border, if the flowers are in the sun can be positioned among herbaceous plants in the border,
is robust and will grow quite tall next to water. while the roots are kept shaded. or grown in containers for a movable midsummer display.
H90cm (36in) S8cm (3in) OOO H7 SVW H1.5–2m (5–6ft) S25cm (10in) OOO H6 RU H1.4–2m (4½–6ft) S25cm (10in) OOO H6 rU

BULBS, CORMS, AND TUBERS

FOR SUMMER COLOUR
• Allium caeruleum p.338 • Dahlia ‘David Howard’
• Allium cristophii p.338 p.339
• Allium hollandicum ‘Purple • Dahlia ‘Gay Princess’
Sensation’ p.338 p.339
• Canna ‘Durban’ p.338 • Fritillaria imperialis p.340
• Canna ‘Striata’ p.338 • Iris ‘Golden Alps’ p.341
• Crinum x powellii p.338 • Iris pallida ‘Variegata’ p.341
• Crocosmia x crocosmiiflora • Lilium African Queen
‘Gerbe d’Or’ p.338 p.341
• Crocosmia x crocosmiiflora • Lilium ‘Black Beauty’
‘Venus’ p.339 p.341
Lilium Citronella Group Lilium martagon • Crocosmia masoniorum x • Lilium Citronella
An Asiatic lily, this group contains yellow-flowered plants with Scatter bulbs of the common turk’s-cap lily around a mixed C. x crocosmiiflora Group p.341
speckled, recurved petals. In midsummer, tall flower spikes are border and plant them where they land. The pretty flowers, ‘Firebird’ p.339 • Lilium martagon p.341
held erect and the buds unfold to reveal the showy blooms. It which have recurved purple petals with dark markings, appear • Dahlia ‘Bishop of • Lilium Pink Perfection
is vigorous, but needs feeding if it is to flourish. It also makes from early to midsummer. The flowers of Lilium martagon var.
Llandaff’ p.339 Group p.342
a superb cut flower. album are pure white.
• Lilium ‘Star Gazer’ p.342
H1.2–1.5m (4–5ft) S25cm (10in) OOO H6 RU H0.9–2m (3–6ft) S20cm (8in) OOO H6 RSU
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PLANT GUIDE

Bulbs, corms, and tubers

Lilium Pink Perfection Group Lilium regale Lilium ‘Star Gazer’

First introduced in 1950, the large, pinkish-red trumpets of The large, white, trumpet-shaped flowers of the regal lily Both the colour and the perfume of ‘Star Gazer’ attract
this lily hybrid soon caught the attention of keen gardeners. In are purple on the outside and held in clusters on tall stems, attention and make this Oriental lily one of the most popular
midsummer, short flower stems are laden with lightly-scented creating an eye-catching display in midsummer. The lilies cut flowers ever developed. The pink and white flowers with
blooms with protruding orange anthers. Choose a sunny site are very fragrant and are ideal for use in mixed borders or speckled petals are upward-facing and robust, and appear
with some shade for the roots for best results. as cut flowers. The stems may need staking. in midsummer. Plant in a border or in a stylish container.
H1.5–2m (5–6ft) S25cm (10in) OOO H6 RU H0.6–2m (2–6ft) S25cm (10in) OOO H6 RU H1–1.5m (3–5ft) S25cm (10in) OOO H6 RU

Muscari armeniacum ‘Blue Spike’ Muscari latifolium Narcissus ‘Bridal Crown’

This is a double-flowered form of the common grape hyacinth. The flowers of this grape hyacinth seem to be wearing little ‘Bridal Crown’ has sweetly-scented double white blooms
Fleshy green narrow leaves form a carpet as small fat spikes hats. Blue flowerspikes are topped by small, paler-coloured with pale orange centres. The flowers cluster together at
of blue flowers push their way through in spring. The plant flowers, while the leaves are mid-green and more flattened the top of the stems and appear in early spring. Plant bulbs
can become invasive, so restrict its spread by growing it in than those of Muscari armeniacum (left). Attractive in drifts during autumn in well-drained soil in a sunny border, or in
a container. Choose a site in full sun. at the front of a border, it is also good for a rock garden. a container. ‘Bridal Crown’ makes a pretty cut flower.
H20cm (8in) S5cm (2in) OOO H6 RUV H20cm (8in) S5cm (2in) OOO H6 SUV H40cm (16in) S15cm (6in) OOO H6 RU

Narcissus poeticus var. recurvus Narcissus ‘Tête-à-Tête’ Narcissus ‘Thalia’

Known as the old pheasant’s eye, this late spring-flowering Tiny flowers on short stems make this a favourite spring bulb This delicately beautiful daffodil carries two milky-white
daffodil differs from Narcissus poeticus in having backward- for planting at the front of borders, in rock gardens, and in flowers per stem. Mid-spring sees these emerge from papery
curving petals. Pure white petals surround a yellow eye, which containers of all shapes and sizes. Plant en masse for the buds to lighten border plantings or provide early interest in
has a dainty orange frilled edge. It can be naturalized in a lawn, best effect, as small clumps can look insignificant. Container- a “white” border. Grow in a tall container and place against
and is also good for cut flowers for the house. grown plants can be grown on a windowsill indoors. a painted wall to make a bold statement.
H35cm (14in) S5–8cm (2–3in) OOO H6 RU H15cm (6in) S5cm (2in) OOO H6 RU H35cm (14in) S8cm (3in) OOO H6 rU
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Nectaroscordum siculum subsp. bulgaricum Nerine bowdenii Scilla siberica

The flowers on this onion relative are green, white, and South Africa has given gardeners worldwide many wonderful The Siberian squill produces bright blue, pendent flowers in
burgundy. Grouped in sprays of 10–30 on top of tall stems, plants and this spectacular bulb is no exception. Stems of vivid spring, giving the garden a dash of colour. The bulbs can be
they make an attractive display in early summer. Grow in pink, spidery flowers appear from bare soil in autumn. Nerines grown in groups in a rock garden, between paving stones or
a wild garden or herbaceous border where the flowers will look good in groups at the foot of a sunny, light-coloured wall. at the front of herbaceous and mixed borders. Plant in full
catch the eye. Deadhead to prevent it spreading. Provide a deep mulch in winter in very cold areas. sun or part shade, and water well when in growth.
Hto 1.2m (4ft) S30–45cm (12–18in) OOO H5 Sv H45cm (18in) S8–12cm (3–5in) OOO H5 RU H10–20cm (4–8in) S5cm (2in) OOO H6 rSU

Trillium grandiflorum Tulipa ‘Flaming Parrot’ Tulipa ‘Prinses Irene’

A vigorous plant for a shady woodland area, wake robin forms This late spring-flowering tulip has fringed yellow petals, each The orange petals of this striking tulip look like they have been
clumps of dark green, rounded leaves with distinctive, three- with a distinctive red blaze. Inside is a cluster of black anthers. painted with delicate brush strokes of purple. Flowering in
petalled white flowers in spring and summer. The cultivar ‘Flore Grow as a single variety in formal beds or in drifts, merging mid-spring, ‘Prinses Irene’ is effective when grouped in swathes
Pleno’ is slower-growing and has double flowers. with other colours. Alternatively, plant a number of the bulbs in in a border or planted as part of a container display with
Hto 40cm (16in) S30cm (12in) or more a tall pot or container in a sunny position. decorative grasses. It can also be cut for indoor arrangements.
OOO H5 STU H55cm (22in) S15cm (6in) OOO H6 RU H35cm (14in) S15cm (6in) OOO H6 RU

BULBS, CORMS, AND TUBERS

TO USE FOR SCENT
Plant groups with a range of scented cultivars
include many daffodils (Narcissus), crocuses, lilies,
some snowdrops (Galanthus), Leucojum (snowflake),
hyacinths, cyclamen, and freesias.
• Convallaria majalis p.338 • Lilium martagon p.341
• Crocus goulimyi p.339 • Lilium Pink Perfection
• Hyacinthus orientalis ‘Blue Group p.342
Jacket’ p.340 • Lilium ‘Star Gazer’ p.342
• Leucojum aestivum • Narcissus ‘Bridal Crown’
‘Gravetye Giant’ p.342
p.341 (light scent) • Narcissus poeticus var.
Tulipa ‘Queen of Night’ Tulipa ‘Spring Green’ • Lilium ‘African Queen’ recurvus p.342
Popular because it is so deeply coloured and satiny, this late This Viridiflora Group tulip sports a green feathery flash on p.341 Grow bulbs in pots by
spring-flowering tulip looks striking if planted among purple each of its ivory-white petals and adds an elegant touch to • Lilium ‘Black Beauty’ the house or in drifts for
and black-leaved perennials and low shrubs, or with grey or a mixed or colour-themed border. Plant where it can be
p.341 maximum appreciation.
silver-leaved plants. Alternatively, use it in front of a appreciated at close quarters, as it is only 40cm (16in) high
pale-painted fence or wall for contrast. when flowering in late spring. • Lilium Citronella Group
p.341
H60cm (24in) S15cm (6in) OOO H6 RU H40cm (16in) S10cm (4in) OOO H6 RU
344/345 Plant and materials guide
PLANT GUIDE

Grasses, sedges, and bamboos

Acorus calamus ‘Argenteostriatus’ Anemanthele lessoniana Arundo donax var. versicolor

An undemanding evergreen, the sweet rush, or sweet flag, Fine-leaved pheasant’s-tail grass has a pleasing arching habit. The striking variegation of the evergreen giant reed (the white
thrives in damp or boggy soils, making it the perfect plant for In summer, it produces purplish flower spikes; in winter, the stripes turn a creamy yellow in summer) makes it a popular
the shallows of a pond edge. Like all acorus, it is non-invasive, evergreen leaves turn an eye-catching orange-brown. Leave choice, although it is less vigorous than the green form and not
and its strong cream variegation will remain vivid, even in the seedheads – hungry birds will quickly tidy them up during as hardy. In cold areas, enjoy it outdoors in summer, then bring
deep shade. winter. The plant may need protection in cold areas. it under cover for the winter; grow it in a pot for flexibility.
h45cm (18in) s45cm (18in) OOO H7 stvw h1m (3ft) s1.2m (4ft) OO H4 rsuv h2.2m (7ft) s2m (6ft) OO H4 rsvw

Briza maxima Calamagrostis x acutiflora ‘Overdam’ Carex buchananii

One of the most attractive of the annual grasses, quaking grass Use the striped feather reed to make a strong vertical accent This striking evergreen sedge from New Zealand has slender,
is easy to grow from seed (sow into individual modules for the in prairie-style planting. As the leaves emerge in spring, there coppery-brown leaves with a hint of a curl. It is stiffly upright
best results). The nodding flowerheads rattle in the lightest is a pink tinge to the green and white variegation; cutting the when young, becoming more arching with age, and it contrasts
breeze, making it clear how the common name arose. The foliage back in late summer will encourage a second flush of well with golden sedges and blue grasses. In early spring, comb
stems dry well for flower arranging. new growth. Unfussy, the plant tolerates most soils. out any dead leaves with a fork, or cut them back.
h30cm (1ft) s23cm (9in) OOO H6 ruvw h1m (3ft) s1.2m (4ft) OOO H6 ru h60cm (2ft) s60cm (2ft) OOO H5 rsuv

Carex elata ‘Aurea’ Carex oshimensis ‘Evergold’ Carex testacea

Deservedly one of the most widely grown sedges, Bowles’ The low-arching habit of this neat evergreen sedge makes it a In full sun, the hair-thin, olive-yellow leaves of this sedge
golden sedge produces a broad spray of vibrant yellow useful plant for containers or as ground cover in shade, where develop orange tints. In midsummer, small brown flower
leaves, edged in green. In summer there is the added bonus its long golden yellow and thinly striped green leaves add a spikes appear. A New Zealand plant, it forms dense,
of feathery brown flower spikes. A compact, deciduous plant, touch of light colour. Like many sedges, it is happy in boggy evergreen mounds, but it is not as hardy as its relatives
it produces its best colour in partial shade. soil and makes a decorative addition to poolside plantings. and it may need winter protection in cold areas.
h75cm (30in) s1m (3ft) OOO H6 stvw h50cm (20in) s45cm (18in) OOO H7 stvw h45cm (18in) s1m (3ft) OOO H5 rsuv
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Cortaderia selloana ‘Aureolineata’ Cortaderia selloana ‘Pumila’ Deschampsia flexuosa ‘Tatra Gold’
Ideal for small gardens, this dwarf pampas is half the size of Hardier and more free-flowering than the taller species, Wavy hair grass forms slowly spreading tufts of fine evergreen
the parent species, and has broad leaves with golden edges this dwarf pampas grass mixes surprisingly well in a border. leaves. ‘Tatra Gold’ grows well in moist shade, where its
that become more richly coloured as the season progresses. Long-lasting golden-brown plumes are produced in summer acid-green leaves look almost luminous. In summer, it produces
The colourful leaves and silky plume-like flowerheads add a on stout stems. Combing through the leaves with a hand fork a shimmering haze of red-brown flowers. Plant it in large drifts
dramatic highlight to late summer borders and gravel gardens. in winter will keep the clump looking tidy. among bright leaved sedges for a dramatic effect.
h1.5m (5ft)s1.5m (5ft) OOO H6 ruv h2m (6ft)s2m (6ft) OOO H6 ruv h15cm (6in) s15cm (6in) OOO H6 stv

Elymus magellanicus Fargesia murielae Festuca glauca ‘Elijah Blue’

Blue wheatgrass is so-named because of its wonderful blue A tough plant for tough situations, this evergreen bamboo copes One of those useful plants that look good all year round, the
colour – it looks stunning against a gravel mulch – and the well with dry soils and exposed sites, and makes an effective silvery-blue, needle-like leaves of this fescue form neat, round
herringbone flowerheads that look like ears of wheat. It forms windbreak or screen. The closely spaced, arching canes are mounds. In summer, the plant produces spikes of small blue
slow-spreading, rather sprawling clumps of evergreen leaves slow-spreading, and it won’t engulf its neighbours. Use it at flowers that age to brown. It is particularly effective grown as
that need winter protection in cold areas. the back of a border or in a container. a container plant, contrasting well with terracotta and metal.
h45cm (18in)s45cm (18in) OOO H6 ruv h4m (12ft) s4m (12ft) OOO H5 rsuv h30cm (12in) s60cm (24in) OOO H5 rsuv

GRASSES, SEDGES, AND BAMBOOS

FOR CONTAINERS
• Acorus calamus • Imperata cylindrica
‘Argenteostriatus’ ‘Rubra’ p.345
p.344 • Miscanthus sinensis
• Arundo donax var. cultivars p.346
versicolor p.344 • Ophiopogon planiscapus
• Carex buchananii p.344 ‘Nigrescens’ p.346
• Carex oshimensis • Phyllostachys aureosulcata
‘Evergold’ p.344 f. aureocaulis p.347
• Carex testacea p.344 • Phyllostachys nigra p.347
• Deschampsia flexuosa • Phyllostachys vivax
‘Tatra Gold’ p.345 f. aureocaulis p.347
Hakonechloa macra ‘Aureola’ Imperata cylindrica ‘Rubra’ • Elymus magellanicus p.345 • Uncinia rubra p.347
A beautiful slow-growing, deciduous grass from Japan that Japanese blood grass is undisputedly one of the finest foliage • Fargesia murielae p.345
deserves to be the centrepiece in a container or a dry gravel plants – fluffy white flowerspikes are a bonus in summer. • Festuca glauca ‘Elijah
border. The low-arching, golden yellow leaves, which are Position it carefully, so the crimson-tipped, upright leaves are Blue’ p.345
thinly striped with lime green, develop a warm reddish tinge backlit by the sun. In cold areas, grow it in a container and bring
• Hakonechloa macra
in autumn. Cut back in early spring to encourage new growth. under cover during winter.
‘Aureola’ p.345
h25cm (10in) s1m (3ft) OOO H7 rsv h45cm (18in) s1.8m (6ft) OO H4 rsv
346/347 Plant and materials guide
PLANT GUIDE

Grasses, sedges, and bamboos

Lagurus ovatus Miscanthus sinensis ‘Gracillimus’ Miscanthus sinensis ‘Kleine Silberspinne’

A popular garden plant because of its fluffy flowerheads, the A dainty-looking subject for a grass garden or mixed border, An attractive ornamental grass with colourful, curving plumes,
hare’s-tail grass is a tufted annual that can be grown easily maiden grass produces a shock of narrow green leaves with this miscanthus does not grow as tall as the species. In late
from seed sown in situ in spring. The soft, hairy spikelets, pale white midribs. After the late summer flush, the curved leaves summer and early autumn, silky white and red flower spikes
green at first, maturing to pale cream, form in summer and can take on a bronzy hue as temperatures cool. Leave in place as a appear, turning to silver as they age and lasting all winter. Cut
be cut for indoor displays. structural element through the winter. down to ground level in spring before new growth emerges.
Hto 50cm (20in) S30cm (12in) OO H4 RU H1.3m (4½ft) S1.2m (4ft) OOO H6 RUV H1.2m (4ft) S1.2m (4ft) OOO H6 RUV

Miscanthus sinensis ‘Malepartus’ Miscanthus sinensis ‘Silberfeder’ Miscanthus sinensis ‘Zebrinus’

One of the easiest of the miscanthus to establish, ‘Malepartus’ This cultivar is grown mainly for its autumn show of red-tinged, Easily confused with the more upright-growing M. sinensis
looks good spilling onto a lawn or path edge where it can be creamy flowers that last well and are held above narrow, green ‘Strictus’, ‘Zebrinus’ has a more lax habit and spreads more
seen at close quarters. Feathery reddish-brown flowerheads, foliage. ‘Silberfeder’ needs space to be seen at its best and a readily. The unusual horizontal bands of pale cream variegation
maturing to cream, appear from late summer to autumn among site that doesn’t get waterlogged. Plant in front of a dark- make it an interesting subject for a grass garden or large zinc
the cascading green foliage. leaved hedge for a perfect backdrop. planter. The brown deciduous foliage offers winter interest.
H2m (6ft) S2m (6ft) OOO H6 RUV H2.5m (8ft) S1.2m (4ft) OOO H6 RUV Hto 1.2m (4ft) S1.2m (4ft) OOO H6 RUV

Molinia caerulea subsp. caerulea ‘Variegata’ Ophiopogon planiscapus ‘Nigrescens’ Panicum virgatum ‘Heavy Metal’
This is a densely tufted perennial with boldly variegated green Few plants are as deeply coloured as this clump-forming, tufted A deciduous perennial grass with stiff, upright, steely grey-
and cream leaves. From spring through to autumn, purple- perennial. Although not strictly a grass, its appearance and green leaves. In favourable conditions, the foliage will turn
tinged flowers are borne on yellow flower stems. The whole habit make it a useful plant in schemes where grasses yellow in autumn, gradually fading to pale brown in winter.
plant matures to a pale bronzy-brown in autumn, an effect predominate. It also looks dramatic in pale-coloured containers. Wispy flowerheads bearing purple-green flowers emerge
that looks striking in a gravel garden. Small, pale purplish-white flowers appear in summer. during summer. Plant in clumps of threes or fives for impact.
H45–60cm (18–24in) S40cm (16in) OOO H7 RSU H20cm (8in) S30cm (12in) OOO H5 RSUV H1m (3ft) S75cm (30in) OOO H5 RU
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade U well-drained soil V moist soil W wet soil

Pennisetum alopecuroides Phalaris arundinacea var. picta Phyllostachys aureosulcata f. aureocaulis

Also known appropriately as the fountain grass, this evergreen Gardeners’ garters is a vigorous, spreading plant, useful for A delightful mix of green-streaked yellow stems and green,
perennial has narrow, mid-green leaves that tumble from the lightening a shady corner or in a cottage garden. Trim untidy tapering leaves make this evergreen bamboo a popular garden
centre of the plant, joined in summer and autumn by flowing, leaves in late summer to maintain a neat look. New plantlets choice. The yellow-groove bamboo, as it is known, is a vigorous
bristly, decorative flowerheads. It needs a warm, sheltered will spread if the clump is not kept in check, so grow in a plant and is recommended for larger gardens, where it can be
site since it is not fully hardy. container sunk into the ground if this is a concern. used as a screen. It can also be grown in containers.
H0.6–1.5m (2–5ft) S0.6–1.2m (2–4ft) OO H3 RU Hto 1m (3ft) Sindefinite OOO H7 RSV H3–6m (10–20ft) Sindefinite OOO H5 RSUV

Phyllostachys nigra Phyllostachys vivax f. aureocaulis Stipa gigantea

The black bamboo is grown for its distinctive stems, which are Like many bamboos, this is a vigorous, fast-growing plant. Giant feather grass is a fabulous plant for the garden,
initially green and then turn glossy black, contrasting well with The bright yellow canes are flecked with green and it has commanding a prime position in an island bed or mixed border
the fresh green leaves. It has a tall, upright habit, so grow for slim, arching foliage. Plant it in a large container, or surround in full sun. Tall, fluttering plumes of flowers emerge above the
impact in a border, or in blocks in a Modernist scheme. the plant’s roots below soil level with an impenetrable barrier evergreen foliage in summer; the stems create a transparent
H3–5m (10–15ft) S2–3m (6–10ft) to control its spread. screen, allowing shorter plants to be seen behind them.
OOO H5 RSUV Hto 8m (25ft) S4m (12ft) OOO H5 RSUV Hto 2.5m (8ft) S1.2m (4ft) OOO (borderline) H4 RU

EVERGREEN GRASSES, SEDGES,

AND BAMBOOS
• Acorus calamus • Phalaris arundinacea
‘Argenteostriatus’ var. picta p.347
p.344 • Phyllostachys aureosulcata
• Carex buchananii p.344 f. aureocaulis p.347
• Carex oshimensis • Phyllostachys nigra p.347
‘Evergold’ p.344 • Phyllostachys vivax
• Carex testacea p.344 f. aureocaulis p.347
• Deschampsia flexuosa • Stipa gigantea p.347
‘Tatra Gold’ p.345 • Uncinia rubra p.347
• Fargesia murielae p.345
• Festuca glauca
Stipa tenuissima Uncinia rubra ‘Elijah Blue’ p.345
In summer, this neat, compact, deciduous perennial produces The tough ochre-red leaves of this evergreen perennial are • Ophiopogon planiscapus
soft feathery stems with green flowerheads that fade to buff. three-angled and upright, joined in mid- and late summer by ‘Nigrescens’ p.346
The fine leaves gently wave in the slightest breeze, and dark brown flowers. It makes an unusual specimen for a gravel • Pennisetum alopecuroides
contrast well with dark green foliage plants. The autumn or scree garden where the soil is free-draining but not too dry.
p.347
seedheads are very attractive to birds. Protect from the elements in very cold winters.
H60cm (24in) S30cm (12in) OOO (borderline) H4 RU H30cm (12in) S35cm (14in) OO H3 RSUV
348/349 Plant and materials guide
PLANT GUIDE

Water and bog plants

Actaea simplex Atropurpurea Group ‘Brunette’ Aruncus dioicus ‘Kneiffii’ Astilbe ‘Fanal’
A herbaceous perennial for a damp, shady area in the garden, Fern-like foliage and tumbling flowerheads resembling small Producing feathery plumes of long-lasting, crimson flowers
‘Brunette’ has bronze, deeply-cut foliage and slender spires of white caterpillars combine to create this striking plant. The in early summer, ‘Fanal’ adds fiery interest to a garden with
fluffy, fragrant white flowers in late summer, which show up flowers appear in summer and make a bright focal point in a boggy soil. Finely cut, dark green leaves provide a suitable
well against a dark background. Plant in moisture-retentive bog garden or at a pond edge. It looks delicate, but is in fact backdrop for the intense flower colour. Plant in groups of
soil in a woodland or shady bog garden. robust and will tolerate full sun or part shade. threes or fives to make a bold statement.
H1.2m (4ft) S60cm (24in) OOO H7 S u H75cm (30in) S45cm (18in) OOO H6 RS u H60–100cm (2–3ft) S60cm (24in) OOO H7 S u

Astilbe ‘Professor van der Wielen’ Astilbe ‘Willie Buchanan’ Butomus umbellatus
A plant that needs space to show off its full potential, this This astilbe cultivar produces a haze of pink when its tiny The flowering rush is a deservedly popular plant for pond
astilbe produces large, arching sprays of delicate creamy- white flowers with red stamens, borne on fine, branching margins, where it can immerse its feet in wet soil. The leaves
white flowers in midsummer above fern-like foliage. Place at flower stems, open from mid- to late summer. Ideal for a are narrow and angled, bronze-purple when young, turning
the back of a wet border or pond-edge planting scheme, and pond or path edge, plant en masse for a wonderful floral to mid-green. In late summer, delicate, pale pink, fragrant
divide clumps every three to four years. display. The flowers attract beneficial insects. flowers are borne on slender stems.
H1.2m (4ft) Sto 1m (3ft) OOO H7 S u H23–30cm (9–12in) S20cm (8in) OOO H7 RS u H1m (3ft) Sunlimited OOO H5 R y r 5–15cm (2–6in)

Caltha palustris Darmera peltata Eupatorium maculatum ‘Atropurpureum Group’

Marsh marigolds bring colour to pond margins as their intense The umbrella plant is a slow-spreading perennial that looks A great plant for late summer and early autumn colour, this
yellow, cup-shaped blooms appear in late spring. Grow in good alongside streams and pond margins. Heads of white to stately perennial bears clusters of small pink flowers on tall,
planting baskets to control their spread. Try C. palustris var. pink flowers appear in late spring on long stems before the purple stems. Toothed, purple-green leaves circle the stems
alba for white flowers. large, rounded green leaves appear. The foliage gradually right up to the flowerheads. It attracts bees and butterflies,
H60cm (24in) S45cm (18in) OOO H7 rS turns red in autumn before dying down. and makes a superb addition to a wildlife bog garden.
y r at water level H1.2m (4ft) Sunlimited OOO H6 RS u H2m (6ft) S1m (3ft) OOO H7 RS u
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade u bog plant y marginal plant t aquatic plant r planting depth

Filipendula rubra ‘Venusta’ Gunnera manicata Iris laevigata

The queen of the prairies needs space to spread, so choose A real giant of the bog garden with huge, rhubarb-like leaves, This iris flourishes reliably in the wet soil in the shallows of
a planting position for this perennial carefully. Green jagged gunnera demands plenty of room, even for just one plant. A ponds and streams. Blue-purple flowers crown green stems
leaves sit below wiry stems bearing a frothy display of deep herbaceous perennial, it makes a dramatic statement at the in early and midsummer, and sit among broad, sword-shaped,
rose-pink flowers in early and midsummer. Use its height to waterside. Plant in permanently moist soil and cover the mid-green leaves. Clumps will spread steadily.
form a screen at the back of a bog garden display. crowns with a dry mulch in hard winters. H75cm (30in) S1m (3ft) OOO H6 R
H2m (6ft) Sunlimited OOO H5 RS u H4.5m (15ft) S3m (10ft) OOO H5 RS u y r 10–15cm (4–6in)

Iris pseudacorus ‘Variegata’ Iris ‘Butter and Sugar’ Iris sibirica ‘Perry’s Blue’
This is the variegated-leaved version of the well-known yellow Bred from the Siberian iris, ‘Butter and Sugar’ bears shapely This is a traditional cultivar producing closely spaced flower
flag iris. Pale yellow stripes decorate the green, upright leaves flowers with white upper petals and butter-yellow lower petals stems that carry mid-blue flowers with rusty-coloured veins.
when young; the yellow blooms appear in summer. A spreading from mid- to late spring. Each stem is surrounded by green It flowers in early summer and will bring colour to the edges
iris, it needs restricting if it is not to become invasive. Plant in strappy foliage and can hold up to five blooms. Divide the of small ponds and borders with boggy soil. Plant with
a basket at the margins of a pond. tight clumps in spring or once flowers have faded. lighter-flowered irises for duo-tone effect.
H1m (3ft) S75cm (30in) OOO H7 R y r 15cm (6in) H50cm (20in) S25cm (10in) OOO H7 R u H1m (3ft) S60cm (24in) OOO H7 R u

PLANTS FOR YOUR POND

AQUATIC t • Iris versicolor ‘Kermesina’

• Nymphaea ‘Darwin’ p.349
p.350 • Myosotis scorpioides p.350
• Nymphaea ‘Froebelii’ • Orontium species p.98
p.350 • Pontederia cordata p.350
• Nymphaea ‘Gonnère’ • Sagittaria species p.98
p.350 • Saururus species p.98
• Nymphaea ‘Marliacea • Typha minima p.351
Chromatella’ p.350 • Zantedeschia aethiopica
p.351
MARGINAL y
• Butomus umbellatus OXYGENATING PLANT
Iris versicolor ‘Kermesina’ Kirengeshoma palmata • Ranunculus aquatilis p.98
From eastern North America, the blue flag is a small iris for An unusual plant for the bog garden, this clump-forming p.348
small ponds. In summer, the species has lavender-blue flowers perennial has jagged green leaves with reddish-purple stems. • Caltha palustris p.348
with white markings, while ‘Kermesina’ bears red-purple Pale yellow, bell-shaped flowers hang from the slim stems above • Iris laevigata p.349
blooms. The long, strappy leaves add architectural interest to the foliage in late summer and early autumn. Plant in moist acid • Iris pseudacorus
a pond margin from spring until autumn when they die down. soil in a part-shaded sheltered site. ‘Variegata’ p.349
H75cm (30in) S60cm (24in) OOO H7 R y r 5cm (2in) H1.2m (4ft) S75cm (30in) OOO H7 S u
350/351 Plant and materials guide
PLANT GUIDE

Water and bog plants

Ligularia stenocephala ‘The Rocket’ Matteuccia struthiopteris Myosotis scorpioides

A plant of contrasts with jet black flower stems and bright The common names of shuttlecock fern and ostrich fern can Plant the water forget-me-not close to a pond edge, where its
yellow flowers, this bog lover is a must for larger gardens. The be easily understood when the enormous finely dissected flowers can be seen clearly. The tiny blue blooms have white,
leaves form a carpet through which the flower spikes emerge fronds emerge from the ground in spring. During late summer, pink, or yellow eyes and appear in early summer. The cultivar
from early to late summer. Choose a bright site but one that is fertile, narrow brown fronds cluster at the centre of the plant ‘Mermaid’ has a more compact habit.
shaded from the midday sun. and last through winter. Grow in moist shade. H45cm (18in) Sunlimited OOO H6 RS
H2m (6ft) S1.1m (3½ft) OOO H6 RS u H1.7m (5½ft) Sto 1m (3ft) OOO H5 S u y r at water level

Nymphaea ‘Darwin’ Nymphaea ‘Froebelii’ Nymphaea ‘Gonnère’

The almost peony-like, fragrant flowers of this waterlily are Tiny burgundy-red flowers with golden stamens open between A stunning water lily for medium-sized ponds, ‘Gonnère’
pale pink in the centre while the outermost petals are white the dark green leaves (bronze when young) Of ‘Froebelii’ to sends up pure white fragrant flowers with yellow stamens
with a tinge of pink. With its large, flat, dark green leaves and make a perfect miniature water lily. Ideal for small ponds, from mid- to late summer. The circular lily pads are bronze
vigorous growth, ‘Darwin’ (also sold as Hollandia) is best suited tubs, or half-barrels, it will put on a beautiful flower display when young but soon turn a light pea-green. Grow in full
to medium-sized to large ponds. from midsummer to autumn. sun for the best results.
S1.5m (5ft) OO H3 R t r 60–100cm (2–3ft) S75cm (30in) OOO H5 R t r 30–45cm (12–18in) S1.5m (5ft) OOO H5 R t r 60–75cm (24–30in)

Nymphaea ‘Marliacea Chromatella’ Osmunda regalis Pontederia cordata

This is a very old cultivar that has stood the test of time. The royal fern makes an arresting sight at the edge of a pond Pretty from a distance, this plant is exquisite close-up.
Lemon-yellow flowers, with broad incurved petals and deep with its toes just in the water. It is deciduous, producing a The pickerel weed is a marginal plant with bright green,
yellow centres, are produced from mid- to late summer and crop of fresh, mid-green sterile fronds that gracefully unfurl lance-shaped leaves with spikes of starry blue flowers in
appear between floating olive-green leaves with bronze each spring. In summer, upright, fertile, tassel-like fronds form late summer. There is also a white-flowered cultivar, ‘Alba’.
markings. Plant in a medium-sized pond or pool in full sun. in the centre of the plant. This fern needs space to spread. H0.9–1.3m (3–4½ft) S60–75cm (24–30in)
S1.5m (5ft) OOO H5 R t r 60–100cm (2–3ft) H2m (6ft) S4m (12ft) OOO H6 RS u OOO H5 R yr 30cm (12in)
OOO H7–H5 fully hardy OO H4–H3 hardy in mild regions/sheltered sites O H2 protect from frost over winter
£ H1c–H1a no tolerance to frost r full sun s partial sun t full shade u bog plant y marginal plant t aquatic plant r planting depth

Primula alpicola Primula beesiana Primula ‘Inverewe’

Originally from Tibet, this moisture-loving primula flowers A semi-evergreen candelabra primula, P. beesiana has vivid In summer, up to 15 bright red flowers appear on each white
in midsummer with fragrant, white, yellow or violet, tubular magenta flowers in summer. The spherical flowerheads appear stem on this semi-evergreen candelabra primula. The mid-green
blooms on whitish stems. The deciduous leaves are mid-green at intervals up greenish-white stems, giving rise to the plant’s leaves are oval with toothed margins. The plant is a vigorous
and have toothed or scalloped margins. Plant in a bog garden common name. Plant in a boggy border, or at a pond edge, in large grower that prefers partial shade, but will tolerate full sun as
or in soil that stays reliably damp. groups with ferns to create a colourful, textured display. long as the roots are kept moist.
H50cm (20in) S30cm (12in) OOO H7 S u H60cm (24in) S60cm (24in) OOO H6 S u H75cm (30in) S60cm (24in) OOO H5 RS u

Rheum palmatum ‘Atrosanguineum’ Rodgersia pinnata ‘Superba’ Sanguisorba canadensis

This ornamental rhubarb needs a large garden to accommodate Grown for its foliage, the young, purplish-bronze leaves of This is a tall plant that needs to be placed at the back of a
its metre-long, toothed leaves and huge plumes of cerise-pink this plant mature to dark green with distinctive veins, giving bog garden or moist border. It produces lush green foliage on
summer flowers. The young leaves are purple, but fade to green a puckered appearance. From mid- to late summer, clusters of branching stems, and long, bottlebrush-like spikes of small
as they age. The soil has to be deep, moist, and very fertile to tiny bright pink flowers reach above the leaves, followed by white flowers, which open from the bottom upwards, in late
sustain healthy growth. brown seedheads. Protect from cold winds. summer and early autumn. Divide clumps in spring or autumn.
Hto 2.5m (8ft) Sto 1.8m (6ft) OOO H6 RS u Hto 1.2m (4ft) S75cm (30in) OOO H6 RS u Hto 2m (6ft) S1m (3ft) OOO H7 RS u

PLANTS FOR BOGGY SOIL

• Actaea simplex • Iris sibirica ‘Perry’s Blue’
Atropurpurea Group p.349
‘Brunette’ p.348 • Kirengeshoma palmata
• Aruncus dioicus p.349
‘Kneiffii’ p.348 • Ligularia stenocephala
• Astilbe ‘Professor van ‘The Rocket’ p.350
der Wielen’ p.348 • Matteuccia struthiopteris
• Astilbe ‘Willie p.350
Buchanan’ p.348 • Osmunda regalis p.350
• Eupatorium maculatum • Primula alpicola p.351
‘Atropurpureum • Primula ‘Inverewe’ p.351
Typha minima Zantedeschia aethiopica Group’ p.348 • Rheum palmatum
An ideal plant for small ponds or tubs, this perennial has One of the most exotic-looking marginal plants, the arum lily • Filipendula rubra ‘Venusta’ ‘Atrosanguineum’ p.351
clusters of narrow vertical leaves, which are joined in late brings grace and style to ponds and bog gardens. Large pure p.349 • Rodgersia pinnata
summer by cylindrical flower spikes. The flower stalks can white flowers, which gleam against the bright green foliage, • Gunnera manicata p.349 ‘Superba’ p.351
be cut and used in indoor arrangements. open from late spring through to midsummer. Grow in shallow
• Iris sibirica ‘Butter • Sanguisorba canadensis
Hto 75cm (30in) S30–45cm (12–18in) OOO H7 R water, dividing the rootstock if necessary in spring.
and Sugar’ p.349 p.351
yr 30cm (12in) H90cm (36in) S90cm (36in) OO H4 R yr 15cm (6in)
 352/353 Plant and materials guide
MATERIALS GUIDE

Surfaces
Materials

Bricks Concrete blocks

Clay bricks are timeless and can be laid in a variety of patterns. In place of bricks you can use less costly concrete blocks, which
The colour range is determined by the clay and the firing; also come in a wide range of sizes, shapes, colours, and textures.
the higher the temperature (and the cost), the more durable the You can also buy blocks set on a fabric backing (“carpet stones”)
brick. For paths and patios, bricks must be frostproof and or moulded into a slab for easy laying. Concrete blocks can
guide

hardwearing; house bricks are not suitable. easily take the weight of a car and are ideal for driveways.
£–££ ww e reds, buffs, browns, blue/greys £ ww e concrete can be dyed almost any colour

Granite setts Terracotta tiles

Fast disappearing from our city streets, granite setts have great These offer the warmth and colour of the Mediterranean, but
charm and are increasingly available from reclamation yards for most are not frostproof. Their porosity creates a safe, nonslip
use in the garden – where they make a hardwearing surface surface, but makes them vulnerable to staining, so apply a
for paths and drives. Individual setts vary in size and depth, sealant. Available in a huge range of sizes and shapes, the
Hard landscaping materials provide which can make levelling and fitting them together a challenge. colours are determined by the kiln firing of natural clays.

the essential structure that every ££ ww e blue/greys, pink, black £–£££ w e orange, red, mellow yellow
garden needs to create a usable
space. As well as their practical
functions, walls, paving, fences,
and structures also help to shape
the overall design, forming a
permanent framework for the more
ephemeral planting. Factors to
consider when choosing materials
include their cost, colour range,
ease of installation, durability, and
their environmental impact – look
online for options and check Stone and tiles Crazy paving
You can have some fun with mixed coloured materials – here, A 1970s favourite, crazy paving is brought up-to-date by using
readers’ reviews of those you select. granite setts, terracotta and glazed tiles. If you have a handful just one type of stone – here, reclaimed Yorkstone. It makes a
of expensive tiles, this is a great way to eke them out. Laying hardwearing surface for paths, patios, and drives, although
This at-a-glance directory shows the blocks and tiles on a dry mortar mix will help you to adjust laying a random pattern isn’t as easy as it appears and you may
you what materials are available the different levels and avoid an uneven surface. need professional help to achieve a decorative mosaic effect.
and their essential properties. £–£££ ww e various £–££ ww e large range
£££ high cost ££ medium cost £ low cost ww high durability w low durability e colour options

Granite Limestone Marble

A popular stainproof surface for kitchens, polished granite is A sedimentary rock, limestone often has shells and fossils More familiar in sunnier climes, marble is increasing in
diamond-hard and tough enough for use in the garden. It embedded in it. Riven stone (shown here) is popular in gardens popularity as a sophisticated landscaping material. When
comes in a huge range of colours; some also include speckled because it is split in a way that leaves a roughened, nonslip polished, it has a lustrous quality that will smarten up any patio.
and streaked detailing. Affordable composite and terrazzo surface. Limestone darkens when it is wet and it can stain, so The characteristic veining is caused by mineral impurities.
(granite chips bonded with cement and polished) are available. consider sealing it. Available as composite. Consider sealing. Available as composite.
££–£££ ww e black and greens to pinks, reds, cream ££–£££ ww e grey, white, pale red, yellow or black ££–£££ ww e white, black, grey, green, pink, red, brown

Sandstone Slate Travertine

Made up of small mineral grains, sandstone is easy to cut and Stylish and modern, slate is a hardwearing fine-grained stone. Popular as a building material since Roman times, travertine
lay. The import market has made available a wide range of Unless polished, it’s nonslip, even when wet, making it ideal for is a dense form of calcium carbonate. Pure travertine is white,
colours and patterns, including streaking and stripes. The pathways. Note the colour darkens when wet. Various surface but impurities add colour. The characteristic pitting is caused
colour darkens when wet. Reclaimed sandstone paving is a less textures are available, including rough cut (visible saw marks), by gases trapped in the molten rock. The best quality travertine
expensive option. Sealing is advisable. Available as composite. sandblasted, and polished (called “honed”). Consider sealing. has smaller holes that are infilled and polished.
££–£££ ww e gold, jade, rose, brown, grey, white, black ££–£££ ww e black, blue-grey, green, purple ££–£££ ww e white, pink, yellow, brown

ENVIRONMENTAL ISSUES
Our purchasing power as consumers can have a huge
impact on the environment, especially when choosing
materials for the garden.
• Wood and stone that’s been transported halfway
around the world has a large carbon footprint, so
first check what’s available from local quarries. If
you do decide to use imported stone, check that
it isn’t produced by child labourers.
• Soft- and hardwoods should be from a sustainably
managed source. Look for accreditation from a
Yorkstone “Green” cement recognized authority, such as the Forest Stewardship
Most of Britain’s cities are paved with this hardwearing The chance to employ greener, cleaner landscaping materials Council (FSC), or try to use recycled wood. The
fine-grained sandstone. The colour, which darkens when wet, is an exciting prospect. This type of cement decomposes air Greenpeace Good Wood Guide will also help you
depends on where it was quarried in Yorkshire. Reclaimed pollutants by means of a photocatalytic reaction, and is used to make an informed decision.
and composite paving slabs with a nonslip, riven surface make composite stone. When mixed with recycled granite, it
• Low-solvent or water-based paints and wood
(as shown) are available. Consider sealing. produces a hardwearing surface that helps improve air quality.
preservatives are a responsible choice.
££–£££ ww e grey, black, brown, green or red tinged ££ ww e various
354/355 Plant and materials guide
MATERIALS GUIDE

Surfaces

Patio kit Flooring kit Metal grille

Used as a centrepiece for a patio or path, this stylized sun Composite stone flooring kits allow you to experiment with Parallel steel tracks (one shown here) follow the route of car
comes in kit form ready to fit together like a jigsaw. Other different textures, while maintaining uniformity of colour and tyres on a driveway, creating a modern, strong, safe surface for
popular designs include fish, butterflies, and geometrical material. What looks like a complex pattern of blocks, cobbles, parking; when the car is not there, the ground cover beneath is
patterns. Usually made from hardwearing moulded composite and slivers of stone is, in fact, a much simpler collection of revealed. Commission a specialist blacksmith or metalworker to
stone, it can add a decorative note to a patio. moulded slabs, which are quick and easy to lay. make a similar grille to suit your needs.
££ ww e various stone colours £–££ ww e various stone colours £££ ww e shiny metallic

Wooden decking tiles Wooden decking Plastic decking

Choose decking tiles with battens attached on the underside Hardwoods, such as balau (shown) and oak, are a popular Made from recycled waste, plastic decking is weatherproof,
and lay them straight on to a level concrete or asphalt surface. choice for decks. They are warp- and weather-resistant and UV stable, rot-proof, and low maintenance. Construction is the
Made from softwood, they are lightweight and ideal for roof more durable than softwoods. Most decks, however, are made same as when using wood, the difference is in the aftercare. It
terraces, balconies, and patios. When they start to wear, just from pressure-treated softwoods, which are less costly and also needs no oiling or re-treating, just an occasional hose down.
lift the damaged squares and replace like carpet tiles. available as kits. If well maintained, they should last 20 years. There is a good range of colour and texture.
£w e oil or stain tiles £–£££ ww e oil or stain £–££ ww e “natural” wood, green, black, blue

Wooden sleepers Concrete sleepers Bark

Old railway sleepers are no longer available; saturated in Made from cast concrete, these composite sleepers are Bark provides a springy surface for paths and play areas. Fine
creosote and bitumen, they are now considered a health risk. amazingly realistic and very hardwearing. They come in varying shredded is kinder on children’s knees, but will break down and
You can buy untreated timber lookalikes (often oak) that are lengths (minimizing cutting) but, like paving slabs, the depth is need replacing more frequently than coarse chipped bark. You
just as heavy to lift and as hard to cut – you will need a chain consistent, making them easy to lay on a bed of mortar. The can lay it directly on soil (it acts as a soil improver), but for best
saw. Good for stepping stones, but slippery when wet. wood-grain pattern provides a sure grip in the wet. results, spread it over a weed-suppressing membrane.
£–££ ww e natural wood, could be stained ££ ww e “natural” wood £ w e usually brown; dyed chips are also available
£££ high cost ££ medium cost £ low cost ww high durability w low durability e colour options

Gravel Cobblestones Slate chips

Gravel comes in a wide range of colours and sizes and is a Laying a cobblestone path – whether patterned or plain – is a If you use slate chips on a well-trodden path, they will crack and
tough, quick-to-lay surface for paths and drives. Spread in a painstaking exercise, but, if you have the patience, the result slowly break down. Renewing them every few years, however,
thick layer over a weed-suppressing membrane, or, to stop it is worth the effort. Set the cobbles on a bed of mortar, then is a small price to pay for the beautiful colour that provides a
spilling everywhere, use a honeycomb gravel containment mat. brush a dry mortar mix into the joints for a hardwearing surface. foil for edging plants. Lay over a weed-suppressing membrane.
Guests – welcome or not – are announced by loud crunching. Use only smooth rounded stones; others are hard to walk on. Sharp pieces of slate are not child- or pet-friendly.
£ ww e wide range of stone colours £ ww e white, creams, greys, blacks, browns £ w e grey with green, blue, purple, or plum tones

Paddlestones Self-binding gravel Decorative shell

Usually large pieces of slate, paddlestones are tumbled to Soil and small stone particles are usually washed off gravel, Shells are much too fragile to walk on, and should only be used
round off the edges. In Japanese-style gardens they are used but in this form they are retained and help bind the gravel as decorative surfaces. They are a waste product from the
as decorative paths designed to resemble a winding river bed. together to form a more solid surface. Tamp down a thick shellfish industry, and have a lovely light-reflective quality.
Smooth and flat, they are fairly easy to walk on, but they are layer over a solid bed of hardcore to form a hardwearing Lay them over a weed-suppressing membrane and use them in
best reserved for areas of light traffic. surface that is easy to walk on. Mediterranean-style or seaside gardens as a foil for plants.
££ ww e grey with green, blue, purple, or plum tones £–££ ww e grey, gold, plum, red, green £ w e cream, grey, pink, soft brown

Shredded rubber Glass pebbles Coloured aggregates

As a decorative mulch, shredded rubber can look quite chic. Its These glass pebbles form a colourful, light-reflective surface, Usually made from glass fragments that have been tumbled
spongy quality also makes it ideal for play surfaces, but it does but, be warned, they are easy to slip on when wet and should to remove the razor-sharp edges, aggregates can be used
have quite a distinctive odour (that deters cats) and is therefore only be used as a decorative detail on paths or patios. Lay them between plants, or for secondary paths – they are not suitable
unsuitable for areas close to seating and dining tables. It does on a bed of mortar, brushing a dry mortar mix into the joints. for play areas. Lay the aggregate over a weed-suppressing
not rot, so won’t need replacing. Hose them down occasionally to retain their lustre. membrane and hose down occasionally to refresh the colours.
£ ww e grey-black £–£££ ww e various £ ww e various
356/357 Plant and materials guide
MATERIALS GUIDE

Walls and railings

Brick Weathered stone Mortared stone

Acting like a storage heater, brick walls absorb the sun’s Structures made from aged and weathered natural stone look Rough-hewn stone forms a structure that is as much a work
heat during the day and release it at night to create a mild particularly effective in the gardens of period homes, especially of art as it is a wall. “Gluing” it together with mortar makes it
microclimate. While walls make a garden feel protected, when they match the house walls. Stone that has to be worked easier to build than a dry stone wall, where each stone has to fit
permeable screens are actually better at filtering winds or shaped for a wall will add to the cost. Reconstituted (or neatly within a specific space. Top with coping stones and point
(see p.57). Brick is cheaper than stone and just as durable. composite) stone made from concrete is a more affordable option. between the joints to prevent water and frost damage.
£ ww e yellow, red, blue-grey, mottled £–££ ww e various natural stone colours ££ ww e various natural stone colours

Dry stone wall Gabion Knapped flint

The materials (a tonne of stone per cubic metre), skill and time Rocks, cobbles, bricks or tiles crammed into metal gabions, Popular as a building material, flint is a tough silica that forms
required to build a dry stone wall make it an expensive, though which are then wired together, create an instant, fairly as “nodules” in chalk beds. Here, the flints have been “knapped”,
beautiful, option. Two parallel walls, built on foundation stones, inexpensive “dry stone” wall. The weight and strength of ie split in half, and set in lime putty (which retains a degree
are bound together with an infill of rubble; the meticulous the filled cages makes them ideal for retaining as well as of flexibility and is resistant to cracking) to form a decorative
placement of the stones negates the need for mortar. decorative walls. Gabions come in various sizes. facing on a brick or block wall.
££–£££ ww e various stone colours £ ww e grey metal; depends on the filling ££–£££ ww e black and white

Mosaic wall Screen wall Shell mosaic

A mixture of terracotta and glazed tiles, cobbles, setts, and Concrete blocks offer the strength of brick without cutting Mosaics are a weatherproof decoration for the garden. Here,
bricks, this wall is both colourful and tactile. In practical out the light. Prices are similar, too, but walls made from a low retaining wall has been brightened up with a collection
terms, the materials are set into a layer of rendering (a mix blocks are quicker to build. Use them for low patio walls, or of shells, fossils, and stones. The pieces are set into a thin skim
of cement and sand) covering a brick or block wall. For to top an existing wall, adding extra height and privacy. Their of still-damp render (cement and sand). Once dried, a coat of
a neat finish, smooth out the pointing in between each piece. open structure makes them effective windbreaks. water-based varnish helps protect the mosaic.
£–££ ww e as colourful as you wish to make it £ ww e cement grey unless you paint them £ w e various, depending on the materials used
£££ high cost ££ medium cost £ low cost ww high durability w low durability e colour options

Shuttered concrete Rendered walls Glass panels

For a textured finish, concrete is poured into moulds made Applying a skim of render (a mix of cement and sand) is a Surrounding a patio, balcony or raised deck with glass panels
from timber shuttering. Walls taller than knee height need relatively quick – and inexpensive – way to tidy up rough block provides a degree of shelter without blocking the view. For
foundations and steel reinforcement rods for strength. Red walls or crumbling brick. Once dry, you have a smooth blank safety and strength, use toughened glass fixed to sturdy posts.
sand in the concrete mix gives a buff colour; yellow sand the canvas for applying exterior masonry paints. These come in a Treat the glass with a silicon-based rain-repellent coating to
usual grey; for stronger colours, use concrete dyes or paint. range of colours, from subtle to shocking – like this pink. make it easier to clean and to prevent smears.
£ ww e buff or grey; various if using dyes or paint £ ww e various ££ w e clear

Aluminium panels Wooden block wall Wooden pallets

Hide an ugly fence or view and provide an unfussy backdrop Building a wall using random materials is a skilful job; like a Use pallets to make a “wildlife wall”, wiring them together and
for planting with powder-coated aluminium panels. The 3-D jigsaw puzzle, each piece must fit neatly with its neighbour. packing the gaps with moss, wool, and grass (nesting material
coating is fade- and flake-resistant. At night, treat them like Here, cedarwood offcuts and squares of rusted steel have been for birds), and crocks, rotting wood, and hollow canes (homes
a projectionist’s screen, creating shadow play with spotlights. glued and screwed together and mounted on a sheet of marine for insects and amphibians). Usually made from pine, better
For a cheaper option, paint sheets of marine ply. ply, which, in turn, is fixed to a solid wall. quality pallets are available from specialist suppliers.
£–££ w – ww e various £–££ w – ww e various £ w e natural wood shades

Corrugated iron Iron railings Bespoke ironwork

A maintenance-free fencing option, corrugated iron has one Off-the-peg cast-iron railings make an attractive divider in Many blacksmiths specialize in decorative metal work – this
drawback – sharp edges. To cover these, use protective metal a garden. After a few years, however, they will need repainting. whimsical fence made from steel horseshoes is a bespoke
edging strips, and fix panels to sturdy posts to hold them While “no-paint”, plastic-coated metal seems a good idea, commission. The shoes, which are mounted on horizontal
steady in gusting winds. Galvanized metal (shown here) has the coating eventually becomes brittle and chips off, metal bars, are painted to protect against rust and make an
a matt finish, while metal paints can add a splash of colour. allowing rust to get a hold. eye-catching feature, as well as a functional boundary.
£–££ ww e metallic grey or, if painted, various £–££ ww e usually black or dark green ££–£££ ww e usually black, especially if wrought iron
358/359 Plant and materials guide
MATERIALS GUIDE

Screens and gates

Shiplap Featheredge Hit and miss

This is one of the cheapest and most popular ready-made Ready-made panels come in various sizes, but the design While offering privacy, the alternating panels of hit and miss
fencing options, though not the most durable. Even though the (vertical softwood timbers nailed on to horizontal rails at the fencing are wind permeable, making it ideal for exposed sites.
panels are pre-treated, it is best to apply a preservative every top and bottom) makes it easy to construct. If fixed to strong Attached to sturdy posts, it is unlikely to blow down, and the
few years. The larch strips often warp, leaving small gaps. post supports, the sturdy panels are good for boundaries. Best wood strips (fixed vertically or horizontally) are easy to replace.
Available in standard fence panel sizes. given a coat of preservative every few years, even if pre-treated. Buy ready-made or construct panels yourself.
£ w e often pre-stained orange, but will tone down £ ww e often pre-stained orange, but will tone down £ ww e often pre-stained orange, but will tone down

Chevron panel Trellis panel Slatted wood

Decorative panels are not usually strong enough for use as Another hit and miss variant, but this time with an inset of This fence creates a contemporary, durable screen that allows
a boundary fence, but this chevron design, a variation on the trellis down the centre. It would make a good windbreak, but both light and wind to pass through. Use it to divide up the
sturdy hit and miss (see above right), is suitable. It is also ideal the lack of privacy could be a problem for a boundary. One garden or to mask bins or a shed; it also doubles as a plant
for dividing up a garden into rooms, or screening an ugly view, way to mask the gaps would be to train a climber through the support for climbers. Paint or a wood stain will help protect
perhaps where the compost bins are stored. trellis, thereby creating a colourful display of flowers. the timber, and introduce colour into your design.
££ ww e usually stained a subtle tan ££ ww e usually stained a subtle tan £ w e natural wood or painted

Picket fence Oak panel Chestnut paling

This simple wood fence has rustic charm, yet it also works This made-to-order fence is perfect for a country-style front Often seen on farms, this fencing is naturally rot-resistant and
well with a modern property. Leave it natural, or paint it to garden, where you want the world to admire your planting perfect for a subtle, rustic barrier between a country garden
match your house or planting scheme. Its open structure and design. The hardwood has a beautiful appearance and is and the natural landscape beyond. The wood pieces come on
low profile makes it more of a visual boundary than a barrier best left unpainted, but a clear oil will preserve its colour; a roll and are linked, at the top and bottom, by a double row of
to keep out unwanted visitors. Available ready-made. over time, if left untreated, oak develops lovely silver hues. twisted wires. This fence is fixed to wood rails for extra strength.
££ w e natural wood or painted £–£££ ww e natural wood £ ww e natural wood
£££ high cost ££ medium cost £ low cost ww high durability w low durability e colour options

Willow hurdle Willow screen Bamboo/reed screen

Surprisingly robust, willow hurdles make effective windbreaks. If you love the look of willow but want a more contemporary Ideal for when you want an instant screen to block out an
They can be woven to order, or are available in standard panel look, choose a framed willow screen – it provides a neat yet ugly view. You could also use it to make a roof for a pergola.
sizes. Willow makes a beautiful backdrop for naturalistic or natural backdrop for planting. Good for privacy around the For extra strength, attach it to an existing fence – it works
cottage-style plantings, or fix it to the top of a wall to increase patio, the screen is clamped into a timber frame for extra especially well on chain-link. It’s not suitable for exposed
privacy. Protect with linseed oil. strength, but the size range is limited. Treat with linseed oil. sites, and it will start to deteriorate after a few seasons.
££ w e golden brown £ w e golden brown £ w e soft browns

Formal hedge Fedge Living willow

While slow growers, such as yew and beech, may take a few The backbone of this lovely hedge is a chain-link fence with Is it an art installation or is it a screen? Both really, and that
years to thicken up, quick-fix conifers require endless cutting. climbing plants grown through it. Results are not instant, but is the fun of woven willow structures. Plant the young willow
It’s tempting to buy established plants for instant results; but the low price makes this a good choice for a long boundary in “whips” in winter or early spring in a sunny spot, then come
young “whips” are cheaper and quickly catch up. Plant thorny an informal or wildlife garden. Plant a mixture of prickly plants summer, you can start weaving. To stop your screen maturing
Berberis, Pyracantha, and Rosa rugosa to keep out intruders. for security, and flowering climbers for colour. into a forest, prune back to the framework in late winter.
£ ww e various £ ww e various £ w e golden stems and lush green foliage

Gate in a fence Bespoke gate Wooden door

Choosing a gate that closely matches the fence panels gives This spiral metal gate was made to order, but there are An arched wooden door set in a stone or brick wall is a design
a visually unbroken line for a crisp, clean design. If you can, plenty of lovely designs available off-the-peg. Set between classic. Peeling paint and rusting fittings will only add to its
position the gate in a gap between two whole fence panels – two sturdy steel posts, it makes a beautiful focal point in a charm. This door was custom-made to fit the space, but, if you
reducing the size of some panels, such as featheredge, country-style hedge. Regularly trim the foliage away from are building a wall from scratch, it is worth checking out the
involves complicated carpentry. the hinges and the catch. sizes of off-the-peg doors before you start.
£ w e natural wood or painted £–£££ w e wrought iron, rusting steel, painted metal ££ w e natural wood or painted
360/361 Plant and materials guide
MATERIALS GUIDE

Structures and storage

Contemporary garden room Garden office/studio Traditional garden room

These garden rooms range from compact, relatively inexpensive Usually made from wood, you can work in peace away from Built straight on to the house but surrounded by greenery,
structures to luxury state-of-the-art buildings that include the the hubbub of family life in these buildings. Ideal as an art garden rooms allow you to enjoy the outdoors whatever the
latest technology and equipment. Most are constructed from studio, workshop, or home office. For comfort and to protect weather. A timber and brick construction with an insulated
timber and glass, with heating and cooling systems, and an books, etc, opt for insulation and a heater fitted with a sheet metal roof makes the room more usable year round than
electricity supply connected to the house mains. thermostat. Fit blinds, and a lock for security. the average glass conservatory, though not so light and airy.
£–£££ w – ww e natural wood, steel, glass ££–£££ ww e natural wood, painted, or stained £££ ww e brick, stone, rendered walls; stained wood

Colonial-style gazebo Garden shed Green roof

Relatively small, this type of gazebo can be slotted in almost DIY or off-the-peg, a shed is a must for anyone needing extra A shed roof may need shoring up with extra timbers for it to
anywhere, eg, next to a pool or surrounded by pots of storage or space for a hobby. Can be painted or stained a take the weight of a planted roof. Before laying the sedum
subtropical plants on a deck. Offers shaded seating for drinks wide range of colours. Sheds made from shiplap (overlapping matting and moisture-retentive growing medium you will need
or afternoon tea. Usually wooden with a thatched roof; some wood) panels may warp; tongue-and-groove models are more to protect the roof with butyl or polythene sheeting. Green
designs are more weatherproof with removable slatted sides. expensive but superior in quality. Usually with a felted roof. roofs provide good insulation and increase biodiversity.
££–£££ w e wood shades and muted period colours £–££ w e natural wood, painted, or stained ££ ww e sedums and other succulents provide colour

Lean-to greenhouse Obelisk Willow arch

Space-saving design. Best for south- or west-facing walls, which A sturdy wooden obelisk (this traditional design is topped Easy to construct and adaptable for the smallest garden, use
act like storage heaters releasing warmth at night. Off-the-peg with a finial) is a feature in its own right, adding extra height long “rods” of living willow (plant in winter) or buy dried and
and bespoke models available in wood or aluminium, with glass to a border as well as providing support for climbers. DIY or pre-soak to make them flexible and workable. Push into the
or polycarbonate (the latter offers good insulation and safety). buy off-the-peg; they are made from wood or metal (the latter ground, weave together, then tie the tops to form an arch. If
Cheap tubular steel frame models with plastic covers available. available in more decorative designs). the willow starts to sprout, prune it back in late winter.
£–£££ w – ww e white/dark green, cedar, or painted £–££ w – ww e natural wood, painted, or stained £ w e natural willow
£££ high cost ££ medium cost £ low cost ww high durability w low durability e colour options

Arbour seat Modern arbour with brazier Traditional pergola

Self-assembly kits range in price and quality. Custom-built and This designer piece with a Moorish flavour incorporates Easy to construct for a competent woodworker. Substantial
corner models are available. In a sunny spot, the roof provides bench seating and a metal brazier – perfect for entertaining uprights and horizontal supports can carry heavy climbers,
shade. Trellis sides and/or roof are ideal for scented climbers. on summer evenings. Made from wood, the structure is a such as grapevines, roses and wisteria. Creates dappled
Usually constructed in wood, but also available in wrought iron sculptural focus for a modern or period garden. A canvas shade for a pathway or seating area. Flat-pack timber kits,
or a wood/metal mix. awning would provide extra weather proofing. wrought iron and bespoke models also available.
£–£££ w – ww e natural wood, painted, or stained £££ ww e natural wood, painted, or stained ££–£££ ww e natural wood, painted, or stained

Folly Wendy house Children’s play area

A focal point, especially for period gardens. May be any design, From the simplest wooden box to a two-storey chalet with The best play structures are made to order and erected on site.
but often hinting at a specific point in history. Examples include windowboxes, owning a Wendy house is every child’s dream. When buying – especially self-assembly – look for the CE
mock Gothic ruins, “ancient” stone circles, classical temples, Bespoke; mid-price, off-the-peg self-assembly; and cheaper (European compliance) symbol and the European Safety
rustic buildings, and grottoes. DIY construction possible, eg, click-together plastic are available. Ensure the base is stable. Standard BSEN-71 for toys. Needs safe flooring material, ie, at
with reclaimed masonry. Paints and fixings must be child-safe. least 15cm (6in) depth of play bark or a bonded-rubber surface.
£–£££ ww e depends on construction materials £–£££ w – ww e natural wood; child-safe paints/stains ££–£££ ww e natural wood; child-safe paints/stains

Storage/tool box Recycling cupboard Garden furniture storage

A spacious mini shed for tools and lawn mowers, garden A great way to disguise unsightly wheelie bins and plastic This bench seat opens to reveal a weatherproof box for storing
furniture or bicycles, can be made from panels of larch lap recycling boxes in a front garden. Wide-opening doors give loose cushions, throws and covers from garden furniture. Wood
fencing bolted together, or bought ready-made (usually with good access. Make yourself or buy ready-made in wood, plastic, and plastic ready-made models available. Site next to the patio
a felted roof). It only needs to be as high as your tallest tool. trellis screening, or even woven willow. This one has a green for convenience. Also useful as a toy box or compact tool
Tuck away in a corner and paint green to blend in. roof, further increasing its eco credentials. storage for courtyard gardens.
£–££ ww e natural wood, painted, or stained £–££ w – ww e paint/stain to blend in or match house £–££ ww e natural wood, painted, or stained
362/363 Plant and materials guide
MATERIALS GUIDE

Containers

Terracotta clay pots Terracotta-style trough Glazed ceramic

Today’s clay pots are mostly machine-moulded rather than Versatile clay can be moulded to almost any shape; but take Glazing a clay pot transforms it. During the kiln firing, the glaze
hand-thrown, but you can still buy handmade pots from a good look, could this be plastic? These days it is hard to melts to coat the pot in a thin layer of glassy material. As a
specialist potteries or antique shops. The higher the tell the two apart. While replicating the look of clay, plastic result, the pot becomes stronger, frost- and waterproof, if it
temperature of the firing, the greater the frost resistance – is lighter, frostproof, and usually cheaper. It’s also better is glazed inside and out, and, depending on the glaze, more
and cost. Clay is porous, and pots dry out quickly in hot sun. at keeping compost and plant roots moist during hot dry spells. colourful. Match your pots with planting for a unified display.
£–££ w e soft orange and sandy yellow clay £–££ w e clay colours or, if plastic, a huge colour range £–££ ww e huge colour range

Water feature Strawberry pot Stone urn

For water features, eg, bubble fountains and patio ponds, Hand-thrown or moulded (the cheaper option) clay strawberry Whether empty or planted up, stone urns have a classic,
choose pots that are glazed (or at least glazed inside) to pots, with their “balcony” planting shelves, are also ideal for timeless quality. You can find originals in reclamation yards
minimize water loss. This urn is set on a cobble-covered herbs. With this type of pot, big is best as the increased volume at a price; but composite stone (ie, cast concrete) is a more
metal grille over a reservoir; water is pumped up through the of compost prevents the plants drying out too quickly. May not affordable and widely available option. Stand an urn on a
drainage hole in the base to overflow back into the tank. be frostproof. Also available in plastic. plinth and it instantly becomes a focal point.
£–££ w e huge colour range if glazed £–££ w e usually terracotta ££–£££ ww e natural stone colours

Cast concrete Terrazzo Weathering steel

Strong and cheap, concrete is a versatile material for making Hardwearing, easy to clean, and very tactile, terrazzo is the Never has rust looked so good. Weathering steel, of which
planters, like this rough-cast bowl. Containers made from ideal material for contemporary containers. Granite or marble Cor-Ten is the best known brand, is a high-strength steel alloy.
concrete are available in both contemporary and classic chips are bonded with cement, then polished to create a smooth It is designed to develop a layer of rust that, ironically, helps to
designs, and, because they are very heavy, they make a good surface – a technique that has been around since Roman times. protect the metal underneath. Strong and durable, it is perfect
choice for top heavy plants, such as trees and shrubs. Lightweight polyester terrazzo planters are available. for long-term plantings, and, as here, water features.
£ ww e concrete can be dyed almost any colour £–££ ww e marble and granite greys, white, and black £££ ww e rusty orange
£££ high cost ££ medium cost £ low cost ww high durability w low durability e colour options

Powder-coated metal Galvanized metal Lead planter

A much tougher, non-flaking finish than paint, powder coating The mottled patina of galvanized metal is created by “hot Lead is a soft, malleable metal that is easy to work. This planter
(a mix of pigments and resin) is baked on to the surface of dipping” – a chemical process that coats steel and iron with is made from a sheet of lead hammered into shape; the raised
metal. Available in a huge range of colours and finishes, the rust-resistant zinc. Planters come in a range of styles and pattern is formed by pressing it into a mould. Lead is toxic and
coating inhibits rust. To protect the surface, clean with soapy sizes; most are lightweight and single skinned. In winter, protect shouldn’t come into contact with food plants. Glass fibre
water and a soft dry cloth, and avoid abrasive solvents. plant roots by wrapping the container with bubble plastic. lead-style planters are a “food-safe” option.
£–££ ww e huge colour range £ ww e mottled matt grey ££–£££ w e grey

Wooden barrel Wooden trough Versailles planter

Traditionally made from oak, the wooden pieces (called staves) Lightweight and insulating in winter, this rustic planter is made Relatively light for the volume of compost they contain, these
are shaped to fit tightly together and held in place with metal from woven hazel twigs set in a timber frame. For longevity, planters were originally designed for the orange trees at
hoops. You may be lucky enough to find half wine or whisky choose pressure-treated timber, and check that the planter is Versailles so they could be brought indoors over winter. Lining
barrels; cheaper replicas are also available. Best lined with lined with plastic (with drainage holes at the bottom) to prevent them with plastic extends the life of both hard- and softwood
plastic or butyl, especially if using as a patio pond. compost and water leaking through the sides. planters. Good quality plastic imitations are also available.
£–££ w e wood with black metal bands £ w e natural wood £–££ w e natural wood or, if painted or plastic, various

Old boots Recycled kitchenware Car and lorry tyres

The more holes in the soles, the better the drainage! Fill the Old colanders, chipped teapots, saucepans that have lost Get extra mileage out of old tyres by giving them a splash of
boots with compost, packing it firmly into the toe, and plant up. their handles – almost any old household vessel has planting paint and a new lease of life as a raised bed. Place the tyres
Be warned that even if you have enormous feet, boots still hold potential for a sustainable garden design. Kitchen cupboards straight on to the soil and fill with compost (line them first with
relatively little compost and plants are at risk of dehydrating in are an especially rich hunting ground. You may need to drill plastic if you’re growing food). The rubber absorbs the sun’s
hot sun, so consider using water-retaining gel. holes for drainage or go easy on the watering. heat and warms up the compost for early plantings.
£ w e various fashion colours £ w e depends on your crockery and cookware £ ww e black (brightened up with a splash of colour)
RESOURCES
366/367 Resources
UNDERSTANDING HARDINESS RATINGS

Understanding hardiness ratings

All plants in the Plant Guide (pp.292–351) have been assigned RHS hardiness ratings, using one of nine
categories – H1a to H7 – determined by the lowest temperature range the plant is likely to withstand, along
with various other factors, such as the relative exposure of the planting location. These ratings serve as a
general guide to growing conditions and should be interpreted according to the table below. Bear in mind,
however, that they are guidelines only, and many other factors will affect a plant’s overall hardiness.

RATING TEMPERATURE RANGE CATEGORY DEFINITION

H1a warmer than 15°C (59°F) Heated greenhouse – tropical Grow as a house plant or under glass all year round.

H1b 10–15°C (50–59°F) Heated greenhouse – subtropical Can be grown outside in summer in hotter, sunny, and
sheltered locations, but generally performs better as a
house plant or under glass all year round.

H1c 5–10°C (41–50°F) Heated greenhouse – warm Can be grown outside in summer throughout most of
temperate the UK while daytime temperatures are high enough
to promote growth.

H2 1–5°C (34–41°F) Cool or frost-free greenhouse Tolerant of low temperatures, but will not survive being
frozen. Except in frost-free, inner-city areas or coastal
extremities, requires greenhouse conditions in winter.
Can be grown outside once risk of frost is over.

H3 -5–1°C (23–34°F) Unheated greenhouse/ Hardy in coastal and relatively mild parts of the UK,
mild winter except in hard winters and at risk from sudden, early
frosts. May be hardy elsewhere with wall shelter or a
good microclimate. Can often survive with some artificial
protection in winter.

H4 -10– -5°C (14–23°F) Average winter Hardy throughout most of the UK apart from inland
valleys, at altitude, and central/northerly locations. May
suffer foliage damage and stem dieback in harsh winters
in cold gardens. Plants in pots are more vulnerable.

H5 -15– -10°C (5–14°F) Cold winter Hardy in most places throughout the UK, even in
severe winters. May not withstand open or exposed
sites or central/northerly locations. Many evergreens
will suffer foliage damage and plants in pots will be
at increased risk.

H6 -20– -15°C (-4–5°F) Very cold winter Hardy in all of the UK and northern Europe. Many plants
grown in containers will be damaged unless given some
artificial protection in winter.

H7 colder than -20°C (-4°F) Very hardy Hardy in the severest European continental climates,
including exposed upland locations in the UK.
Suppliers and useful contacts
When ordering decoration or a structure for your garden, it is important to research suppliers and styles
carefully, and ensure that you choose someone whose work fits in with your design. Take accurate
measurements of your space and plan placement carefully before commissioning a bespoke piece.
Request quotes from several suppliers – the list below will provide a starting point for your enquiries
– and, before you place your order, check that your chosen designer will deliver directly to you.

Green Studios
BUILDINGS FURNITURE Go Modern
01923 205 090 020 7731 9540
green-studios.com
DESIGNERS
Breeze House gomodern.co.uk
AND SUPPLIERS
01538 398488
breezehouse.co.uk The Qube Green Meadow
01604 785 786 Alexander Rose
Furniture Ltd
theqube.co.uk 01444 258 931
The Caulfield Company 01386 584918
alexander-rose.co.uk
0113 387 3118 greenmeadows-s.co.uk
caulfieldcompany.co.uk Room in the Garden
Barbed Limited
01730 816 881 Green Oak Furniture
020 8878 1994
Contemporary Garden roominthegarden.co.uk 01635 281786
barbed.co.uk
Rooms greenoakfurniture.co.uk
contemporarygardenrooms. Riverside Shepherd Huts Barlow Tyrie
co.uk 01527 821 848 Ingarden
01376 557600
01952 825 630 riversideshepherdhuts.co.uk 01732 463 409
teak.com
ingarden.co.uk
Crown Pavilions Scotts of Thrapston Bramblecrest
01491 817 849 01832 732 366 Mosaic & Stone
bramblecrest.com
crownpavilions.com scottsofthrapston.co.uk 01342 892792
mosaicandstone.co.uk
Charlie Davidson Studio
Dunster House 00 46 705 494 721
01234 272 445 Myburgh Designs
FENCING charlie-davidson.com 01428 741 768
dunsterhouse.co.uk
AND WALLS myburghdesigns.com
Cox & Cox
Garden Affairs 0330 333 2123 New Dawn Furniture
Bamboo Supplies Limited
01225 774 566 coxandcox.co.uk 01243 375535
gardenaffairs.co.uk 01825 890 041 newdawnfurniture.co.uk
ukbamboosupplies.com
Design and Landscape
The Garden Escape Outer Eden
designandlandscape.co.uk
0800 917 7726 Elegant Gardens 07961 443 407
020 7228 2443 outer-eden.co.uk
thegardenescape.co.uk The Garden Furniture
elegantgardens.net
Centre Ltd Panik
The Garden Office 01564 793 652 01908 307 020
01296 328 555 Forest gardenfurniturecentre.co.uk panik-design.com
thegardenoffice.co.uk 0333 003 0026
forestgarden.co.uk Garpa PJH Designs
Garden Lodges 01273 486 400 01440 788 949
0800 043 4821 Grange garpa.co.uk pjhgardenfurniture.com
01952 588 088
gardenlodges.co.uk Riverco Trading
grange-fencing.com
Gloster 01538 361 393
Green Retreats Jacksons 00 49 413 128 7530 riverco.co.uk
01296 325 777 0800 408 2234 gloster.com
greenretreats.co.uk jacksons-fencing.co.uk
368/369 Resources
SUPPLIERS AND USEFUL CONTACTS

Sitting Spiritually Stoneage Burncoose Nurseries Mickfield Hostas

01297 443 084 020 8362 1666 01209 860 316 01449 711 576
sittingspiritually.co.uk stoneagearchitectural.com burncoose.co.uk mickfieldhostas.co.uk
Tristan Cockerill Stonemarket Claire Austin Hardy Plants Notcutts
07917 320 572
0345 302 0603 (herbaceous perennials 0344 879 4166
tristancockerill.com
stonemarket.co.uk specialist) notcutts.co.uk
Twentytwentyone 01686 670 342
020 7837 1900 claireaustin-hardyplants.co.uk Peter Beales Roses
twentytwentyone.com 01953 454 707
LIGHTING Coblands classicroses.co.uk
DESIGNERS 01452 742 445
LANDSCAPE AND SUPPLIERS coblands.co.uk Plantagogo
01270 820 335
MATERIALS Garden Lighting By Design Crocus plantagogo.com
0845 601 5763 01344 578 000
Ashfield Group gardenlightingbydesign.co.uk crocus.co.uk Raymond Evison Clematis
01502 528 877 01481 245 942
ashfieldgroup.com Lighting for Gardens David Austin Roses raymondevisonclematis.com
01462 486 777 01902 376 300
Brett lightingforgardens.com davidaustinroses.com Taylors Clematis
01227 829 000 01302 700 716
brett.co.uk Lighting Styles Fibrex Nurseries taylorsclematis.co.uk
01780 767 617 01789 720 788
CED Limited lightingstyles.co.uk fibrex.co.uk Tendercare
01708 867 237 01895 835 544
ced.ltd.uk Moonlight Design Hardy’s Cottage Garden tendercare.co.uk
020 8925 8639 Plants
Jewson moonlightdesign.co.uk 01256 896 533 Whitewater Nursery and
02476 608 235 hardys-plants.co.uk Plant Centre
jewson.co.uk 0118 932 6487
Hilliers Garden Centres whitewaterplantcentre.co.uk
Marshalls PLANT SUPPLIERS 01794 368 944
0370 120 7474 hillier.co.uk Wisley Plant Centre
marshalls.co.uk Architectural Plants 01483 211 113
(specialists in large hardy Hopleys Plants rhs.org.uk/wisleyplantcentre
Natural Stone and exotic plants) 01279 842 509
01904 488 605 01798 879 213 hopleys.co.uk
naturalstone.co.uk architecturalplants.com
Kelways POTS AND
Organicstone Barcham (container tree 01458 250 521 CONTAINERS
01452 411 991 specialist) kelways.co.uk
organicstone.com 01353 720 950 Cadix UK
barcham.co.uk Knoll Gardens (specialists in 01440 713 704
Ormiston Wire grasses and perennials) cadix.co.uk
020 8569 7287 Big Plant Nursery 01202 873 931
ormiston-wire.co.uk 01903 891 466 knollgardens.co.uk Iota
bigplantnursery.co.uk 01934 522 617
Silverland Stone Majestic Trees iotagarden.com
01932 569 277 Bloms Bulbs 01582 843 881
silverlandstone.co.uk 01234 709 099 majestictrees.co.uk
blomsbulbs.com
Italian Terrace David Harber Michael Speller Wasserpflanzenkulturen
01284 789 666 01235 859 300 07930 480 347 Eberhard Schuster
italianterrace.co.uk davidharber.co.uk michaelspeller.com 00 49 386 322 2705
seerosenforum.de
Original Stone Troughs The Garden Gallery Surrey Sculpture Society
0113 2841 184 01794 301 144 surreysculpture.org.uk World of Water
stonetroughs.co.uk gardengallery.uk.com 01580 243333
Neil Wilkin worldofwater.com
Urbis Design Haddonstone 01570 493 061
01759 373 839 01604 770 711 neilwilkin.com
urbisdesign.co.uk haddonstone.co.uk
Johnny Woodford USEFUL CONTACTS
Whichford Pottery Matt Maddocks 07770 758 393
01608 684 416 07717 623 429 johnnywoodford.co.uk Association of Professional
whichfordpottery.com maddocks.uk.com Landscapers (APL)
0118 930 3132
www.landscaper.org.uk
The Worm That Turned Suzie Marsh TRELLIS AND
0345 605 2505 01840 213 468 WOODEN
worm.co.uk suziemarshsculpture.co.uk British Association
STRUCTURES of Landscape Industries
John O’Connor (BALI)
07979 522 495 Handspring Design 0247 669 0333
SCULPTORS AND johnoconnorsculptor.co.uk 0114 221 7785 www.bali.org.uk
SCULPTURE, handspringdesign.co.uk
Institution of Lighting
AND ORNAMENT Hannah Peschar
Stuart Garden Architecture Engineers
SUPPLIERS 01306 627269
hannahpescharsculpture.com 01984 667 458 01788 576492
stuartgarden.com www.ile.org.uk
After the Antique
Les Botta
01366 327210 The Landscape Institute (LI)
00 33 562 085 497
aftertheantique.com 020 7299 4500
lesbotta.com WATER GARDENING www.landscapeinstitute.org
Contemporary Chandelier
Paul Margetts
Company Dorset Water Lily Company Royal Institute of Chartered
01562 730 003
01939 232 652 01935 891 668 Surveyors (RICS)
forging-ahead.co.uk
dorsetwaterlily.co.uk 0870 3331600
Chilstone www.rics.org
Patio & Terrace
01892 740 866 Paul Dyer
07970 906 224
chilstone.com 0800 919 833 Society of Garden
patioandterrace.co.uk
waterfeatures.co.uk Designers (SGD)
Martin Cook Studio 01989 566695
Red Dust Ceramics
01494 880 724 Fairwater www.sgd.org.uk
01434 344 923
martincookstudio.co.uk 01903 892 228
reddustceramics.co.uk
fairwater.co.uk
Rachel Dein
Mark Reed
07986 821 559 Lilies Water Gardens
01760 441 555
racheldein.com 01306 631 064
markreedsculpture.com
lilieswatergardens.co.uk
Ian Gill Sculpture
Lily Sawtell
01279 851 113 Penlan Perennials
01934 713 380
iangillsculpture.com 01239 842 260
lilysawtell.com
penlanperennials.co.uk
370/371 DESIGNERS’ DETAILS
Resources

Designers’ details
The publisher would like Adam Frost Catherine MacDonald Charlotte Rowe
to thank the following 01780 740 531 (Landform Consultants) 020 7602 0660
garden designers for their adamfrost.co.uk 01276 856 145 charlotterowe.com
contributions: landformconsultants.co.uk
Annie Guilfoyle Martin Royer
Acres Wild 01730 812 943 Paul Martin 023 8025 1595
01403 891 084 annieguilfoyle.com paulmartindesigns.com martinroyer.co.uk
acreswild.co.uk
Bunny Guinness Steve Martino Studio Lasso/Haruko Seki
Marcus Barnett 01780 782 518 00 1 602 957 6150 studiolasso.co.uk
020 7736 9761 bunnyguinness.com stevemartino.net
marcusbarnett.com Andy Sturgeon
Stephen Hall Claire Mee 01273 672 575
Jinny Blom (Giles Landscapes) 020 7385 8614 andysturgeon.com
020 7253 2100 01354 610 453 clairemee.co.uk
jinnyblom.com gileslandscapes.co.uk Jo Thompson
Ian Kitson 020 7127 8438
Declan Buckley Paul Hervey-Brookes 07742 301 799 jothompson-garden-design.
020 7359 9076 0121 629 7797 iankitson.com co.uk
buckleydesignassociates.com paulherveybrookes.com
Philip Nixon Renata Tilli
Maurice Butcher Tony Heywood and 01451 828 282 00 55 115 095 3300
01428 712 362 Alison Condie philipnixondesign.com
burlingtongardendesign.com 020 7723 0543 Bernard Trainor
heywoodandcondie.com Piet Oudolf 00 1 831 655 1414
George Carter 00 31 314 381 120 bernardtrainor.com
01362 668 130 Kazuyuki Ishihara oudolf.com
georgecartergardens.co.uk 00 81 036 690 8787 Cleve West
kaza-hana.jp Gabriella Pape and 020 8977 3522
Tommaso del Buono and Isabelle van Groeningen clevewest.com
Paul Gazerwitz Sam Joyce (The Galium 00 49 308 322 0900
020 7613 1122 Garden) koenigliche-gartenakademie. Nick Williams-Ellis
delbuono-gazerwitz.co.uk 01291 621 767 de 01386 700 883
thegaliumgarden.co.uk nickwilliamsellis.co.uk
Nicholas Dexter Christine Parsons
07947 600 4394 Maggie Judycki (Green (Hallam Garden Design) Ruth Wilmott
ndg.de.com Themes, Inc.) 0114 230 2540 020 8742 0849
00 1 703 323 1046 hallamgardendesign.co.uk ruthwillmott.com
Vladimir Djurovic greenthemes.com
00 96 1486 2444 Pip Probert Andrew Wilson
vladimirdjurovic.com Raymond Jungles (Outer Spaces Landscape 020 3002 6601
00 1 305 858 6777 and Garden Design) wmstudio.co.uk
Prof. Nigel Dunnett raymondjungles.com 0151 346 2224
outerspaces.org.uk
n.dunnett@sheffield.ac.uk
Arabella Lennox-Boyd
nigeldunnett.com
020 7931 9995 Sara Jane Rothwell
arabellalennoxboyd.com (London Garden Designer)
Andrew Fisher Tomlin and
07976 155 282
Dan Bowyer
londongardendesigner.com
020 8542 0683
andrewfishertomlin.com
Acknowledgements
The publisher would like to Felber: Design: Raymond Jungles Council, RHS Chelsea 2008 (tl); 32–33 Case-study: Design: Fran
thank the following for their kind Landscape Architect (tr). Undine Prohl: Dry Design (tr). Coulter, Owners: Jo & Paul Kelly.
permission to reproduce their
14 Charles Hawes: “Artificial 20 GAP Photos: Nicola 33 The Garden Collection:
photographs:
Paradise”. Design: Catherine Stocken/ Design: Andy Liz Eddison/Design: Kay
(Key: a-above; b-below/bottom; Baas & Jean-Francis Delhay Sturgeon. Yamada, RHS Chelsea 2003 (br);
c-centre; f-far; l-left; r-right; (France), Chaumont Harpur Garden Library: Marcus
21 GAP Photos: Jerry Harpur/
t-top) International Gardens Festival Harpur/Design: Justin Greer
Design: Scenic Blue, RHS
2003 (tl); MMGI: Marianne (fbr); MMGI: Marianne Majerus/
2 DK Images: Peter Anderson/ Chelsea 2007 (t).
Majerus/Claire Mee Designs Design: Jessica Duncan (cr);
Design: Cleve West, RHS
(br); Marianne Majerus/Design: 22 The Garden Collection: Marianne Majerus/Design:
Chelsea Flower Show 2011.
Andy Sturgeon, RHS Chelsea Nicola Stocken Tomkins (l). Wendy Booth, Leslie Howell
4 The RHS Images Collection: 2006 (tr); Marianne Majerus/ (ftr).
MMGI: Marianne Majerus,
RHS/Neil Hepworth, design Pip Design: Charlotte Rowe (bl).
Design: Sara Jane Rothwell (t). 34 MMGI: Marianne Majerus/
Probert.
15 The Garden Collection: Liz Claire Mee Design (t); Marianne
24 Alamy Images: CW Images
4–5 DK Images: Brian North/ Eddison (tr); DK Images: Peter Majerus/Design: Lynne Marcus,
(tl); DK Images: Alex Robinson
Design: Catherine MacDonald Anderson/RHS Chelsea Flower John Hall (b).
(tr); GAP Photos: John Glover
(t); The RHS Images Collection: Show 2009 (tl); Photolibrary:
(cl); DK Images: Peter 34–35 Marion Brenner: Design:
RHS/Sarah Cuttle, design John Michael Howes/Design: Dean
Anderson/Design: Kati Crome Andrea Cochran Landscape
Warland (c); DK Images: Peter Herald, Flemings Nurseries,
and Maggie Hughes, RHS Architecture.
Anderson/Design: Heather RHS Chelsea 2006 (br).
Chelsea Flower Show 2013 (cfr);
Culpan and Nicola Reed (b). 35 Jason Liske: www.
16 The Interior Archive: Simon DK Images: Jon Spaull (bl);
redwooddesign.com/Design:
6 The RHS Images Collection: Upton (tr); MMGI: Bennet MMGI: Marianne Majerus/
Bernard Trainor (tr).
RHS/Neil Hepworth, design: Smith/Design: Mary Nuttall (tl); Kingstone Cottages (br).
Adam Frost, RHS Chelsea Marianne Majerus/Henstead 36 Nicola Browne: Design: Jinny
25 Jason Liske: www.redwood
Flower Show 2015. Exotic Garden/Andrew Brogan, Blom (br); DK Images: Design:
design.com/Design: Bernard
Jason Payne (tc); Photolibrary: Graduates of the Pickard School
8 The Garden Collection: Trainor (tr); GAP Photos: Elke
John Ferro Sims (br); Richard of Garden Design (cl).
Jonathan Buckley/Design: Judy Borkowski/Design: Adam
Felber: Design: Raymond Jungles
Pearce (bl); The RHS Images Woolcott (cr); Clive Nichols (cl); 36–37 Harpur Garden Library:
Landscape Architect (bc).
Collection: RHS/Neil Hepworth MMGI: Marianne Majerus/Claire Jerry Harpur/Architect: Piet
(br). 17 Helen Fickling: Design: Mee Designs (fbr); Marianne Boon, Planting Design: Piet
Williams, Asselin, Ackaqui et Majerus/Design: Bunny Oudolf.
9 The Garden Collection: Derek
Associés/International Flora, Guinness (b).
Harris (bl); Torie Chugg/RHS 37 DK Images: Dwesign: Paul
Montreal (br); Charles Hawes:
Chelsea 2008 (br); Harpur 26–27 The Garden Collection: Williams (bl); The Garden
Design: Laureline Salisch &
Garden Library: Jerry Harpur/ Jonathan Buckley/Design: Collection: Gary Rogers/
Seun-Young Song, Ecole
Design: Amir Schlezinger (cb). Diarmuid Gavin. Chatsworth House (br); Charles
Supérieure d’Art et de Design
Hawes: Designed & created by
10–11 GAP Photos: Andrea (ESAD) Reims, Chaumont 27 Design: Amanda Yorwerth.
Tony Ridler, The Ridler Garden,
Jones/Design: Joe Swift and The International Festival 2007 (tr);
28 The Garden Collection: Swansea, Ammonite sculpture
Plant Room (b); Tim Gainey (t). MMGI: Marianne Majerus/
Derek St Romaine/Design: Phil by Darren Yeadon (ca).
Design: Arabella Lennox-Boyd,
12 The Garden Collection: Nash (r); MMGI: Marianne
RHS Chelsea 2008 (tl); Marianne 38 MMGI: Bennet Smith/Design:
Andrew Lawson/Design: Jinny Majerus/Design: Laara Copley-
Majerus/Design: Charlotte Ian Dexter, RHS Chelsea 2008
Blom (tl); MMGI: Marianne Smith (c); Marianne Majerus/
Rowe (tc); Clive Nichols: Data (c); Marianne Majerus/Design:
Majerus/Design: Sara Jane Palazzo Cappello, Malipiero,
Nature Associates (bl); Design: Anthony Tuite (b).
Rothwell (tr); Photolibrary: Barnabo, Venice (l).
Stephen Woodhams (bc).
David Cavagnaro (bl). 38–39 The Garden Collection:
29 DK Images: Design: Sarah
18 MMGI: Marianne Majerus/ Nicola Stocken Tomkins.
13 Harpur Garden Library: Jerry Eberle, RHS Chelsea 2007 (tl);
Design: Will Giles, The Exotic
Harpur/Design: Shunmyo MMGI: Marianne Majerus/ 39 DK Images: Design: Paul
Garden, Norwich (tr);
Masuno (tl); MMGI: Marianne Design: Lynne Marcus (cl). Hensey, RHS Tatton Park 2008
Photolibrary: Linda Burgess (tl).
Majerus/Palazzo Cappello, (b); MMGI: Marianne Majerus/
30–31 GAP Photos: Andrea
Venice (bl); Photolibrary: 19 MMGI: Bennet Smith/Design: Design: Paul Southern (c).
Jones/Design: Adam Frost,
Michael Howes (br); Richard Denise Preston, Leeds City
Sponsor: Homebase 40 Garden Exposures Photo
372/373 ACKNOWLEDGEMENTS
Resources

Library: Andrea Jones/Design: Collection: Derek Harris (c); 55 GAP Photos: Rob Collection: RHS/Neil
Dan Pearson & Steve Bradley MMGI: Marianne Majerus/ Whitworth/Design: Mandy Hepworth, design Pip Probert,
(cl); The Garden Collection: Liz Leonards Lee Gardens, West Buckland (Greencube Garden RHS Show Tatton Park 2016.
Eddison/Design: Alan Sargent, Sussex (b). and Landscape Design), RHS
64 DK Images: Design: Bob
RHS Chelsea 1999 (bl). Hampton Court Palace Flower
48 GAP Photos: Richard Bloom Latham, RHS Chelsea 2008 (bl);
Show 2010.
40–41 The Garden Collection: (cr); MMGI: Marianne Majerus/ Design: Del Buono Gazerwitz,
Jonathan Buckley/Design: Joe Design: Ali Ward (bc); 56 DK Images: Peter Anderson/ RHS Chelsea 2008 (br); Peter
Swift & Sam Joyce for the Plant Photolibrary: David Dixon (bl). Design: Joe Swift, RHS Chelsea Anderson/Design: Harry and
Room. Flower Show 2012. David Rich, RHS Chelsea Flower
49 Peter Anderson: (t); GAP
Show 2013 (tl); Harpur Garden
41 Roger Foley: Scott Brinitzer Photos: Clive Nichols/Chenies 57 DK Images: Design: Heidi Library: Jerry Harpur/Design:
Design Associates (br); MMGI: Manor, Bucks (cl); MMGI: Harvey & Fern Adler, RHS Sam Martin, London (ca).
Marianne Majerus/Design: Paul Andrew Lawson/Sticky Wicket, Hampton Court 2007 (t); GAP
Cooper (bc). Dorset (bc); Marianne Majerus Photos: J S Sira/Kent Design (b). 65 GAP Photos: Rob
(bl) (br). Whitworth/Design: Angela
42 MMGI: Marianne Majerus/ 58 Alamy Images: Mark Potter & Ann Robinson (bc);
Design: Sara Jane Rothwell. 50–51 DK Images: Brian North/ Summerfield (bl); DK Images: Harpur Garden Library: Jerry
Design: Catherine MacDonald, Design: Phillippa Probert, RHS
43 Bord Bia: Jacqueline Harpur/Design: Philip Nixon
RHS Hampton Court Flower Tatton Park 2008 (br); Harpur
Leenders/Design: Paul Martin (tl); Marcus Harpur/Design:
Show 2012 Garden Library: Jerry Harpur/
(bl); GAP Photos: Lynn Keddie Growing Ambitions, RHS
(ca); MMGI: Marianne Majerus/ 52 Helen Fickling: International Design: University College Chelsea 2008 (tr); MMGI:
Design: Charlotte Rowe (tl); Flora, Montreal (tr); Harpur Falmouth Students, RHS Chelsea Marianne Majerus/Design:
Marianne Majerus/ Design: Garden Library: Jerry Harpur/ 2007 (t); Jerry Harpur/East Jilayne Rickards (bl); Marianne
Nicola Gammon, www. Design: Jimi Blake, Hunting Ruston Old Vicarage, Norfolk Majerus/The Lyde Garden, The
shootgardening.co.uk (tr); Brook Gardens (c); MMGI: (bc). Manor House, Bledlow, Bucks
Marianne Majerus/Design: Fiona Marianne Majerus/Design: Julie 59 Harpur Garden Library: Jerry (br).
Lawrenson & Chris Moss (fbr); Toll (bl). Harpur/Design: Julian & Isabel 66 DK Images: Design: Paul
Derek St Romaine: Design: Koji Bannerman (cl); Marcus Harpur/
53 GAP Photos: J S Sira/Chenies Dyer, RHS Tatton Park 2008
Ninomiya, RHS Chelsea 2008 Design: Kate Gould, RHS
Manor, Bucks (bc); MMGI: (br); MMGI: Marianne Majerus/
(br). Chelsea 2007 (cr); MMGI:
Andrew Lawson/Design: Philip Design:Peter Chan & Brenda
44 DK Images: Peter Nash, RHS Chelsea 2008 (fbr); Marianne Majerus (bl); Marianne Sacoor (c).
Anderson/RHS Hampton Bennet Smith/Paul Hensey with Majerus/Design: Lynne Marcus
& John Hall (bc); Marianne 68 DK Images: Design: Helen
Court Flower Show 2014 (tr); Knoll Garden, RHS Chelsea
Majerus/Design: Michele Derrrin, RHS Hampton Court
MMGI: Marianne Majerus/ 2008 (tl); Marianne Majerus/
Osborne (ca); Photolibrary: John 2008 (t); www.indian-ocean.
Fiveways Cottage (cla); Marianne Design: Piet Oudolf (ca);
Glover (tc); Stephen Wooster co.uk (c); www.outer-eden.co.
Majerus/Design: Paul Dracott Marianne Majerus/Les Métiers
(cb). uk (b).
(bl); B & P Perdereau: Design: du Paysage dans toute leur
Yves Gosse de Gorre (br). Excellence, Jardins, Jardins aux 60 Marion Brenner: Design: 68–69 The RHS Images
Tuileries 2008. Christian Fournet Shirley Watts, Alameda CA Collection: RHS/Neil
45 The Garden Collection:
(bl); Clive Nichols: Design: www.sawattsdesign.com (br); Hepworth, design Charlie
Jonathan Buckley/Design:
Wendy Smith & Fern Alder, RHS GAP Photos: Michael King/ Albone, RHS Chelsea Flower
Diarmuid Gavin (bl); MMGI:
Hampton Court 2004 (cr); Ashwood Nurseries (bl); MMGI: Show 2016.
Marianne Majerus/ Design:
Photolibrary: Mark Bolton (tc). Marianne Majerus/Design:
Lynne Marcus (tl); Marianne 69 Nicola Browne: Design: Craig
Majerus/Design: Arabella 54 (left to right): DK Images; Jonathan Baillie (bc); Clive Bergman (tc); GAP Photos: Elke
Lennox-Boyd, RHS Chelsea Clive Nichols: Design: Fiona Nichols: Wingwell Nursery, Borkowski (cr); MMGI: Marianne
2008 (tr); Marianne Majerus/ Lawrenson; The Garden Rutland (tr); Undine Prohl: Majerus/Design: Diana Yakeley
Design: Chris Perry, Claire Collection: Jonathan Buckley; Design: Ron Wigginton (cr); DK (br); www.wmstudio.co.uk (cl).
Stuckey, Jill Crooks & Roger Forest Garden Ltd: tel: 0844 Images: Design: Adam Frost,
RHS Chelsea 2007 (c). 70 DK Images: Design:
Price, RHS Chelsea 2005 (br). 248 9801 www.forestgarden.
Francesca Cleary & Ian
co.uk; The Garden Collection: 61 The Garden Collection:
46 Harpur Garden Library: Jerry Lawrence, RHS Hampton Court
Jonathan Buckley; Photolibrary.
Harpur/Design: Made Wijaya & Jonathan Buckley/Design: 2007 (tr); Design: Noel Duffy,
Roger Foley: Design: Raymond
Priti Paul (bc); Photolibrary: Diarmuid Gavin (bc); MMGI: RHS Hampton Court 2008 (bl);
Jungles Landscape Architect (bc);
Peter Anderson/Design: Martha Marianne Majerus/Gardens of James Merrell (tl); GAP Photos:
The Garden Collection: Derek
Schwartz (br). Gothenburg, Sweden 2008 (tr); John Glover/Design:Dan
St Romaine/Design: Philip Nash
Photolibrary: Botanica (br); Pearson, RHS Chelsea 1996 (br).
47 DK Images: Design: Marcus (br); Photolibrary: Marie
Howard Rice (bl).
Barnett & Philip Nixon, RHS O’Hara/Design: Andrew Duff 71 DK Images: Brian North/
Chelsea 2007 (t); The Garden (bl). 62–63 The RHS Images Design: The Naturally
Fashionable Garden designer 79 (left to right): Clive Nichols: 90–91 DK Images: Peter 106–107 The RHS Images
NDG+, RHS Chelsea Flower Design: Charlotte Rowe; Helen Anderson/RHS Chelsea Flower Collection: RHS/Sarah Cuttle,
Show 2010 (bl); Design: Philip Fickling: Claire Mee Designs; Show 2009. design Martin Royer, RHS
Nash, RHS Chelsea 2008 (tc); Clive Nichols: Garden & Hampton Court Palace Flower
92 GAP Photos: Elke Borkowski
The Garden Collection: Torie Security Lighting; GAP Photos: Show 2016.
(bl); John Glover (r).
Chugg/Design: Sue Tymon, RHS Graham Strong. Photolibrary:
108 MMGI: Marianne Majerus/
Hampton Court 2005 (c); The Botanica (bl); Red Cover: Ken 93 DK Images: Design: Tom
Design: James Lee (l); Marianne
Interior Archive: Fritz von der Hayden (bc); Shutterstock (br). Stuart-Smith, RHS Chelsea 2008
Majerus/P & M Hargreaves,
Schulenburg (tr); Red Cover: (tr); GAP Photos: Elke
80 DK Images: Peter Anderson/ Grafton Cottage, Staffs (c).
Karyn Millet (tl); www.dylon. Borkowski (br) (tl); J S Sira (cl); S
co.uk (br). Design: Adele Ford and Susan 109 DK Images: Design: Jason
& O (bc).
Willmott, RHS Hampton Court Lock & Chris Deakin, RHS
72 Nicola Browne: Design: Piet Palace Flower Show 2013. 94 GAP Photos: Geoff du Feu
Oudolf (tr); DK Images: Design: Chelsea 2008 (fbl); GAP Photos:
(bl); Jerry Harpur/Design: Jerry Harpur/Design: Roberto
Sadie May Stowell, RHS 81 GAP Photos: John Glover (b).
Isabelle Van Groeningen & Silva (cla); The Garden
Hampton Court 2008 (tl); 82 GAP Photos: Jerry Harpur Gabriella Pape. RHS Chelsea
Design: Sim Flemons & John Collection: Derek St Romaine/
(tl); MMGI: Marianne Majerus 2007 (tc); Clive Nichols: RHS Glen Chantry, Essex (fbr); Nicola
Warland, RHS Hampton Court (tc). Wisley (tr).
2008 (br); The Garden Stocken Tomkins (tr); MMGI:
Collection: Nicola Stocken 83 Brian North: (br); 94–95 GAP Photos: Mark Marianne Majerus (cb); Marianne
Tomkins/Design: M Hall, Photolibrary: Howard Rice/ Bolton. Majerus/Design: Charlotte
Blowzone. RHS Hampton Court Cambridge Botanic Garden (cr). Rowe (clb); Photolibrary: Ron
95 GAP Photos: Elke Borkowski Evans (crb).
2003 (bl). 84 GAP Photos: Elke Borkowski (tc) (cr); Harpur Garden Library:
73 The RHS Images Collection: (bc); Jerry Harpur/Design: Julian Jerry Harpur/Design: Beth 110 The Garden Collection:
RHS/Neil Hepworth, design & Isabel Bannerman (tr); The Chatto (tr); Marcus Harpur/ Derek Harris/Design: Lindsey
Chris Beardshaw, RHS Chelsea Garden Collection: Derek Writtle College (br). Knight (cl); Nicola Stocken
Flower Show 2016 (t); Helen Harris (tc); MMGI: Marianne Tomkins (br); Ian Smith: Design:
96 GAP Photos: Jonathan Acres Wild (bl).
Fickling: Design: May & Watts, Majerus/Design: Bunny
Buckley/Design: John Massey,
Loire Valley Wines, RHS Guinness (cl). 111 Nicola Browne: Design:
Ashwood Nurseries (c); MMGI:
Hampton Court 2003 (c); Jinny Blom (c); Jason Liske:
85 Marion Brenner: Design: Marianne Majerus/Mere House,
MMGI: Marianne Majerus/ www.redwooddesign.com/
Mosaic Gardens, Eugene Kent (tr); Marianne Majerus/
Design: Lynne Marcus (bl). Design: Bernard Trainor (bc);
Oregon. Ashlie, Suffolk (bl).
74–75 The RHS Images Photolibrary: Jerry Pavia (t).
86 The Garden Collection: 97 GAP Photos: Clive Nichols
Collection: RHS/Sarah Cuttle, 112 GAP Photos: Clive Nichols/
design Ruth Willmott, RHS Andrew Lawson (tc); Nicola (cl); Elke Borkowski (tl); Jonathan
Stocken Tomkins (tr); MMGI: Buckley/Design: Wol & Sue Design: Tony Heywood
Chelsea Flower Show 2015. Conceptual Gardens.
Marianne Majerus/Design: Susan Staines (panel right). The
76 The Garden Collection: Collier (bl); Marianne Majerus/ Garden Collection: Jonathan 113 The Garden Collection:
Marie O’Hara (br); Nicola RHS Wisley/Piet Oudolf (br). Buckley (bc). Nicola Stocken Tomkins (t).
Stocken Tomkins (bc); Steven
Wooster/Design: Anthony Paul 87 The Garden Collection: 99 MMGI: Marianne Majerus/ 118 MMGI: Marianne Majerus/
(tl); MMGI: Marianne Majerus/ Andrew Lawson (b); Derek St Design: Declan Buckley (tl); Design: Charlotte Rowe (l) (c)
Design: Charlotte Rowe (bl); Romaine/Glen Chantry, Essex Marianne Majerus/Design: Philip (r).
Marianne Majerus/Design: Lucy (cl); MMGI: Marianne Majerus/ Nash, RHS Chelsea 2008 (tc);
Woodpeckers, Warks (tr). Marianne Majerus/Tanglefoot 121 www.sketchup.com: (br)
Sommers (tr); Clive Nichols: (bc).
Design: Mark Laurence (tc). (bl); Photolibrary: Howard Rice
88 GAP Photos: Clive Nichols/
(tr). 122 DK Images: Design: Heidi
77 Nicola Browne: Design: Design: Duncan Heather (br);
MMGI: Marianne Majerus (bc); 100 Charles Mann. Harvey & Fern Adler, RHS
Kristof Swinnen (tl); The Garden Hampton Court 2007 (bc);
Collection: Liz Eddison/Design: Marianne Majerus/Design: Jill
101 MMGI: Marianne Majerus/ MMGI: Marianne Majerus/
David MacQueen, Orangebleu, Billington & Barbara Hunt.
Design: Sally Hull (b). Leonardslee Gardens, West
RHS Chelsea 2005 (bc); Harpur “Flow” Garden, Weir House,
Sussex (br).
Garden Library: Marcus Hants (bl). 104 MMGI: Marianne Majerus/
Harpur/Design: Charlotte Rowe Design: Julie Toll (bl). 123 GAP Photos: Elke
89 DK Images: Steven Wooster.
(br); Clive Nichols: Borkowski (c); MMGI: Marianne
“Flow Glow” Garden for RHS 105 DK Images: Design: Kate
Spidergarden.com/RHS Chelsea Majerus/Coworth Garden
Chelsea 2002 by Rebecca Frey, RHS Chelsea 2007 (t);
2000 (c); Red Cover: Kim Sayer Design (br).
Phillips, Maria Ornberg & MMGI: Marianne Majerus/
(bl); Mike Daines (cra).
Rebecca Heard (r); GAP Photos: Design: Wendy Booth & Leslie 124–125 DK Images: Peter
78 www.janinepattison.com. Elke Borkowski (l). Howell (b). Anderson/Design: Robert
374/375 ACKNOWLEDGEMENTS
Resources

Myers, RHS Chelsea Flower 136 MMGI: Marianne Majerus/ Harpur Garden Library: Marcus Collection: Steven Wooster/
Show 2011. Design: Tom Stuart-Smith, RHS Harpur/Design: Gertrude Jekyll, Design: Anthony Paul (c); B & P
Chelsea 2000. Owners: Sir Robert and Lady Perdereau: Design: Jean Mus (t).
126 DK Images: Design: Robert
Clark, Munstead Wood, Surrey
Myers, RHS Chelsea 2008 (tr); 137 GAP Photos: Brian North 161 Corbis: Pieter Estersohn/
(b); MMGI: Marianne Majerus/
The Garden Collection: Nicola (r). Beateworks (cl); The Garden
Bryan’s Ground, Herefordshire
Stocken Tomkins (b); Charles Collection: Liz Eddison/Design:
138–139 The RHS Images (2);
Mann: Sally Shoemaker, Phoenix Andrew Walker, RHS Tatton
Collection: RHS/Neil 150 GAP Photos: John Glover/ Park 2007 (tl); Jason Liske:
AZ (cr); MMGI: Marianne
Hepworth, design Charlie Five Oaks, Sussex (c); John www.redwooddesign.com/
Majerus/Scampston Hall,Yorks/ Albone, RHS Chelsea Flower
Design: Piet Oudolf (tc); Glover/Design: Rosemary Verey Design: Bernard Trainor (bl) (cr).
Show 2016. (bl); Photolibrary: Juliette Wade
Marianne Majerus/Rectory 162–163 DK Images: Peter
Farm House, Orwell/Peter 139 The Garden Collection: (tl).
Anderson/Design: Cleve West,
Reynolds (c). Design: Tom Stuart-Smith, RHS 150–151 Harpur Garden RHS Chelsea Flower Show 2011.
Chelsea 2005 (4); Harpur Library: Jerry Harpur.
127 DK Images: Design: Cleve Garden Library: Jerry Harpur 164 GAP Photos: Janet Johnson
West, RHS Chelsea 2008 (l). (tl); Clive Nichols: Design: 151 Roger Foley: Design: (6); Jerry Harpur/Design: Karla
128 DK Images: Design: Dominique Lafourcade, Oehme van Sweden (tr); GAP Newell (br) (7); Neil Holmes (2);
Fran Coulter, Owners: Bob & Provence (1); www. Photos: Elke Borkowski (cr); Photolibrary: Mark Bolton (5).
Pat Ring (br); GAP Photos: Dave stonemarket.co.uk (5). John Glover/Design: Fiona
165 Ian Smith: Design: Acres
Zubraski (7); Sarah Cuttle (2); Lawrenson (c).
140 GAP Photos: Jerry Harpur/ Wild (cb); B & P Perdereau:
Clive Nichols: (4). Design: L Giubbilei (clb); Jo 152–153 The RHS Images Design: Michel Semini (t) (5).
129 DK Images: Design: Paul Whitworth (cla); MMGI: Collection: RHS/Neil
166 The RHS Images Collection:
Williams (t); Design: Adam Frost Marianne Majerus/Design: Del Hepworth, design Jo Thompson,
RHS/Neil Hepworth, design
(b); GAP Photos: Adrian Bloom Buono Gazerwitz (tr); RHS Chelsea Flower Show 2015.
Luciano Giubbilei, RHS Chelsea
(1/t); Richard Bloom (5/t) (5/b). Photolibrary: Marijke Heuff (br). 154 The Garden Collection: Liz Flower Show 2014.
141 Andrew Lawson: Design: Eddison/Design: Gabriella Pape
130–131 Garden Exposures 167 DK Images: Design: Robert
Christopher Bradley-Hole (b); & Isabelle Van Groeningen, RHS
Photo Library: Andrea Myers, RHS Chelsea 2008;
Charles Mann: Sally Shoemaker, Chelsea 2007 (br); Clive
Jones/Design: Jack Merlo, Harpur Garden Library: Jerry
Phoenix AZ (tl); B & P Nichols: (4); Photolibrary: Kit
Flemings Nurseries, RHS Harpur/Design: Vladimir
Perdereau: Design: Yves Gosse Young (1); Tracey Rich (6).
Chelsea 2005 (b). Djurovic (b).
de Gorre (c). 155 Nicola Browne: Design:
132 Alamy Images: Holmes 168–169 James Silverman: www.
142–143 The RHS Images Jinny Blom (t).
Garden Photos (bl); The Garden jamessilverman.co.uk/Architect:
Collection: Derek St Romaine/ Collection: RHS/Neil 156 Marion Brenner: Design: Marcio Kogan, Brazil.
Design: Woodford West, RHS Hepworth, design Tommaso del Roger Warner, Calistoga,
Buono and Paul Gazerwitz, RHS 169 Alamy Images: Andrea
Chelsea 2001 (br); MMGI: California.
Chelsea Flower Show 2014. Jones/Design: Buro Landrast,
Marianne Majerus/ 157 Alamy Images: LOOK Die Floriade (4); Matthew Noble
Gainsborough Road, Alastair 144 MMGI: Marianne Majerus/ Bildagentur der Fotografen Horticultural/Design: Lizzie
Howe Architects (bc). Design: Charlotte Rowe (br) (1). GmbH (b); Marion Brenner: Taylor & Dawn Isaac, RHS
133 Roger Foley: (br); Harpur 145 The Garden Collection: Design: Bernard Trainor, Chelsea 2005 (2); DK Images:
Garden Library: Jerry Harpur/ Andrew Lawson (2/c); MMGI: Monterey, California (t). Design: Marcus Barnett & Philip
Design: Philip Nixon, RHS Marianne Majerus (1/b), (2/b), Nixon, RHS Chelsea 2007 (1);
158–159 Jason Liske: www.
Chelsea 2008 (bl); MMGI: (4/b); Marianne Majerus/ Design: Denise Preston, RHS
redwooddesign.com/ Design:
Marianne Majerus/Design: Design: George Carter (cb); Chelsea 2008 (3); Design: Philip
Bernard Trainor
Jonathan Baille (bc). Marianne Majerus/Port Lympne, Nixon, RHS Chelsea 2008 (5);
Kent (t). 159 DK Images: Design: Robert Peter Anderson: (tl).
134 MMGI: Bennet Smith/ Myers, RHS Chelsea 2008 (3);
Design: Mary Nuttall (bl); 170 Henk Dijkman: www.
146 MMGI: Marianne Majerus/ GAP Photos: Jerry Harpur/
Marianne Majerus/ Design: puurgroen.nl (tl); MMGI:
Mannington Hall, Norfolk. Design: Roja Dove (1); B & P
Charlotte Rowe (br). Marianne Majerus/Design: Sara
Perdereau: Design: Michel
147 GAP Photos: FhF Jane Rothwell (bl).
135 GAP Photos: Lynne Keddie Semini (tl); Photolibrary: Robert
Greenmedia (r).
(bl); Steve Gunther: Design: Harding (6). 170–171 Marion Brenner:
148–149 The Garden Design: Joseph Bellomo
Steve Martino (bc); MMGI: 160 Alamy Images: Roger
Collection: Nicola Stocken Architects, Palo Alto CA.
Marianne Majerus/Gunnebo Cracknell (bl); Marion Brenner:
Tomkins.
House, Gardens of Gothenburg Design: Isabelle Greene & 171 Henk Dijkman: www.
Festival, Sweden 2008, Joakim 149 The Garden Collection: Associates, Santa Barbara puurgroen.nl (bc); Harpur
Seiler (br). Nicola Stocken Tomkins (3); California (br); The Garden Garden Library: Jerry Harpur/
Design: Christopher Bradley- 187 Richard Felber: Design: Majerus/Claire Mee Designs 211 Harpur Garden Library:
Hole (c) (r). Raymond Jungles Landscape (br). Jerry Harpur/Design: Bunny
Architect (t). Guinness (b); Ian Smith: Design:
172–173 The RHS Images 200–201 DK Images: Peter
Acres Wild (t).
Collection: RHS/Neil 188 Garden Exposures Photo Anderson/Design: Heather
Hepworth, design: Marcus Library: Landscape Architect: Culpan and Nicola Reed, RHS 212–213 The RHS Images
Barnett, RHS Chelsea Flower Roberto Burle Marx. Hampton Court Flower Show Collection: RHS/Tim Sandall,
Show 2015. 2011. design: Nick Buss and Clare Olof,
188–189 David Clarke: Design:
RHS Hampton Court Palace
174 Harpur Garden Library: Will Giles. 201 GAP Photos: Elke Flower Show 2012.
Jerry Harpur/Design: Vladimir Borkowski (c); Red Cover: Ron
189 GAP Photos: Jerry Harpur/
Djurovic, Lebanon. Evans (t); DK Images: Peter 214 GAP Photos: Fiona McLeod
Design: Vladimir Djurovic,
Anderson/Design: Bunny (8); Paul Debois (2); Zara Napier
175 Nicola Browne: Design: Beirut, Owner: Atassi Yarzeh,
Guinness, RHS Hampton Court (4); MMGI: Marianne Majerus/
Pocket Wilson (t) (1); GAP Lebanon (3); MMGI: Marianne
Flower Show 2011 (b). Design: Ian Kitson (br).
Photos: Richard Bloom (3/c); Majerus/Design: Declan Buckley
Charles Hawes: (5/c);The (5); 202–203 GAP Photos: Brian 215 MMGI: Marianne Majerus/
Interior Archive: Helen Fickling/ North/Design: Nick Williams- Claire Mee Designs (tl) (tr).
190 Charles Mann: Design: Bob
Design: Wynniatt-Husey Clarke Ellis.
Clark, Oakland, CA (b); MMGI: 216 The RHS Images Collection:
(b).
Marianne Majerus/Design: Pat 204 DK Images: Design: Maurice RHS/Neil Hepworth, design
176 GAP Photos: John Glover. Wallace (t); Marianne Majerus/ Butcher, RHS Hampton Court Cleve West, RHS Chelsea
Design: Tim Wilmot, Beechwell 2007 (br); Photolibrary: Christi Flower Show 2016.
177 GAP Photos: Marcus
Harpur/Design: AOA House, Yate (c). Carter (2). 217 The Garden Collection:
Corporation Co. Ltd. Ishihara 191 GAP Photos: S & O (cr); Ian 205 The Garden Collection: Jonathan Buckley/Scenic Blue
Kazuyuki Design Laboratory (r); Adams: (tc); Derek St Romaine: Jonathan Buckley/Design: Bunny Design Team, RHS Chelsea
MMGI: Marianne Majerus (l). (bl); Undine Prohl: Design: Guinness (t) (4); Photolibrary: 2005
178 Shutterstock: (1). Steven Shortridge (tl). Mark Winwood (3/c); GAP (t); Liz Eddison/Design: Daniel
Photos: J S Sira/Design: Ron Lloyd Morgan. RHS Hampton
178–179 GAP Photos: J S Sira. 192–193 The RHS Images
Carter (cb). Court 2001 (b).
Collection: RHS/Sarah Cuttle,
179 Photolibrary: Rex Butcher design Andrew Fisher Tomlin 218 DK Images: Design: Teresa
206 GAP Photos: Hanneke
(cr); Shutterstock: (2–6/b). and Dan Bowyer, RHS Hampton Davies, Steve Putnam, Samantha
Reijbroek.
180 Alamy Images: Paolo Negri Court Palace Flower Show 2016. Hawkins, RHS Chelsea 2007 (1);
207 MMGI: Marianne Majerus/ Harpur Garden Library: Jerry
(b); GAP Photos: Elke 194 MMGI: Marianne Majerus/
Claire Mee Designs (t); Marianne Harpur/Design: Rosemary
Borkowski (t); Photolibrary: (tl); Design: Declan Buckley (br) (2)
Red Cover: Michael Freeman (bl). Majerus/Design: Lynne Marcus Weisse, West Park, Munich,
(5); Photolibrary: John Glover
(b). Germany (l).
180–181 Red Cover: Michael (6).
Freeman. 208 DK Images: Design: 218–219: DK Images: Design:
195 Alamy Images: Asia (5/b);
Franzisca Harman, RHS Chelsea Stephen Hall, RHS Chelsea
181 Harpur Garden Library: blinkwinkel (1/b); DK Images:
2008 (3); Design: Paul Stone 2005.
Jerry Harpur/Design: Shunmyo Design: Annie Guilfoyle (t);
Gardens, RHS Hampton Court
Masuno (c); Clive Nichols: Helen Fickling: Design: Raymond 219 DK Images: Design: Kate
2007 (6); MMGI: Marianne
Marunouchi Hotel, Tokyo (tl); Jungles Landscape Architect (cb); Frey, RHS Chelsea 2007 (3);
Majerus/Claire Mee Designs (1);
Tatton Park, Cheshire (tr); Red FLPA: Inga Spence (2/b); GAP Design: English Heritage
TopFoto.co.uk: (fcl).
Cover: Michael Freeman (b). Photos: Lynn Keddie (3/c); Gardens (4).
Martin Gibbons: (4/b). 209 Steve Gunther: Design and
182–183 DK Images: Peter 220 Marion Brenner: Design:
196 GAP Photos: John Glover/ Installation: Chuck Stopherd of Lutsko & Associates, San
Anderson/Design: Ishihara Hidden Garden Inc. of CA.
Kazuyuki Design Laboratory, Design: Rosemary Verey. Francisco (bc); GAP Photos: J S
RHS Chelsea Flower Show 2013. 210 DK Images: www.jcgardens. Sira (clb); Jonathan Buckley/
197 GAP Photos: Mark Bolton
com (t); Steve Gunther: Design: Design: Christopher Lloyd,
184 Roger Foley: Design: Maggie (c); Clive Nichols: (b).
Mia Lehrer, Malibu CA (bc); Great Dixter (c); Harpur Garden
Judycki for Green Themes, Inc 198–199 GAP Photos: Elke Harpur Garden Library: Jerry Library: Jerry Harpur/Design:
(br) (3) (6). Borkowski. Harpur/Design: Ryl Nowell (bl); Steve Martino, Arid Zone Trees,
185 Photolibrary: Mark Bolton MMGI: Marianne Majerus/ Arizona, USA (tl).
199 GAP Photos: Elke
(2); www.studiolasso.co.uk/ Borkowski (tl). DK Images: Peter Design: Lucy Sommers (tl); 220–221 The Garden
Haruko Seki, photographer & Anderson/RHS Hampton Court Marianne Majerus/Design: Collection: Jane Sebire.
designer (t). Flower Show 2014 (5). David Rosewarne (br).
221 DK Images: Design: Ness
186 Photolibrary: Melanie 200 GAP Photos: Friedrich 210–211 Steve Gunther: Design: Botanic Gardens, RHS Tatton
Acevado. Strauss (l). MMGI: Marianne Sandy Koepke, LA (c). Park 2008 (tr); The Garden
376/377 ACKNOWLEDGEMENTS
Resources

Collection: Jane Sebire/Sheffield Photolibrary: John Glover (3). 248–249 Harpur Garden 260 DK Images: Design: Helen
Botanic Gardens (b). Library: Jerry Harpur/Design: Williams, RHS Hampton Court
235 DK Images: Design: Sam
Steve Martino. 2008.
222–223 GAP Photos: Clive Joyce, Owner: Jacqui Hobson.
Nichols/Design: Nigel Dunnett 249 DK Images: Design: 261 GAP Photos: Jerry Harpur
236 Andrew Lawson: Design:
and The Landscape Agency. Matthew Rideout, RHS (b); Photolibrary: Michele
Arabella Lennox-Boyd.
Hampton Court 2008 (1); Lamontagne (t).
224 GAP Photos: Jo Whitworth
237 MMGI: Marianne Majerus/ Design: Paul Cooper, RHS
(6); The Garden Collection: Jane 265 MMGI: Marianne Majerus/
Design: Anthony Paul Landscape Chelsea 2008 (3); GAP Photos:
Sebire/Design: Nigel Dunnett Design: Ian Kitson & Julie Toll
Design (b). Fiona McLeod/Design: Cleve (br); www.stonemarket.co.uk
(br) (4). West, RHS Chelsea 2006 (5);
238 GAP Photos: Jerry Harpur (bl).
225 The Garden Collection: The Garden Collection: Liz
(t). 267 GAP Photos: Clive Nichols/
Gary Rogers/Design: Rendel & Eddison/Design: Reaseheath
Dr James Bartons (t) (6); MMGI: 238–239 Helen Fickling: Design: College, RHS Tatton Park 2007 Design: Sarah Layton (br).
Marianne Majerus (1). Andy Sturgeon. (6); Harpur Garden Library: 271 DK Images: Mark
Jerry Harpur/Design: Sonny Winwood/Courtesy of Capel
226 Clive Nichols: Design: 239 DK Images: Steven
Garcia (4); . Manor, Design: Irma Ansell (bl);
Stephen Woodhams. Wooster (2) (4); GAP Photos:
Jerry Harpur/Pashley Manor (3); 250 Helen Fickling: Design: GAP Photos: Fiona Lea (br);
227 GAP Photos: Brian North/ S & O (6). Marie-Andrée Fortier, Art & MMGI: Marianne Majerus/
Design: Jo Penn, RHS Chelsea Jardins, International Flora, Design: Jill Billington & Barbara
2006 (b); MMGI: Marianne 240 GAP Photos: John Glover/ Hunt. “Flow” Garden, Weir
Montreal, Canada (b); Harpur
Majerus/Design: Ali Ward (t). Design: Penelope Hobhouse (tr); House, Hants (cr).
Garden Library: Jerry Harpur/
Jerry Harpur/Design: Britte
228–229 Harpur Garden Design: Vladimir Sitta (c). 279 GAP Photos: Clive Nichols/
Schoenaic (br); Harpur Garden
Library: Jerry Harpur/Design: Library: Jerry Harpur/Design: 250–251 Helen Fickling: The Parsonage, Worcs. (b).
Philip Nixon. Christopher Lloyd, Great Dixter Architect: Claude Cormier, 281 MMGI: Marianne Majerus
229 GAP Photos: Clive Nichols/ (bl); B & P Perdereau: Design: International Flora, Montreal, (br).
Design: Amir Schlezinger My Piet Blankaert (tl). Canada (t).
Landscapes (3); Jerry Harpur/ 282–283 Clive Nichols: Design:
240–241 Andrew Lawson: 251 Marion Brenner: Design: Helen Dillon.
Design: Fiona Lawrenson & Design: Arabella Lennox-Boyd. Andrea Cochran Landscape
Chris Moss (4); Jerry Harpur/ Architect, San Francisco (c); 285 GAP Photos: Neil Holmes
Design: Luciano Giubbilei (1); 241 The Garden Collection: (tr).
Harpur Garden Library: Jerry
MMGI: Marianne Majerus www. Andrew Lawson/Design:
Harpur/Design: Steve Martino 287 DK Images: Design: Xa
finnstone.com (2); Marianne Oehme van Sweden (tr); Harpur
(cr); Steve Gunther: Architect: Tollemache.
Majerus/Design: Lucy Sommers Garden Library: Jerry Harpur/
Ricardo Legorreta/Landscape
(5). Design: Piet Oudolf (r). 288 Photoshot: Photos
Architect: Mia Lehrer &
242–243 The RHS Images Associates, LA (br); Harpur Horticultural (br).
230 Henk Dijkman: www.
puurgroen.nl (tr); DK Images: Collection: RHS/Neil Garden Library: Jerry Harpur/ 290–291 GAP Photos: Tim
Design: Mark Gregory, RHS Hepworth, design Jo Thompson, Design: Peter Latz & Associates, Gainey (t).
Chelsea 2008 (tl); Loupe Images: RHS Chelsea Flower Show 2016. Chaumont Festival, France (bl).
292 GAP Photos: Rob
Ryland, Peters & Small Ltd (bl). 244 GAP Photos: Clive Nichols 252–253 The RHS Images Whitworth (bl).
230–231 MMGI: Marianne (2); Fiona McLeod (7); Leigh Collection: RHS/Neil
Clapp (6); Richard Bloom (3); Hepworth, design Andy 293 DK Images: Peter
Majerus/Design: Charlotte Andreson/ Design: Cleve West,
Rowe. MMGI: Marianne Majerus/ Sturgeon, RHS Chelsea Flower
Design: Piet Oudolf (br). Show 2016. RHS Chelsea Flower Show 2012
231 Harpur Garden Library: (br).
Jerry Harpur/Design: Christoph 245 Photolibrary: John Glover 254 MMGI: Marianne Majerus/
(t). Design: Paul Cooper (br) (2) (6). 295 Garden World Images: Paul
Swinnen, Sint Niklaas, Belgium Lane (tl).
(b); MMGI: Marianne Majerus/ 246 The RHS Images Collection: 255 Clive Nichols: Tony
Design: Sara Jane Rothwell (r). RHS/Sarah Cuttle, design John Heywood Conceptual Gardens 296 Garden World Images:
Warland, RHS Chelsea Flower (t). DK Images: Peter Anderson/ Carolyn Jenkins (cl).
232–233 GAP Photos: J S Sira/
Show 2016. Design: Darren Hawkes, RHS 297 The Garden Collection:
Design: Paul Hervey-Brookes,
Chelsea Flower Show 2013 (2). Torie Chugg (c).
built by Big Fish Landscapes, 247 GAP Photos: Richard Bloom
Sponsor: BrandAlley. (t); MMGI: Andrew Lawson/ 256–257 GAP Photos: Tim 299 MMGI: Marianne Majerus/
Design: Philip Nash, RHS Gainey (t). Design:Tom Stuart-Smith (bl).
234 GAP Photos: Clive Nichols
Chelsea 2008 (b).
(1); Harpur Garden Library: 258 DK Images: Design: Sam 300 Garden World Images:
Jerry Harpur/Design: Andy 248 Michael Schultz Landscape Joyce (bc); The Garden Nicholas Appleby (bc).
Sturgeon, London (br) (2) (4); Design: (br). Collection: Gary Rogers (br).
302 MMGI: Marianne Majerus/ 354 DK Images: Design: Martin Hargreaves, RHS Tatton Park Thanks to the following people
Saling Hall, Essex (bl). Thornhill, RHS Tatton Park 2008 2008 (bl); Alamy Images: for allowing us to photograph
(cr); www.stonemarket.co.uk (tl) Francisco Martinez (tc); GAP and feature their gardens:
304 GAP Photos: Nicola
(tc); Forest Garden Ltd, tel: Photos: Jerry Harpur (tr);
Stocken (bl). Zelda and Peter Blackadder,
0844 248 9801 www.forest Photolibrary: John Glover/
Jacqui Hobson, Jo and Paul Kelly,
307 Garden World Images: garden.co.uk (cl); Images Design: Jonathan Baillie (c);
Bob and Pat Ring, Amanda
Gilles Delacroix (bl). supplied courtesy of Marshalls www.breezehouse.co.uk (cl);
Yorwerth.
www.marshalls.co.uk/transform www.cuprinol.co.uk (bc).
308 GAP Photos: Fiona
(bc); www.jcgardens.com (br). Thanks to the following
McLeod (bl). 361 DK Images: Design: Jackie
companies for their help on
355 DK Images: Design: Jane Knight Landscapes, RHS Tatton
316 www.davidaustinroses.com this project:
Hudson & Erik de Maejer, RHS Park 2008 (tc); Design: Mark
(c).
Chelsea 2004 (tc); Design: Jon Gregory, RHS Chelsea 2008 Blue Wave 00 45 7322 1414
318 Garden World Images: Tilley, RHS Tatton Park 2008 (bc); www.garpa.co.uk (br); bluewave.dk
Martin Hughes-Jones (cl). (bl); Design: Martin Thornhill, MMGI: Marianne Majerus/
Brandon Hire 0870 514 3391
RHS Tatton Park 2008 (br); GAP Design: Earl Hyde, Susan
323 DK Images: Roger Smith (tl); brandontoolhire.co.uk
Photos: J S Sira (cl); Howard Rice Bennett (cl); Marianne Majerus/
The Garden Collection: Nicola
(bc); www.specialistaggregates. Elton Hall, Herefordshire (c); Garpa 01273 486 400
Stocken Tomkins (tc).
com (cr). www.jcgardens.com (cr); www. garpa.co.uk
328 GAP Photos: Clive Nichols cuprinol.co.uk (tl) (bl).
356 DK Images: Steven Marshalls 0370 120 7474
(tl); Photolibrary: Kate Gadsby
Wooster/Design: Claire 362 DK Images: Design: David marshalls.co.uk
(c).
Whitehouse, RHS Chelsea 2005 Gibson, RHS Tatton Park 2008
Organicstone 01452 411 991
331 GAP Photos: Neil Holmes (c); Design: Geoff Whitten (br); (cl); Design: Cleve West, RHS
organicstone.com
(cr); The Garden Collection: GAP Photos: Elke Borkowski Chelsea 2008 (bl); GAP Photos:
Andrew Lawson (c). (bl); www.bradstone.com/ Elke Borkowski (cr); Jo Ormiston Wire 020 8569 7287
garden (bc); Images supplied Whitworth/Design: Tom ormiston-wire.co.uk
332 MMGI: Marianne Majerus
courtesy of Marshalls www. Stuart-Smith, RHS Chelsea 2006
(cl). Stonemarket 0345 302 0603
marshalls.co.uk/transform (tc). (br).
stonemarket.co.uk
333 The Garden Collection:
357 DK Images: Design: Paul 363 DK Images: Design: Tim
Derek Harris (tr). Thanks to Marie Lorimer for
Hensey with Knoll Gardens, Sharples, RHS Hampton Court
indexing.
335 GAP Photos: Visions (ca); RHS Chelsea 2008 (c); Design: 2008; GAP Photos: Tim Gainey
Photolibrary: Joan Dear (bl); Toby & Stephanie Hickish, RHS (bl); The Garden Collection:
Sunniva Harte (cr). Tatton Park 2008 (bc); Design: Nicola Stocken Tomkins (tr);
Thanks to the following DK staff
Niki Ludlow-Monk, RHS www.hayesgardenworld.co.uk
337 Alamy Images: Martin for their work on the original
Hampton Court 2008 (br); (cr)
Hughes-Jones (ca) (cl). edition of the book:
Design: Ruth Holmes, RHS
364–365 The RHS Images
338 Photolibrary: Mark Hampton Court 2008 (cr); GAP Senior Editor Zia Allaway
Collection: RHS/Neil
Bolton (c). Photos: Leigh Clapp/Design: Senior Art Editor Joanne Doran
Hepworth, design Charlie
David Baptiste (bl). Airedale Publishing Ruth
340 GAP Photos: Howard Rice Albone, RHS Chelsea Flower
Prentice, David Murphy, Murdo
(bc); Photolibrary: Mayer/Le 358 DK Images: Design: Helen Show 2016 (b).
Culver
Scanff (br). Williams, RHS Hampton Court
Photographers Peter Anderson,
2008 (cr); www.grangefencing.
342 The Garden Collection: Brian North
co.uk (tl); www.jacksons-fencing. All other images:
Andrew Lawson (bc). Illustrators Peter Bull
co.uk (tr); Forest Garden Ltd, © Dorling Kindersley
Associates, Richard Lee, |
343 GAP Photos: J S Sira (c). tel: 0844 248 9801 www.
For further information see: Peter Thomas
forestgarden.co.uk (cl) (c); www.
346 Garden World Images: (bl). www.dkimages.com Plan Visualizers Joanne Doran,
kdm.co.uk (bc).
Vicky Read
348 GAP Photos: Paul Debois
359 GAP Photos: Leigh Clapp Managing Editor Anna Kruger
(tl).
(bc); MMGI: Marianne Majerus/ Managing Art Editor Alison
352 GAP Photos: Elke Design: Hans Carlier (tr); Forest Donovan
Borkowski (bl); Jerry Harpur Garden Ltd, tel: 0844 248 9801 Publisher Jonathan Metcalf
(br); www.stonemarket.co.uk www.forestgarden.co.uk (tc) (bl); Associate Publisher Liz Wheeler
(tr) (cr). www.stonemarket.co.uk (br). Art Director Bryn Walls
353 www.stonemarket.co.uk 360 DK Images: Brian North/
(top row) (bl); www.bradstone. RHS Hampton Court Palace
com/garden (c) (cr); www. Flower Show 2010 (tl); Design:
organicstone.com (bc). Mark Sparrow & Mark
378/379 Resources
INDEX

Index Ajuga
A. reptans 93, 334
A. r. ‘Catlin’s Giant’ 334
Aquilegia 91, 233
A. chrysantha 154
A. vulgaris ‘William Guiness’
A. ‘Professor van der Wielen’
348
A. ‘Willie Buchanan’ 348
Akebia quinata 155, 318 326 Astrantia 93
A Albone, Charlie 138
Alchemilla mollis 91, 334
Aralia elata ‘Variegata’ 300
arbours 148, 149, 158, 159, 160,
A. major ‘Hadspen Blood’ 326
A. m. ‘Roma’ 129
Abelia 128 alder see Alnus 361 A. m. ‘Sunningdale Variegated’
A. ‘Edward Goucher’ 185 Alhambra (Granada, Spain) 140, Arbutus unedo 252, 296 327
A. x grandiflora 304 141, 157, 161 arches 148, 360 asymmetry 167, 169, 173, 175,
Acacia dealbata 292 alkaline soils 82, 102 architectural influences 244, 254 177, 178, 249
Acanthus 88 Allium 9, 82, 88, 96, 123, 128, architectural interest, perennials Athyrium
A. spinosus 245, 322 230–1 for 323 A. filix-femina 327
Acer 86, 95, 97, 178, 179, 180 A. caeruleum 338 architectural planting 168, 194, A. niponicum var. pictum 334
A. campestre 292 A. cepa 205 235 Attalea cohune 195
A. c. ‘Schwerinii’ 292 A. cristophii 338 architectural plants 161, 164, aubergines 205
A. griseum 296 A. hollandicum ‘Purple 167, 187, 228, 248, 253 Aubretia 147
A. japonicum ‘Vitifolium’ 296 Sensation’ 215, 338 see also sculptural plants Aucuba japonica ‘Crotonifolia’
A. negundo ‘Variegatum’ 294 A. schoenoprasum (chives) 165 architecture 36, 135, 137, 138, 145 304
A. palmatum 174, 182, 279 A. sphaerocephalon 155 Areca vestiaria 195 autumn colour 84, 97
A. p. ‘Bloodgood’ 296 allotments 205 art 14, 24, 44, 45, 135, 248, 255 trees for 299
A. p. var. dissectum 94, 164, Alnus glutinosa ‘Laciniata’ 292 land art 247 autumn-flowering shrubs 315
304 Alnwick Garden, Art Institute Gardens (Chicago, avenues 138, 237
A. p. Dissectum Northumberland 211 US) 171 azaleas 82, 95, 178
Atropurpureum Group 304 alpine meadows 83 Artemisia 82, 162 see also Rhododendron
A. p. ‘Fireglow’ 154 alpines 102, 122, 283 A. arborescens 310 Azara microphylla 300
A. p. ‘Osakazuki’ 296 aluminium 65, 67, 357 A. ludoviciana ‘Silver Queen’
A. p. ‘Sango-kaku’ 214, 296
A. platanoides ‘Crimson King’
Amelanchier 96
A. lamarckii 296
326
A. l. ‘Valerie Finnis’ 326 B
292 amenities, identifying position of A. ‘Powis Castle’ 144 Ballota ‘All Hallows Green’ 310
A. rubrum 184 104 artificial grass 207 Baloskion tetraphyllum 192
A. r. ‘October Glory’ 292 Ampelopsis brecipedunculata 318 Arts and Crafts Movement 147, bamboo (as a material) 177, 189,
Achillea 162 Anaphalis triplinervis 326 149, 151, 237 223
A. ‘Lachsschönheit’, syn. A. Anchusa azurea ‘Loddon Arum fences 179, 184
‘Salmon Beauty’ 326 Royalist’ 143 A. italicum ‘Pictum’ 164 screens 33, 45, 53, 170, 359
A. ‘Moonshine’ 154 Anemanthele lessoniana 88, 344 A. i. subsp. italicum bamboos 45, 178, 185, 344–7
A. ‘Summerwine’ 244 Anemone 96 ‘Marmoratum’ 334 foliage gardens 187, 188, 189,
A. ‘Taygetea’ 326 A. blanda ‘Pink Star’ 338 arum lily see Zantedeschia 191
acid soils 82, 102 A. b. ‘Radar’ 338 aethiopica see also Fargesia; Phyllostachys
Aconitum 97 A. b. ‘White Splendour’ 338 Aruncus dioicus ‘Kneiffii’ 88, 348 banana see Musa
A. ‘Spark’s Variety’ 322 A. x hybrida 322 Arundo donax var. versicolor 344 barbecues 205, 208
Acorus 97 A. x h. ‘Honorine Jobert’ 322 Asarum 93 barberry see Berberis
A. calamus 224 A. nemorosa ‘Bracteata ash see Fraxinus Barcelona Botanic Garden
A. c. ‘Argenteostriatus’ 344 Pleniflora’ 334 aspect 27, 49, 102–3, 122 (Spain) 161
Acres Wild 164, 165 Angelica archangelica 225 Asperula odorata 93 bare-root plants, planting 279,
Actaea 97 angel’s fishing rod see Dierama Asphodleine lutea 322 280
A. simplex Atropurpurea pulcherrimum Asplenium scolopendrium bark 187
Group ‘Brunette’ 348 Anigozanthos 253 Crispum Group 326 as mulch 280, 283, 285
Actinidia kolomikta 318 annuals 81, 82, 84, 145, 152, 225 assessing your garden 101–29 paths 39, 271, 354w
Adiantum venustum 334 Anthemis Astelia 53, 249 play areas 25, 207, 215, 354
Aegopodium podagraria A. punctata subsp. cupaniana A. chathamica 194, 234, 326 Barnett, Marcus 173
‘Variegatum’ 93 334 A. c. ‘Silver Spear’ 191 Barragán, Luis (1902–88) 144,
Agapanthus Headbourne A. tinctoria ‘E.C. Buxton’ 89 Aster 97 195
Hybrids 326 Anthriscus sylvestris ‘Ravenswing’ A. amellus ‘Veilchenkönigin’ barrels 99, 105, 285, 363
Agastache 233 334 Barton, James 224, 225
A. foeniculum 322 apertures 61 Astilbe 93, 99, 122 basil see Ocimum basilicum
A.f. ‘Alabaster’ 322 see also doors; gates A. chinensis var. taquetii Basson, James 159
Agave 159, 190, 220 apples 198 ‘Purpurlanze’ 224 Bauhaus School 167, 168
aggregates 67, 271, 355 aquatic plants 66, 82, 98, 349 A. ‘Fanal’ 348 bay see Laurus nobilis
bedding 89, 145 construction 259 Buono, Tommaso del 142–3 Carpinus (hornbeam) 123, 138,
beds 109, 126, 150 legal issues 101, 110, 111 Burle Marx, Roberto (1909–94) 140, 224, 228, 229
beech see also fencing; gates; hedges; 187, 188, 190, 195 C. betulus 94, 175, 225
hedges 86, 225, 359 walls Bury Court (Surrey) 171 C. b. ‘Fastigiata’ 294
see also Fagus Bowyer, Dan 193 Buss, Nick 213 carrots 205
beehive composter 205 box Butcher, Maurice 204 Carter, George 144, 145
Begonia semperflorens 145 edging 37, 45, 144, 151 Butia yatay 193 Caryopteris x clandonensis
benches 154, 175, 231, 234, 235 hedges 53, 83, 138, 139, 200, Butomus umbellatus 99, 348 ‘Worcester Gold’ 311
Berberis 82, 97, 359 205, 225, 230 butterfly bush see Buddleja Casa Mirindiba (Brazil) 168–9
B. darwinii 304 parterres 81, 126, 135, 139, butyl liners 66, 276–7 cascades 207, 228, 249
B. julianae 304 140, 204, 205, 239 Buxus (box) Catalpa bigonioides ‘Aurea’ 293,
B. x stenophylla 310 topiary 37, 94, 139, 142–3, 235, B. sempervirens 128, 194, 235 294
B. x s. ‘Corallina Compacta’ 310 255 B. s. ‘Elegantissima’ 310 catmint see Nepeta
B. thunbergii ‘Aurea’ 310 see also Buxus B. s. ‘Latifolia Maculata’ 215 Ceanothus
B. t. f. atropurpurea Bradley-Hole, Christopher 171 B. s. ‘Suffruticosa’ 83, 310 C. ‘Concha’ 304
‘Atropurpurea Nana’ 310 branches, removing 289 see also box C. x delileanus ‘Gloire de
B. t. f. atropurpurea ‘Helmond braziers 361 Versailles’ 311
Pillar’ 310
Bergenia 88, 93, 159
Breedon gravel 154, 271
brick 67, 147, 171, 237, 245 C C. thyrsiflorus var. repens 311
Cedrus (cedar)
B. ‘Morgenröte’ 334 designs in 137, 261 cacti 188, 248 C. atlantica Glauca Group 293
Beta vulgaris subsp. vulgaris edgings 144, 244 CAD (computer-aided design) cements, “green” 353
(red chard) 205 mowing strips 271, 275 113, 121 Centaurea dealbata ‘Steenbergii’
Beth Chatto Gardens (Essex) 221 paths 58, 149, 190, 199, 202, Calamagrostis 327
Betula (birch) 53, 95, 97, 175, 205, 213, 262 C. x acutiflora ‘Karl Foerster’ Centranthus 162
212, 224, 240 paving 352 214 C. ruber 245
B. nigra 152, 155, 292 walls 48, 60, 64, 356 C. x a. ‘Overdam’ 344 C. r. ‘Albus’ 125
B. pendula 175 Briza maxima 344 Calamintha grandiflora ‘Variegata’ Cephalaria gigantea 322
B. utilis var. jacquemontii 184, Brogdale (Kent) 201 335 ceramics 54, 67, 249
222, 293 bromeliads 187 Calluna (heather) see also mosaics
B. u. var. j. ‘Silver Shadow’ 293 bronze 243, 253 C. vulgaris 310 Ceratostigma willmottianum 311
biennials 81, 82 Brookes, John 208, 229 C. v. ‘Gold Haze’ 310 Cercidiphyllum japonicum 293
bins 33, 361 broom see Cytisus; Genista C. v. ‘Spring Cream’ 311 Cercis
birds 12, 219, 220, 222, 284, 287 Brunnera Caltha palustris 99, 224, 348 C. canadensis ‘Forest Pansy’
blackthorn see Prunus spinosa B. macrophylla ‘Dawson’s Camden Children’s Garden 185, 296
bleeding heart see Lamprocapnos White’ 335 (London) 211 C. siliquastrum 95, 296
spectabilis B. m. ‘Jack Frost’ 214 Camellia 82, 103, 177, 178 Chaenomeles speciosa
block planting 126, 168, 169, 170, bubble diagrams/plans 21, 22, C. japonica ‘Bob’s Tinsie’ 304 ‘Moerloosei’ syn. C. ‘Apple
171 25, 120, 126 C. ‘Leonard Messel’ 300 Blossom’ 305
blocks 262, 352 bubble fountains/pools 32, 99, Camley Street Natural Park Chamaecyparis
cutting 263 161, 362 (London) 211 C. pisifera ‘Fififera’ 294
see also pavers bubble jets 145 Campanula C. p. ‘Fififera Aurea’ 294
Blom, Jinny 154, 155 bubble-tubes 213 C. ‘Burghaltii’ 327 Chamaedaphne ‘Cassandra’ 204
bluebell see Hyacinthoides Buckley, Declan 194 C. glomerata ‘Superba’ 327 Chamaemelum nobile
bog gardens 101, 104, 134 Buddhism 179 C. poscharskyana 245 (chamomile) 204
bog plants 98, 348–51 Buddleja (butterfly bush) Campsis x tagliabuana ‘Madame chard, red 205
boggy soil, plants for 351 B. alternifolia ‘Argentea’ 300 Galen’ 318 Château de Villandry (France)
Borde Hill (West Sussex) 241 B. crispa 304 Canna 86, 97, 190, 191 201, 209
borders 18, 19, 129, 138 B. davidii ‘Dartmoor’ 304 C. ‘Durban’ 188, 338 Chatto, Beth 159, 221
cottage gardens 149, 150 B. globosa 300 C. indica 193 Chaumont-sur-Loire (France)
country gardens 239, 241, 242 budgeting 108, 127, 258 C. ‘Striata’ 338 247, 251
gravel borders 25, 158, 270–1 bug hotels 222 canopies 34, 43, 110, 231, 234 cherry see Prunus
Boston ivy see Parthenocissus building projects 256–77 cardoon see Cynara cardunculus cherry blossom 177
tricuspidata budgets 258 Carex (sedge) 82, 93, 99 chilli peppers 198
Botanical Gardens, University of materials 352–63 C. buchananii 344 chimeneas 78, 79
Göttingen (Germany) 221 pre-construction checklist 259 C. elata ‘Aurea’ 344 Chiminanthus praecox
Bougainvillea 160 preparations 258–9 C. oshimensis ‘Evergold’ 344 ‘Grandiflorus’ 300
boundaries 27, 44, 60–1, 86, 101, bulbs 81, 82, 92, 96, 123, 155, C. testacea 344 chipped bark see bark
110–11, 153, 238 338–43 carpet stones 262–3, 352 chives see Allium schoenoprasum
380/381 Resources
INDEX

Choisya x dewitteana ‘Aztec hard landscaping 39, 160, 161, 36, 72, 76, 133 case study 202–3
Pearl’ 305 171, 227 contractors 258, 259 cutting-edge gardens 250
Church, Thomas (1902–78) 169, Mediterranean gardens 160, Convallaria majalis 338 kitchen gardens 201
171, 208, 238 161, 164 Convolvulus cneorum 88, 311 Mediterranean 157, 158, 159,
Chusan palm see Trachycarpus summer colour 96, 313, 319, Cooper, Paul 254 160, 161, 162–3, 164
fortunei 341 Cor-Ten steel 65, 362 crab apple see Malus
Cimicifuga see Actaea winter colour 87 Cordyline 86, 171, 187, 188 Crambe cordifolia 322
circular shapes 26–7, 34, 38, 245 colour wheel 46–7, 48, 51 C. australis ‘Red Star’ 300 cranesbill see Geranium
Cirsium rivulare ‘Atropurpureum’ colour-themed gardens 129, Coreopsis verticillata ‘Moonbeam’ Crataegus 97, 281
322 154, 155 335 C. monogyna 214
Cistus communal gardens 111 Cormier, Claude 251 C. orientalis 297
C. x dansereaui ‘Decumbens’ compost (garden compost) 101, corms 338–43 C. persimilis ‘Prunifolia’ 297
311 102, 218, 219, 282, 283, 284 Cornerstone (California, USA) crazy paving 352
C. x purpureus 311 compost bins 219 251 Crinum
citrus fruits 143, 157 computer-aided design (CAD) cornflowers 173 C. x powellii 338
city gardens see urban gardens 113, 121 Cornus (dogwood) 95, 97 C. x p. ‘Album’ 338
Clarke, Patrick 175 concept gardens 135, 247 C. alba ‘Aurea’ 305 Crocosmia
classical architecture 36, 137, see also cutting-edge gardens C. a. ‘Sibirica’ 305 C. x crocosmiiflora ‘Coleton
138, 145 concrete 44, 54, 67, 177, 199, C. alternifolia 94 Fishacre’ 338
clay soils 82, 102, 104, 245, 286, 229, 237, 239 C. canadensis 93 C. x c. ‘Venus’ 339
289 coloured 175 C. controversa ‘Variegata’ 297 C. masoniorum ‘Firebird’ 339
Clematis 83, 284, 285 containers 362 C. kousa var. chinensis ‘China Crocus
C. alpina 285 cubes 251 Girl’ 297 C. goulimyi 339
C. armandii 318 in cutting-edge gardens 250, 251 C. mas 300 C. tommasinianus 339
C. ‘Bill MacKenzie’ 318 paving 58, 167, 169, 352 C. sericea ‘Flaviramea’ 305 C. t. f. albus 339
C. ‘Étoile Violette’ 318 polished 168, 185 Corokia x virgata 253 crops 199
C. florida var. sieboldiana 318 rendered 64, 235 Coronilla valentina subsp. glauca 312 see also productive gardens
C. ‘Huldine’ 318 screen blocks 356 corrugated iron 357 crown imperial see Fritillaria
C. integrifolia 327 seating 250 Corsican mint see Mentha imperialis
C. macropetala 285 sleepers 354 requienii Cupressus (cypress) 160
C. ‘Markham’s Pink’ 319 walls 54, 64, 357 Cortaderia (pampas grass) 94 C. arizonica var. arizonica 145
C. montana var. rubens 319 for water features 66 C. selloana ‘Aureolineata’ 345 C. macrocarpa ‘Goldcrest’ 297
C. ‘Pink Fantasy’ 128 coneflower see Echinacea; C. s. ‘Pumila’ 345 curves 26, 28, 38–9, 121, 169
C. ‘The President’ 319 Rudbeckia Corylus (hazel) 97 paths 28, 29, 38, 39
C. tubulosa ‘Wyevale’ 327 conifers 44 C. avellana ‘Contorta’ 97, 297 cutting-edge gardens 246–55
Clerodendron trichotomum var. conservation 221 C. maxima ‘Purpurea’ 301 case study 252–3
fargesii 300 conservatories 103 Cosmos 150 Cycas revoluta 194
climbers 19, 81, 83, 201, 318–21, container-grown plants, planting Cotinus (smoke bush) 97 Cyclamen
361 279, 280–1, 282 C. coggygria Rubrifolius Group C. coum subsp. coum
planting 284–5 containers 83, 101, 109, 157, 248, 301 f. albissimum 145
for screening 33, 44, 110, 123 362–3 C. ‘Grace’ 301 C. hederifolium 339
for spring and summer flowers climbers in 285 Cotoneaster 97 Cynara
319 for exotics 189 C. dammeri 312 C. cardunculus 81, 322
supporting 82, 273, 284–5 feeding 289 C. frigidus 94 C. c. Scolymus Group 88
training 284 as focal points 32, 33, 157, 161 C. f. Cornubia’ 301 Cyperus 99
climbing roses 284, 285, 320–1, grasses, sedges and bamboos C. horizontalis 312 C. alternifolius 99
361 for 345 C. lacteus 301 cypress see Cupressus
cloud pruning 72 perennials for 337 C. salicifolius ‘Gnom’ 184, 312 Cytisus battandieri 301
cobbles 54, 137, 262, 277, 355 plants for 337, 345 cottage gardens 64, 84, 133, 134,
cold frames 198
colour 46–7, 81, 89, 126, 171,
urban gardens 227, 228, 229,
231
146–55
case study 152–3 D
208, 230, 240 urns 129, 139, 362 sculpture in 72, 73 daffodils see Narcissus
applying 52–3 vegetables crops 198, 199, Coulter, Fran 32–3, 128 Dahlia 81, 97, 150, 188, 198, 201,
autumn colour 84, 97, 297 203 country gardens 38, 53, 134, 207
combining 47 watering 18, 288 236–45 D. ‘Bishop of Llandaff’ 189, 339
cutting-edge gardens 250 contemplation 15, 150, 177, 178, case study 242–3 D. ‘David Howard’ 339
effects of 14, 15, 21, 48–9 179 courtyards 53, 54, 73, 90–1, 167, D. ‘Gay Princess’ 339
focal plants 95 contemporary gardens 17, 34–5, 180, 202–3 daisy see Bellis
damp conditions, perennials for D. p. ‘Alba’ 154 Echinops bannaticus 323 E. mellifera 195
333 dining areas 32, 45, 69, 103, 160, eclectic influences 132, 248, 249 E. palustris 224
Daphne 174 ecosystems 218 E. polychroma 173, 336
D. bholua ‘Jacqueline Postill’ family gardens 207, 208, edgings 28, 59, 141, 144, 244, E. schillingii 328
305 210–11, 214, 215 262, 263 evening primroses see Oenothera
D. cneorum 312 urban gardens 227, 234 Edmond, Jeremy 145 evergreen interest, trees for 293
D. odora ‘Aureomarginata’ 312 Dipelta floribunda 301 Edwardian gardens 149, 151 evergreens 15, 81, 82, 84, 87, 97,
Darmera 82 disabilities, gardeners with 199 El Novillero (California, US) 169, 171, 178, 208
D. peltata 348 diseases 198, 203, 217, 218, 285 171 grasses, sedges and bamboos
Daucus carota subsp. sativus divided gardens 128 Elaeagnus 347
(carrots) 205 Djurovic, Vladimir 174 E. x ebbingei ‘Gilt Edge’ 301 hedges 86, 110
Davidia involucrata 294 dog’s-tooth violet see E. ‘Quicksilver’’ 302 shrubs 88, 111, 317
daylily see Hemerocallis Erythronium dens-canis elder see Sambucus Exochorda x macrantha
deadheading 19, 282, 288 dogwood see Cornus electrical safety 57, 66, 76, 78, 79 ‘The Bride’ 306
deciduous plants 81, 82 doors 61, 359 electricians 57, 66, 76, 78, 79, The Exotic Garden (Norwich)
deciduous trees 97, 110 Doronicum 173 259 188–9
planting under 122 D. ‘Little Leo’ 335 elephant’s ears see Bergenia The Exotic Garden of Eze
decking 34, 35, 40, 54, 58, 110, drainage 218, 259 Elymus magellanicus 345 (Monaco) 190
168, 169, 170, 171, 195, 215, improving 101, 102, 286 Ensete 189 exotic plantings 133
228, 235, 239, 260, 261, 354 in retaining walls 64 E. ventricosum 323 see also jungle style
curved 38, 58 on slopes 41, 104–5 entertaining 12, 76, 174, 210–11,
decking tiles 354
laying 266–7
storm-water chain 223
of surfaces 59, 104–5
227, 234, 235, 361
environmental issues 57, 69, 78, F
plastic 354 Sustainable Urban Drainage 133, 353 Fagus (beech)
for slopes 101, 105 System (SuDS) 105 Epimedium 93, 96, 233 F. sylvatica 225
wood treatments 267 drifts of plants 86, 96, 126, 239, E. x perralchicum 335 F. s. ‘Riversii’ 293
wooden 354 240, 241, 244 Equisetum (horsetail) 99, 182 falsa acacia see Robinia
Delphinium natural gardens 218, 220, 221 E. hyemale 99 pseudoacacia
D. Blue Fountains Group 323 see also prairie-style planting E. scirpoides 99 families, needs of 12–13
D. Pacific Hybrids 323 driftwood 72 Eranthis hyemalis 340 family gardens 13, 32–3, 109,
dens 208, 210 drives 355 Eremurus stenophyllus 328 134, 206–15
Deschampsia drought-tolerant plants 82, 122, Erica arborea var. alpina 305 case study 212–13
D. cespitosa ‘Bronzeschleier’ 125, 160, 162, 220 ericaceous plants 82, 102 Fargesia
175 dry sites, plants for 82, 92, 303 Eriobotrya japonica (loquat) 187, F. murielae 345
D. flexuosa ‘Tatra Gold’ 345 dry stone walls 54, 64, 214, 222, 195 F. rufa 234
design 356 Eryngium Farrand, Beatrix (1872–1959)
choosing materials 56–79 dry stream beds 157, 159, 179 E. agavifolium 323 238
designing with plants 80–99 Dryopteris 93 E. bourgatii ‘Oxford Blue’ 335 Fatsia 187
first principles 20–55 D. affinis ‘Cristata’ 129 Erysimum 89 F. japonica 194, 306
garden assessment 100–11 D. erythrosora 328 Erythronium dens-canis 340 fedges 359
gathering inspiration 24–5 D. wallichiana 323 Escallonia ‘Apple Blossom’ 305 fences 41, 44, 147, 269, 284
styles 130–255 Dumbarton Oaks (Washington espaliers 200 bamboo 179, 184
see also plans DC, US) 141 Eucalyptus 188, 189 fence posts, putting up 268–9
design software 113, 121 Dunnett, Nigel 223, 224 E. gunii 293 height 111
Deutzia 86 Duranta erecta ‘Geisha Girl’ 193 Eucomis bicolor 340 materials 357, 358–9
diagonal layouts 26, 28, 35, 120, 121 Euonymus picket fences 33, 61, 147, 358
Dial Park (Worcestershire)
148–9 E E. alatus ‘Compactus’ 224
E. fortunei ‘Emerald Gaiety’ 312
staining 269
fennel see Foeniculum
Dianthus early-flowering perennials 327 E. japonicus 194 ferns 91, 93, 99, 222
D. ‘Bovey Belle’ 335 East Lambrook Manor E. j. ‘Latifolius Albomarginatus’ see also Adiantum; Asplenium;
D. cruentus 162 (Somerset) 151 164 Athyrium; Dryopteris; Matteuccia;
Dicentra ‘Bacchanal’ 335 easy-care gardens 13, 84 Eupatorium maculatum Osmunda; Polypodium
Dicksonia antarctica 297 Eccremocarpus scaber 285, 319 Altropurpureum Group 348 fertilizer 282, 285, 286, 287, 289
Dierama pulcherrimum 323 Echinacea 221 Euphorbia 159 Festuca
Digitalis (foxglove) 151 E. ‘Art’s Pride’ 328 E. characias subsp. wulfenii F. glauca 145
D. grandiflora 327 E. pallida 244 ‘John Tomlinson’ 312 F. g. ‘Elijah Blue’ 345
D. x mertonensis 328 E. purpurea 214, 328 E. griffithii ‘Dixter’ 328 Ficus (fig)
D. purpurea 242 E. p. ‘Alba’ 328 E. x martinii 328 F. carica ‘Brown Turkey’ 297
382/383 Resources
INDEX

field maple 153 foxglove see Digitalis garden styles 16–17, 132–5 setts 54, 59, 352
Filipendula rubra ‘Venusta’ 349 fragrance see scent Gardens of Appeltern grape hyacinth see Muscari
firepits 78, 209, 253 framing views 32–3 (The Netherlands) 231 grass paths 237, 239
fireplaces 78, 230–1 Fraxinus excelsior ‘Pendula’ 294 Garrya 97 grasses 36, 81, 82, 88, 141, 155,
firethorn see Pyracantha Fritillaria (fritillary) 96 gates 61, 111, 359 171, 185, 221, 344–7
fish 184 F. imperialis 340 Gazania 129 for autumn colour 97
Fish, Margery (1888–1969) 151 F. i. ‘Maxima Lutea’ 340 gazebos 160, 248, 360 country gardens 238–9, 240,
flambeaux 234 F. meleagris 220, 340 Gazerwitz, Paul 142–3 241
flint 54, 245, 356 front gardens 53, 144, 151, 361 Generalife (Spain) 141, 157 cutting-edge gardens 249
flooding 105, 223 Frost, Adam 31, 129 Genista 92, 159 urban gardens 228, 229,
flooring kits 354 frost pockets 102 geometric layouts 26–7, 34–5, 230–1
flower colour 89, 123 fruit 15, 148, 198, 275 36, 37, 138, 205, 228 for winter interest 53
flowering period 122 fruit trees 198, 199, 200 formal gardens 135, 137 see also Miscanthus; Molinia;
focal plants 81, 85, 94–5 FSC (Forest Stewardship Modernist gardens 167, 168, New Perennial Movement;
focal points 21, 28, 33, 37, 148, Council) 53, 57, 65, 69, 353 170–1, 173 Pennisetum; prairie-style
238 Fuchsia productive gardens 200, 205, planting; Stipa
containers 32, 33, 34 F. magellanica 97, 164, 306 208 gravel 137, 168, 185, 355
formal gardens 137, 138–9 Fukuhama, Masao 178 geotextile membrane 266–7, Breedon 154, 271
Japanese gardens 179 functional planting 84 270, 271, 277 coloured 139, 271
mosaics 164 functional requirements of Geranium (cranesbill) 16, 91, 93 gravel containment mats
plants 81, 85, 94–5 gardens 12–13, 134 G. ‘Brookside’ 329 355
sculpture 34, 43, 73, 228, 242 funky gardens 17 G. clarkei ‘Kashmir White’ Japanese gardens 177, 178–9,
seats 68, 148, 237 furniture 25, 57, 68–71, 228, 336 180, 185
shrubs for 301 248, 261 G. endressii 93 laying 259
structures 121, 179, 211, 361 care of 69 G. ‘Jolly Bee’ 214 as mulch 107, 158, 270, 283
trees for 295 contemporary 68, 71, 169, 233 G. macrorrhizum 93, 329 paths 39, 53, 58, 138, 147, 149,
Foeniculum (fennel) designing with 68–9 G. ‘Nimbus’ 329 199, 237, 238, 244, 261, 263
F. vulgare 88 foldaway 68 G. palmatum 194 self-binding 154, 271, 355
F. v. ‘Purpureum’ 324 hardwoods 69, 175 G. ‘Patricia’ 155 self-seeding 155
Foerster, Karl (1874–1970) 154 modernist 70 G. phaeum 329 in Zen gardens 177, 179
foliage 15, 122, 230 rain and UV damage 69 G. sanguineum 144 gravel borders 25
foliage gardens 161, 186–95 rustic 53, 68, 69, 70, 149, 150, G. sylvaticum 224 laying 270–1
case study 192–3 219 Geum 91 gravel gardens 122
foliage interest 89, 123, 230 sculptural 68, 71, 229 G. ‘Lady Stratheden’, syn. G. Mediterranean 157, 158–9,
climbers for 321 as storage 69, 361 ‘Goldball’ 336 160, 165
perennials for 331 see also seats G. ‘Prinses Juliana’ 223 Gravetye Manor (West Sussex)
shrubs for 307 fusion style 135 Gibbs, James (1682–1754) 145 238
foliage plantings 129, 133 Giles, Will 188 Great Dixter (East Sussex) 240,
foliage plants 93, 228, 240
follies 361 G Gladiolus 96, 123
G. byzantinus 143
241
“green” cement 353
Forest Stewardship Council see gabions 356 glass 45, 65, 67, 184, 229 green roofs 183, 218, 219, 224,
FSC Galanthus (snowdrop) 97 ground-glass 271 360
forget-me-not see Myosotis G. ‘Atkinsii’ 340 mosaics 164 greenhouses 109, 198, 199, 205,
form 8, 45, 87 Galium odoratum 204 panels 43, 63, 185, 357 360
formal gardens 28, 52, 53, 132, Galtonia viridiflora 340 pebbles 355 grey-leaved plants 82, 92
136–45, 167, 237 galvanized metal 363 Gleditsia triacanthos ‘Sunburst’ Groeningen, Isabelle Van 154
case study 142–3 Garden of Australian Dreams 294 ground cover 81, 85, 92–3, 224
Mediterranean 157, 160, 161, (Canberra, Australia) 251 globe thistle see Echinops shrubs for 309
164 garden compost 101, 102, 218, bannaticus grouping plants 126
near the house 126, 237 219, 282, 283, 284 Golden Gate Park growing conditions 101
symmetry 21, 26, 132, 135 garden design 7–9, 21 (San Francisco, US) 181 growth habits 83
see also parterres garden festivals 247, 251 Goldsworthy, Andy 247 Guevrekian, Gabriel 171
Fothergilla 95, 97 garden offices/studios 65, 223, Goodman, Will 248 Guilfoyle, Annie 195
foundations 259 360 Google Earth 119 Guinness, Bunny 204, 205
patios 264–5 garden onions 205 gourds 201 Gunnera 86
fountains 99, 137, 139, 140, garden “rooms” (compartments) gradients, measuring 115 G. manicata 349
141, 249 62–3, 148, 165 granite 59, 225 Gustafson, Kathryn 247
bubble fountains 32, 99, 161, 362 garden rooms (structures) 360 polished 54, 353 Gypsophila 88
 G. paniculata ‘Bristol Fairy’ formal 137, 138, 139, 244 hop see Humulus I. laevigata 349
329 low 33, 34 hornbeam see Carpinus I. pallida ‘Variegata’ 341
mixed 239, 280 horsetail see Equisetum I. pseudacoris 99

H planting 280–1
and right to light 111
Hosta 32, 33, 53, 88, 89, 91, 93,
97, 99, 192
I. p. ‘Variegata’ 349
I. reticulata 92
habitats 108, 237, 238, 283 for structure 86, 139, 200, 237, H. ‘Francee’ 184, 330 I. sibirica 225
cottage gardens 153 238, 239, 240, 241, 244 H. ‘Krossa Regal’ 129 I. s. ‘Butter and Sugar’ 349
Japanese gardens 183 tall 101, 111 H. ‘Royal Standard’ 154, 330 I. s. ‘Perry’s Blue’ 349
natural gardens 217, 218, 220, yew 73, 75, 139, 145, 155, 239, H. sieboldiana var. elegans 164, I. ‘Superstition’ 341
222, 225 241, 293 330 I. versicolor ‘Kermesina’ 349
water features 99, 105, 134 height 42–3, 122 H. ‘Sum and Substance’ 154 I. ‘White Knight’ 341
Hakonechloa macra ‘Aureola’ 89, levels 42 hot, dry sites, shrubs for 303 ironwork 145, 254, 357
154, 190, 345 Helenium ‘Moerheim Beauty’ 329 hot tubs 191 irregularly-shaped plots 116–17,
Hall, Stephen 219 Helianthemum 88, 92 houseleek see Sempervivum 119
Hamamelis 95, 97, 123 H. ‘Wisley Primrose’ 313 tectorum Islamic influence 36, 37, 141
H. x intermedia ‘Jelena’ 302 Helianthus (sunflower) 188 hues 46, 49 Isolepsis cernua 99
H. x i. ‘Pallida’ 302 H. ‘Lemon Queen’ 324 Humulus lupulus ‘Aureus’ 320 Itea ilicifolia 302
handkerchief tree see Davidia H. ‘Monarch’ 324 hurdles 54, 191, 201, 359 ivy see Hedera
involucrata Helichrysum italicum subsp. Hurst Garden (US) 248 ivy-leaved geranium see
Hardenbergia violacea 319 serotinum 313 hyacinth see Hyacinthus Pelargonium
hardwoods 65, 67, 69, 175, 274, Heliconia rostrata 195 Hyacinthoides non-scripta 340
353, 354, 358
hardy geraniums see Geranium
Helleborus (hellebore) 96
H. argutifolius 329
Hyacinthus (hyacinth) 96
H. orientalis ‘Blue Jacket’ 340 J
hawthorn see Crataegus H. foetidus 329 Hydrangea 95 Jacobsen, Arne 171
hazel see Corylus H. x hybridus ‘Pluto’ 336 H. anomala subsp. petiolaris Japanese anemone see Anemone
health 15 H. orientalis 93 285, 320 x hybrida
heat islands 188 Hemerocallis (daylily) H. arborescens ‘Annabelle’ Japanese gardens 176–85, 249
heather see Calluna H. ‘Buzz Bomb’ 329 306 case study 182–3
heating 57, 78–9, 174, 230–1, H. ‘Marion Vaughn’ 330 H. aspera Villosa Group 306 Japanese maple see Acer
361 herb gardens 37, 52, 165, 204, H. macrophylla 144 Japanese-style gardens 133,
Hebe 88, 123, 128 205 H. m. ‘Mariesii Lilacina’ 306 184–5, 355
H. ‘Great Orme’ 312 herbaceous perennials see H. paniculata ‘Unique’ 302 Jardin Majorelle (Marrakesh,
H. macrantha 313 perennials H. quercifolia ‘Snow Queen’, Morocco) 161, 164
H. ‘Midsummer Beauty’ 306 herbs 15, 81, 135, 149, 152, 158, syn. H. ‘Flemygea’ 306 Jasione montana 125
H. ochracea ‘James Stirling’ 198, 200, 201, 203, 205 Jasminum (jasmine) 212, 284, 285
313
H. ‘Pewter Dome’ 145
Mediterranean 102, 165
raised beds 275 I J. nudiflorum 307
J. officinale
H. pinguifolia 88, 92 Hervey-Brookes, Paul 233 Iberis sempervirens 88 ‘Argenteovariegatum’ 320
H. p. ‘Pagei’ 313 Hestercombe (Somerset) 241 ideas see inspiration Jekyll, Gertrude (1843–1932)
H. ‘Red Edge’ 313 Heuchera Ilex (holly) 111 147, 149, 151, 159, 238, 241
Hedera (ivy) 93, 285 H. ‘Chocolate Ruffles’ 129 I. aquifolium ‘Silver Queen’ 302 Jellicoe, Sir Geoffrey (1900–96)
H. colchica ‘Dentata Variegata’ H. ‘Pewter Moon’ 336 I. crenata 94 154, 185
319 H. ‘Plum Pudding’ 89, 235, 336 Imperata cylindrica ‘Rubra’ 345 Jensen, Jens (1860–1951) 218
H. c. ‘Sulphur Heart’, syn H. c. H. ‘Red Spangles’ 336 Indigofera heterantha 307 jets 207, 228
‘Paddy’s Pride’ 319 Heywood, Tony 255 infinity pools 167, 175 Jim Thompson House (Bangkok,
H. helix 93 Hibiscus syriacus ‘Diana’ 306 informal gardens 21, 157, 160, Thailand) 190
H. h. ‘Kolibri’ 254 Hidcote Manor 164 Joyce, Sam 234, 235
H. h. ‘Oro di Bogliasco’, (Gloucestershire) 148, 151 informal ponds 261, 276–7 Judas tree see Cercis siliquastrum
syn. H. h. ‘Goldheart’ 319 Hidden Gardens 208 insects 12, 99, 200, 219, 221, Judycki, Maggie 184
H. h. ‘Parsley Crested’ 319 high-maintenance gardens 283, 285 Juncus 99
hedges 19, 44, 45, 147, 168, 224 18–19, 84 bug hotels 222 J. effusus f. spiralis 99
beech 86, 225, 359 hillsides, natural 41 inspiration 16–17, 21, 24–5, 122, J. patens ‘Carman’s Gray’ 99
box 53, 83, 139, 200, 205, 225, Hippophae rhamnoides 302 133 jungle style 9, 27, 191, 193
230, 239 holly see Ilex interlocking circles 38 see also foliage gardens
country gardens 237, 238, 239, holly oak/holm oak see Inula magnifica 324 Jungles, Raymond 195
240, 241, 244 Quercus ilex Ipomoea (morning glory) 285 Juniperus (juniper)
deciduous 86 honesty see Lunaria Iris 91, 92, 98, 122, 171, 177 J. communis ‘Hibernica’ 302
evergreen 86, 139 honeysuckle see Lonicera I. ‘Golden Alps’ 341 J. x pfitzeriana 313
384/385 Resources
INDEX

J. x p. ‘Pfitzeriana Aurea’ 313 82, 92, 150, 198 Ligustrum Lysimachia 93, 98
J. procumbens 313 L. angustifolia 214 L. delavayanum 94, 175 L. ephemerum 331
J. squamata ‘Blue Carpet’ 314 L. a. ‘Munstead’ 314 L. jonandrum 144 Lythrum 98
L. pedunculata subsp. lusitanica L. ovalifolium ‘Aureum’ 302 L. salicaria ‘Feuerkerze’ 331

K 254
L. stoechas 165, 314
Lilium (lily) 96
L. ‘African Queen’ 341
L. virgatum ‘The Rocket’ 150

Katsura Imperial Villa (Japan) 181

Kazayuki, Ishihara 183
Mediterranean gardens 157,
158, 159, 165
L. ‘Black Beauty’ 341
L. Citronella Group 341 M
Kensington Roof Gardens Lavatera 83 L. martagon 341 MacDonald, Catherine 51
(London) 231 L. x clementii ‘Barnsley’ 307 L. Pink Perfection Group 342 Macleaya microcarpa ‘Kelway’s
Kent, William (1685-1748) 241 L. x c. ‘Bredon Springs’ 307 L. regale 342 Coral Plume’ 324
Kiftsgate Court lavender see Lavandula L. ‘Star Gazer’ 342 Magnolia 96, 179
(Gloucestershire) 241 lawns 34, 148, 168, 187, 230, 288 lily see Crinum; Lilium M. liliiflora ‘Nigra’ 307
Kiley, Dan 144, 171, 238 country gardens 238, 239, 243, lily-of-the-valley see Convallaria M. stellata 307
Kirby, Rick 75 245 majalis Mahonia 81, 97
Kiringeshoma palmata 349 family gardens 207, 214 lime see Tilia M. japonica 307
kitchen gardens 64, 204, 205 formal gardens 137, 138, 139, limestone 140, 155, 159, 160, M. x media ‘Buckland’ 254
see also vegetable gardens 140, 142 167, 168, 171, 250, 353 M. x m. ‘Charity’ 302
Kitson, Ian 214 laying turf 279, 286 liquid feeds 289 maintenance 18–19, 288–9
Knautia macedonica 330 mowing 287 living willow 359, 360 mallow see Lavatera
Kniphofia (red hot poker) 237 seeding 279, 287 Lloyd, Christopher (1921–2006) Malus
K. ‘Bees’ Sunset’ 330 work involved 18, 19 240 M. ‘Evereste’ 298
K. ‘Percy’s Pride’ 330 Lawrenson, Fiona 244, 245 loams 102, 104 M. ‘Royalty’ 298
knot gardens 137 layering shapes 34–5 Lobelia 188 man-made materials 229, 248–9,
Kogan, Marcio 168–9 Le Nôtre, André (1613–1700) local materials 189, 217, 218, 255
Kolkwitzia amabilis ‘Pink Cloud’ 139, 141 219 Manchester Allotment Society
307 lead planters 363 log storage 221 205
leafmould 283 “lollipop” trees 45 manure 102, 218, 282, 284, 289

L legal issues, boundaries 101, 110,

111
London Garden Designer
(garden design) 22–3
maple see Acer
marble 142, 353
Laburnum 95 lemon trees 143 London Wetland Centre 221 marginal plants 98, 122, 219, 221,
L. x wateri ‘Vossii’ 298 Leucanthemella serotina 324 Long, Richard 247 241, 277, 349
lady’s mantle see Alchemilla mollis Leucanthemum x superbum Lonicera (honeysuckle) 97, 284, marjoram see Origanum
Lagurus ovatus 346 ‘Wirral Supreme’ 324 285 Martino, Steve 220, 248
lakes 237, 238 Leucojum aestivum ‘Gravetye L. nitida 94 Mason, Olive 148–9
Lamium Giant’ 341 L. n. ‘Baggesen’s Gold’ 128, 314 materials 205, 228, 352–63
L. maculatum ‘Red Nancy’ 336 levels 23, 34–5 L. periclymenum ‘Serotina’ 224, checklist 67
L. m. ‘White Nancy’ 336 Liatris spicata ‘Kobold’ 330 320 choosing 9, 56–79, 259
Lamprocapnos spectabilis ‘Alba’ lichens 177 L. pileata 93, 314 local 189, 217, 218, 219
328 lifestyle changes 133 loquat see Eriobotrya japonica man-made 229, 248, 249, 255
land art 247 light 21, 48, 140, 167, 248 Lost Gardens of Heligan modern 53, 133, 249, 250–1,
landscape fabric 159, 283 right to 111 (Cornwall) 201 254
landscape, links to 27, 33, 238, lighting 34–5, 76–9, 111, 140, Lotus hirsutus 88 Modernist gardens 167, 169
239, 245 85, 235, 254 Loudon, John Claudius (1783– natural 64, 229, 239, 248
Landscape Movement 237 cutting-edge gardens 248, 249, 1843) 229 for paths 28, 29, 57
lanterns, stone 176, 179, 181 254 low-maintenance gardens 19, 84, for screens and boundaries
larch see Larix family gardens 207, 214 195, 234, 235 60–1
large shrubs 300–3 installations 57, 76, 78, 258, see also prairie-style planting for slopes 64, 65
large trees 292–3 259 Luis Cezar Fernandes Garden for structures 64, 65
Larix (larch) LEDs 53, 76, 77, 78, 79, 249 (Brazil) 188 for surfaces 58–9
L. kaempferi ‘Pendula’ 298 Modernist gardens 168, 169, Lunaria (honesty) 53 sustainable 133, 217, 218, 219
late-flowering perennials 329 174, 175 Lupinus ‘Chandelier’ 331 for walls and railings 356–7
late-flowering shrubs 315 for mood 15, 77 Lutyens, Edwin (1869–1944) 149, for water features 66
Lathyrus odoratus (sweet pea) solar 57, 79 241 matrix planting 154
164, 201, 284, 285 urban gardens 227, 228, 229, Lychnis Matteuccia struthiopteris 350
Latz, Peter 250 230 L. coronaria 331 mature gardens, rejuvenating
Laurus nobilis (bay) 45, 203, 298 Ligularia 88 L. c. ‘Alba’ 331 108, 109
Lavandula (lavender) 16, 45, 73, L. ‘The Rocket’ 350 L. flos-cuculi 225 mature trees 109
meadow plantings 147, 217, 218, Monarda case study 222–3 O. planiscapus ‘Nigrescens’
241 M. ‘Scorpion’ 244 natural hillsides 41 346
meadows 19, 220, 237, 238, 239 M. ‘Squaw’ 331 natural materials 64, 229, 239, options, assessing 108–9
measuring a plot 114, 115, Mondrian, Piet 173 248 orchards 237
116–17, 261 monochrome colours 53 natural stone see stone organic approach 217
Meconopsis betonicifolia 251 monoculture plantings 240 naturalistic plantings 14, 86, 122, organic layouts 21, 34, 38–9, 121
meditation 177, 179 “mood boards” 24 126, 237 organic matter 92, 93, 280, 282,
Mediterranean gardens 52, 72, moods 14–15, 21, 27 navigation 28–9, 32 286, 289
124–5, 156–65 Moorish influence 157, 158, 161, Nectaroscordum siculum subsp. orientation 49
case study 162–3 164, 361 bulgaricum 343 see also aspect
Mediterranean herbs 102 morning glory see Ipomoea neighbours 110, 111, 259 Origanum
Mediterranean plantings 92, Morus nigra (mulberry) 294 see also privacy O. ‘Kent Beauty’ 314
106–7, 125, 143, 248, 250, 283 mosaics 53, 59, 137, 356 Nepeta 92 O. laevigatum ‘Herrenhausen’
medium-sized perennials Mediterranean gardens 157, N. grandiflora ‘Dawn to Dusk’ 331
326–33 158, 159, 164 331 O. vulgare ‘Aureum’ 165, 215
medium-sized shrubs 304–9 moss gardens 180 N. nervosa 128 ornamental cherry see Prunus
medium-sized trees 294–5 mosses 99, 177, 179, 183 N. ‘Six Hills Giant’ 331 Orontium 98
Mee, Claire 214, 215 movement 34, 145, 184, 185, 249 Nerine 123 O. aquaticum 99
Melianthus major 324 mowing lawns 287 N. bowdenii 343 Osmanthus 172
Mentha (mint) mowing strips 271, 275 Nerium oleander 165 O. x burkwoodii 308
M. requienii 83 mulberry see Morus neutral colours 53 Osmunda regalis 350
M. suaveolens 204 mulches 283, 288 New Perennial Movement 217, Oudolf, Piet 240, 241, 244
metal 54, 64, 65, 67, 354 chipped bark 280, 283, 285 218, 221, 244 outdoor living 109, 133, 168, 174,
steps 65 garden compost 102, 283 new styles 135 231
see also aluminium; steel gravel 107, 158, 270, 283 Newell, Karla 164 outdoor rooms 12, 62–3, 76,
metal grilles 354 leafmould 283 NGS (National Garden Scheme) 109, 134, 164, 168, 208, 223,
microclimates 110, 133, 164, 165 manure 102 Yellow Book 231 228, 229
midrange plants 81, 85, 86, 88–9 organic matter 282 Nixon, Philip 228–9 overlaid photographs 22, 117,
Mies van der Rohe, Ludwig multi-level layouts 40–1 Nymphaea (waterlily) 98, 99, 277 126
(1886–1969) 174 multi-stemmed trees 172 N. alba 225 oxygenators 98
Millennium Park (Chicago, US) Munstead Wood (Surrey) 149, N. ‘Darwin’ 350
211
miniature landscapes 177, 180
151
Musa (banana) 188, 189
N. ‘Froebelii’ 350
N. ‘Gonnère’ 350 P
minimalism 17, 133 M. basjoo 195, 235, 324 N. ‘Marliacea Chromatella’ 350 Pachysandra terminalis 93, 336
mint see Mentha Muscari (grape hyacinth) 96 N. tetragona 99 paddlestones 355
Miscanthus 86 M. armeniacum ‘Blue Spike’ 342 Nyssa sinensis 294 Paeonia (peony) 84, 97, 177
M. sinensis 97, 235 M. latifolium 342 P. delavayi 308
M. s. ‘Gracillimus’ 346
M. s. ‘Kleine Silberspinne’ 346
Myers, Robert 125
Myosotis (forget-me-not) 53 O P. lactiflora ‘Duchesse de
Nemours’ 154
M. s. ‘Malepartus’ 346 M. scorpioides 99, 350 oak see Quercus P. l. ‘Sarah Bernhardt’ 332
M. s. ‘Silberfeder’ 346 Myrtus (myrtle) obelisks 201, 285, 360 pagoda tree see Sophora japonica
M. s. ‘Zebrinus’ 346 M. communis ‘Flore Pleno’ 307 Ocimum basilicum (basil) 205 paint 46, 353, 357, 360, 361
mixed borders 18 O’Connor, John 73 Paley Park (New York, US) 231
mixed hedges 239, 280
mock orange see Philadelphus N Odette Monteiro Garden see
Luis Cezar Fernandes Garden
pallets 357
palms 160, 164, 188, 189, 190,
modern materials 53, 133, 249, Nandina Oehme van Sweden 151 193, 249, 250
254 N. domestica 308 Oenethera fruticosa ‘Fyrverkeri’ see also Trachycarpus
Modernist gardens 126, 132, N. d. ‘Fire Power’ 308 336 pampas grass see Cortaderia
166–75, 248 Narcissus (daffodil) 96, 214 offsets (in surveying) 116 Panicum 221
case study 172–3 N. ‘Bridal Crown’ 342 Olaf, Clare 213 P. virgatum ‘Heavy Metal’ 155,
Modernist influences 155 N. poeticus var. recurvus 342 Olea europaea (olive) 43, 200, 346
moisture-loving plants 101, 104, N. ‘Tête-à-Tête’ 342 215, 298 P. v. ‘Rehbraun’ 244
333 N. ‘Thalia’ 342 Mediterranean gardens 16, pansy see Viola
Molinia nasturtium see Tropaeolum 157, 158, 165 Papaver (poppy) 151
M. caerulea subsp. arundinacea native plants 64, 99, 195, 220, Olearia macrodonta 303 P. orientale ‘Black and White’
‘Windspiel’ 88 221, 225, 238 olive see Olea 332
M. c. subsp. caerulea natural forms 45 onions (garden) 205 Pape, Gabriella 154
‘Variegata’ 346 natural gardens 216–25 Ophiopogon papyrus see Cyperus papyrus
386/387 Resources
INDEX

parsley see Petroselinum crispum Pelargonium Phlomis 240 container-grown plants 279,
parterres 37, 81, 126, 204, 205, ivy-leaved 16 P. fruticosa 314 280–1, 282
239 P. ‘Vancouver Centennial’ 164 P. russeliana 244, 332 hedges 280–1
formal gardens 135, 137, 138, Pennisetum alopecuroides 83, 347 Phlox perennials 282–3
139, 140 Penstemon P. paniculata ‘Balmoral’ 332 shrubs 282–3
Mediterranean 157 P. ‘Alice Hindley’ 332 P. p. ‘Norah Leigh’ 332 trees 280–1
Parthenocissus P. ‘Andenken an Friedrich Phormium 81, 94, 123, 187, 189 water features 98–9
P. henryana 320 Hahn’ 332 P. cookianum subsp. hookeri planting density 126, 127
P. tricuspidata ‘Veitchii’ 320 peony see Paeonia ‘Tricolor’ 195, 333 planting palette 84, 89, 122
Passiflora (passion flower) 84, perennial weeds 278, 286, 289 P. ‘Sundowner’ 191 planting plans 23, 113, 122–9
284 perennials 81, 82, 84, 85, 86, P. tenax 190 cottage gardens 154–5
P. caerulea 320 109, 152, 240 P. t. Purpureum Group 324 country gardens 244–5
paths 28–9, 45, 177, 225, 238, for architectural interest 323 Photinia x fraseri ‘Red Robin’ 303 cutting-edge gardens 254–5
243 for attracting wildlife 325 photographs, designing with 22, family gardens 214–15
bark 39, 271, 354 for autumn colour 97 117, 122, 126 foliage gardens 194–5
brick 58, 149, 190, 199, 202, for containers 337 Phygelius x rectus ‘African Queen’ formal gardens 144–5
205, 213, 262 for damp conditions 333 314 Japanese-style gardens 184–5
cottage gardens 147, 149, 150 early-flowering 327 Phyllostachys Mediterranean gardens 164–5
curves 28, 29, 38, 39 for foliage interest 331 P. aurea 185 Modernist gardens 174–5
edgings 262 late-flowering 329 P. aureosulcata var. aureocaulis natural gardens 224–5
grass 237, 239 medium-sized 326–33 347 productive gardens 204–5
gravel 39, 53, 58, 138, 147, 149, planting 282–3 P. nigra 194, 347 scale for 118
199, 205, 237, 238, 244, 261, shade-tolerant 335 P. n. f. henonis 254 sustainable gardens 224–5
263 small 334–7 P. sulphurea f. viridis 45 urban gardens 234–5
laying 262–3 for summer colour 123 P. vivax f. aureocaulis 347 planting techniques 278–89
lighting 76 tall 322–5 Physocarpus opulifolius ‘Diabolo’ plantings
materials for 28, 29, 57, 352–5 for winter interest 53 308 in blocks 126, 168, 169, 170,
permeable 271 see also drifts, planting; New Picea (spruce) 171
in productive gardens 198, 199, Perennial Movement P. abies ‘Reflexa’ 315 changed seasonally 37
202, 205 perfume see scent P. breweriana 295 cottage gardens 147, 148–9
routes of 21, 28–9, 35, 39 pergola kits 261, 272–3, 361 P. pungens ‘Koster’ 295 formal near the house 126, 237
stone 58, 154, 199, 225, 352–3 pergolas 32, 34, 151, 215, 237, picket fences 33, 61, 147, 358 informal 36
timber 31 361 Pieris 82, 182 Japanese gardens 177, 178–9
width 261 building 261, 272–3 P. japonica 308 Mediterranean 157, 160, 161,
patio kits 354 materials for 64, 65, 235, 261, P. j. ‘Blush’ 308 164–5, 248, 250
patio ponds 362 272–3, 361 pine see Pinus Modernist gardens 167
patios 59, 103, 109, 110, 111, 354 for privacy 110, 128, 228 pink see Dianthus naturalistic 14, 86, 122, 126,
care 265 for shade 158, 159, 361 Pinus (pine) 125, 175, 180 224–5, 237
construction 261, 264–5, 354 periwinkle see Vinca P. mugo ‘Mops’ 315 in paving 29, 59, 147, 160
planting pockets 265 permeable hard surfaces 218, P. sylvestris ‘Aurea’ 295 structural 45
site for fragrant plants 123 220 P. wallichiana 293 see also drifts of plants;
Paulownia tomentosa 295 Perovskia ‘Blue Spire’ 314 Pittosporum tenuifolium 303 prairie-style planting
pavers 58, 137, 248, 264–5 Persicaria planning controls 110, 111 plants
paving 34, 58, 137, 140, 228, P. amplexicaulis ‘Firetail’ 332 planning permission 111, 259 designing with 80–99
230, 248 P. bistorta ‘Superba’ 129, 332 plans 8, 21, 22–3 selecting 84–5, 122–3
brick 237, 352 perspective 42, 43, 94, 116–17 bubble diagrams 21, 22, 25, understanding 82–3
concrete 167, 169 false perspective 243 120, 126 platforms 40, 105
cottage gardens 148 Perspex 53, 67, 247, 250 creating 112–29 play areas 12, 25, 33, 109, 132,
crazy 352 pesticides 217 cross-sections 23 361
cutting curves into 265 pests 149, 198, 201, 203, 217, overhead plans 23 family gardens 38, 207, 208–9,
materials for 352–3 218, 282 symbols 22 211, 213, 215
plants in 29, 59, 147, 160 Petroselinum crispum (parsley) see also planting plans; scale pleached trees 137, 138, 140,
stone 137, 139, 145, 160, 163, 204 plans; site plans 142–3, 228–9, 230
174, 232, 237, 352–3 pH of soils, testing 102 planters 54, 170, 201, 235, 362, polished concrete 168, 185
terracotta 165 Phalaris arundinacea var. picta 347 363 polished granite 54, 353
pear see Pyrus Phaseolus coccineus (runner planting 259 pollarded trees 295
pebbles 53, 55, 59, 122, 254, 271 beans) 205 bare-root plants 279, 280 polyanthus see Primula
glass 355 Philadelphus ‘Belle Etoile’ 308 climbers 284–5 Polyanthus Group
Polypodium interjectum privacy 33, 111, 191, 193, 194, raised planters 201 (London) 143, 153, 163, 173,
‘Cornubiense’ 337 215, 234 rambler roses 150, 284, 320 183, 203, 223, 231, 233, 243,
Polystichum setiferum 195 hedges for 101 ramps 40, 41 253, 254
ponds 210, 241, 261 pergolas for 110, 128, 228 random planting 126 RHS Garden Wisley (Surrey) 201
making 276–7 screens for 43, 84, 111, 194, Ranunculus RHS Hampton Court Palace
margins 220–1 233 R. aquatilis 98 Flower Show (Surrey) 193,
materials for 66 privet see Ligustrum ovalifolium R. flammula 99 213, 247, 251
patio ponds 362 Probert, Pip 63 reclaimed wood 53, 65, 68, 69, rhubarb see Rheum
plants for 349 productive gardens 135, 225, 274 Rhus 97
safety 109, 207, 210 196–205 rectangular plots R. typhina 299
siting 98 case study 202–3 measuring 114 Ribes sanguineum ‘Pulborough
for wildlife 66, 99, 105, 134, professionals 258, 261 site plans 115 Scarlet’ 308
208, 211, 219 see also contractors; rectilinear structure 120, 137, rills 54, 138, 141, 158, 159, 162,
see also pools electricians; surveyors 167, 168, 230 243, 276–7
Pontederia 98, 237 proportion 36 recycled water 105, 288 Roberts, Debbie 165
P. cordata 350 Provençal style 159, 160 recycled wood 53, 65, 69, 225, Robinia pseudoacacia ‘Frisia’ 295
pools 14, 55, 101, 105, 152, 189, pruning 19, 72, 94, 178, 289 274 Robinson, William (1838–1935)
234 cutting back 282, 289 recycling 217, 218, 219, 220, 361 218, 238
cottage gardens 152 to allow in more light 111 water 105, 288 rock gardens 83
country gardens 237, 239 Prunus 96, 97, 177, 179 recycling cupboards 361 rock rose see Cistus;
formal 99, 138, 141, 237 P. x cistena 315 red chard 205 Helianthemum
infinity pools 167, 175 P. laurocerasus 129 red hot poker see Kniphofia rocks 178, 179, 180, 189, 250
Japanese gardens 177, 184, 185 P. l. ‘Zabeliana’ 315 reflections, in water 55, 77, 139, Rodgersia 82, 88, 93
materials for 66 P. ‘Mount Fuji’ 298 161, 167, 168, 169, 177, 185, R. pinnata ‘Superba’ 351
Mediterranean gardens 159, P. padus ‘Watereri’ 295 189, 234, 240–1 role of the garden 12–13, 134
160, 161, 164 P. serrula 298 reflective surfaces 254 Romneya coulteri ‘White Cloud’
Modernist gardens 170, 171 P. spinosa 111 rejuvenating a mature garden 325
raised pools 66 P. ‘Spire’ 298 108, 109 roof gardens 158, 226, 234
safety 109, 207, 210 P. x subhirtella ‘Autumnalis’ 97 relaxation 13, 76, 134, 153, 174, roofs, green 183, 218, 219, 224,
swimming pools 169, 191, 210 P. x s. ‘Autumnalis Rosea’ 299 204, 207, 214, 227, 235 360
see also ponds; reflections Pseudopanax crassifolium 192 religious influences 133, 179 Rosa (rose)
poppy see Papaver Pseudososa japonica 194 Renaissance gardens 142 R. ‘Anna Ford’ 316
Port Lympne (Kent) 144, 145 Pulmonaria ‘Diana Clare’ 337 rendered concrete 64, 235 R. ‘Chianti’ 242
potagers 150, 198–9, 200, 205 pumps 66, 276, 277 rendered walls 42, 54, 60, 73, R. ‘Compassion’ 320
Potentilla 92 PVC liner 276–7 161, 189, 357 R. ‘Félicité Perpétue’ 320
P. atrosanguinea 333 Pyracantha 111, 359 cutting-edge gardens 248, 249 R. ‘Geranium’ 308
P. fruticosa ‘Abbotswood’ 315 P. ‘Saphyr Jaune’ 308 foliage gardens 193 R. ‘Golden Showers’ 321
P. f. ‘Dart’s Golddigger’ 92 Pyrus 198 Mediterranean gardens 162 R. ‘Golden Wings’ 316
P. f. ‘Goldfinger’ 315 P. salicifolia var. orientalis Modernist gardens 167, 170, R. ‘New Dawn’ 128
pots 54, 164, 191, 248, 362, 363 ‘Pendula’ 299 171, 175 R. ‘Pearl Drift’, syn. R. ‘Leggab’
terracotta 143, 158, 159, rendering 67, 357 316
161, 362
see also containers Q repetition 43, 132, 227
in planting 36–7, 42, 86, 150,
R. ‘Rambling Rector’ 245
R. rugosa 359
powder-coated metal 363 Quercus ilex (holm/holly oak) 248 R. ‘Souvenir du Docteur
powdery mildew 285 157, 229, 252, 293 rescued materials 147, 195 Jamain’ 129
prairie-style planting 126, 132, quince, ornamental see see also reclaimed wood R. ‘The Fairy’ 316
238 Chaenomeles retaining walls 40, 64 R. ‘Wildeve’,
natural gardens 217, 218, 220, Rhamnus alaternus syn. R. ‘Ausbonny’ 316
221
pressure-treated timber 65, 261, R ‘Argenteovariegata’ 303
Rheum (rhubarb) 82
see also roses
rosemary see Rosmarinus
274 railings 41, 254, 357 R. palmatum ‘Atrosanguineum’ officinalis
Primula 96, 98 rainwater collection 105, 218, 351 roses 19, 82, 149, 320
P. alpicola 351 219, 288 Rhodanthemum hosmariense 337 climbing 284, 285, 320–1, 361
P. beesiana 351 raised beds 39, 53, 64, 230–1, Rhododendron 82, 96, 177 ramblers 150, 284, 320
P. ‘Inverewe’ 351 250, 261 R. ‘Golden Torch’ 315 standard 200
P. Polyanthus Group 145 making 261, 274–5 R. ‘Kure-no-yuki’ 315 see also Rosa (rose)
P. vialii 99 productive gardens 199, 200, R. luteum 303 Rosmarinus officinalis (rosemary)
Pritchardia pacifica 195 201, 203 RHS Chelsea Flower Show 157, 159, 316
388/389 Resources
INDEX

Rothwell, Sara Jane 22 sandy soils 82, 102, 104, 282, 289 sea holly see Eryngium for autumn colour 97
Rousham Park House Sanguisorba canadensis 351 seaside gardens 83 autumn- and winter-flowering
(Oxfordshire) 241 Santolina seaside theme: case study 25 315
routes 21, 28–9, 31, 32 S. chamaecyparissus 92, 165, seasonal interest 84, 85, 86 evergreen 111, 317
Rowe, Charlotte 144 254 seasonal planting 81, 96–7 for focal points 301
Royer, Martin 107 S. pinnata subsp. neapolitana seating areas 52, 103, 110, 121, for foliage interest 307
rubber 247, 255, 355, 361 ‘Sulphurea’ 317 123, 225, 241 for ground cover 309
shredded 355 S. rosmarinifolia 204 seats 52, 184, 208, 233, 250, 253 for hot, dry sites 303
Rubus ‘Benenden’ 309 Sarcococca 97 arbour seats 361 large 300–3
Rudbeckia 97, 221 S. hookeriana var. digyna 317 benches 154, 161, 175, 231, medium-sized 304–9
R. fulgida var. sullivantii S. h. var. humilis 184 234, 235 planting 282–3
‘Goldsturm’ 333 Sassafras albidum 184 built-in 60, 71, 161, 228, 235 positioning 126
R. laciniata ‘Goldquelle’ 333 Saururus 98 cottage gardens 148, 149, 150 for shade 305
R. occidentalis 244 scale 9, 26, 36 as focal points 68, 148, 237 small 310–17
runner beans 198, 200, 201, 205, of plans 118, 127 sunken seating areas 232 for spring interest 311
285 scale plans 115, 116, 117, 118–19, swing seats 33 for summer colour 313
rustic furniture 53, 68, 69, 70, 120–1, 126, 127 temporary 71 silver-leaved plants 82, 92, 159
149, 150, 219 Scampston Hall (North walls as 42 Sissinghurst (Kent) 148, 151
Ruta graveolens 316 Yorkshire) 241, 244 see also arbours; furniture; Sisyrinchium
Ryoanji (Japan) 179, 181 Scarpa, Carlo (1906–78) 155 seating areas S. striatum 215
scent 15, 81, 84, 123, 343 security 73, 77, 111, 360 S. s. ‘Aunt May’ 333

S bulbs, corms and tubers for 343

Schizophragma integrifolium 321
sedges 82, 344–7
see also Carex
site plans 114–17, 122
Sitio Roberto Burle Marx (Rio
S-shaped designs 38 Schoenoplectus lacustris subsp. Sedum 97, 241 de Janeiro, Brazil) 190
Sackville-West, Vita (1892–1962) tabernaemontani ‘Albescens’ green roofs 218, 219, 360 Sitta, Vladimir 251
151, 154, 238 99 S. ‘Matrona’ 333 sketches 126
safety 41, 258 Schultz, Michael 248 S. ‘Vera Jameson’ 337 Skimmia x confusa ‘Kew Green’
electrical 57, 66, 76, 78, 79 Schwartz, Martha 247 seeding a lawn 287 309
play areas 25, 361 Scilla siberica 343 Seki, Haruko 184, 185 slate 45, 59, 167, 175, 255, 353
water features 98, 109, 207, scree 158 selecting plants 84–5, 122–3 chips 201, 271, 277, 355
210 screen walls 356 self-binding gravel 271, 355 sleepers 40, 274, 354
sage see Salvia screens 34, 57, 60, 233, 238, self-seeding 126, 147, 155 slopes, materials for 64, 65
Sagittaria 98 239, 284, 358–9 Semini, Michel 159, 164, 165 sloping gardens 23, 40–1, 101,
sails 43, 110, 231, 234 bamboo 33, 45, 53, 170, 359 Sempervivum tectorum 223, 337 102, 104–5, 182, 245
St Catherine’s College (Oxford) for bins 33 sense of mystery 28, 39, 165 measuring 115
171 internal 15, 44 Serra, Richard 195 slugs 201, 282
salad crops 198, 200, 201 materials for 60–1, 284, 358–9 services, identifying position of small perennials 334–7
Salix (willow) 95, 213 for play areas 33 104 small shrubs 85, 88, 310–17
S. alba var. sericea 295 pleached trees 228–9, 230 setts 54, 59, 149, 154, 213, 352 small trees 296–9
S. elaeagnos subsp. angustifolia for privacy 43, 84, 111, 194, 233 shade 33, 84, 103, 111, 122, 140, Smith, Ian 165
129 temporary 43, 110 163 smoke bush see Cotinus
S. x sepulcralis ‘Chrysocoma’ transparent 42, 43, 44 canopies for 34, 43, 110, 234 snails 201, 282
295 and views 32, 33, 57 family gardens 212 snake’s head fritillary see Fritillaria
Salvia 92, 125, 151, 242 sculptural furniture 68, 71, 229 Mediterranean gardens 157, meleagris
S. microphylla 316 sculptural plants 16, 94, 161, 171, 158–9, 160, 161, 163 Sneesby, Richard 120, 121
S. nemorosa 337 228, 248, 249, 253 perennials for 335 snowdrop see Galanthus
S. n. ‘East Friesland’ 245 see also architectural plants pergolas for 158, 159, 361 software packages 113, 121
S. officinalis 92 sculptural structures 45 plants for 82, 91, 93, 129, 212, softwoods 353, 354
S. o. ‘Purpurascens’ 316 sculpture 17, 72–3, 74–5, 161, 305, 335 soil
S. o. ‘Tricolor’ 204, 317 163, 247, 248 shrubs for 305 assessing 101, 102
S. x sylvestris ‘Mainacht’ 244 choosing 72 shades 46, 49 improving 101, 102, 218, 289
S. uliginosa 325 commissioning 73 shadow 48, 167, 240, 248 soil types 102, 113, 122
Sambucus concept gardens 253, 254 shape 9, 15, 81, 88, 122, 171 Solanum
S. nigra ‘Eva’ 309 country gardens 242 shapes (ground shapes) 26–7 S. crispum 321
S. racemosa ‘Plumosa Aurea’ as focal point 43, 73, 141, 228, sheds 32, 33, 64, 65, 360 S. c. ‘Glasnevin’ 321
245, 309 237, 242 shells 271, 355, 356 S. laxum 321
sand pits 25, 208, 210 scale and proportion 73 Shinto 179 S. l. ‘Album’ 321
sandstone 54, 250, 353 security issues 73 shrubs 19, 81, 82, 102, 178 S. wendlandii 195
Solanum melongena 205 streams 66, 177, 182–3, 187, 239 T. r. ‘Pink Cascade’ 303 Trachycarpus 189
solar lighting 57, 79 edging and lining 66 Tatton Park (Cheshire) 181 T. fortunei 188, 190
Soleirolia soleirolii 59 Strelitzia 188 Taxus (yew) Trachystemon orientalis 93
Sophora japonica 163 stroll gardens 178, 181 T. baccata 129, 145, 293 training plants 94, 284
Sorbus 87, 97 structural elements 44–5 T. b. ‘Fastigiata’ 299 Trainor, Bernard 158
S. aria ‘Lutescens’ 299 structural plants 45, 81, 85, T. b. ‘Standishii’ 293 transparent screens 42, 43, 44
S. commixta ‘Embley’ 299 86–7, 123 tea ceremony 179, 183 travertine 142, 353
sound 142, 158, 159, 185, 189, structure 42–3, 109 teahouses 182–3 Trebah (Cornwall) 190
213, 231, 249 structures 21, 44, 45, 109, 360–1 tents and tepees 208, 209 tree ferns 187, 192, 193, 297
spaces 26, 27 building 260–77 terracing 40–1, 105 tree houses 211
specimen trees 168, 180 materials for 64, 65 terracotta 157, 159, 160, 165, tree preservation orders 109
Spiraea Strybing Arboretum 352 trees 19, 81, 82, 87, 178
S. cantoniensis 185 (San Francisco, US) 161 pots 143, 158, 159, 161, 362 for autumn colour 97, 299
S. nipponica ‘Snowmound’ 309 Studio Lasso 185 terrazzo 54, 175, 353, 362 espaliers 200
spread of plants 86, 126, 279 Sturgeon, Andy 234, 238, 253 Teucrium chamaedrys 88 for evergreen interest 293
spring interest 96 succulents 122, 157, 158, 159, texture 14, 21, 54–5, 171, 254 as focal points 295
bulbs, corms, tubers for 339 183, 188 combining 54, 172 fruit trees 198, 199, 200
climbers for 219 summer bedding 89 materials 54–5, 227, 229 large 292–3
shrubs for 311 summer colour 96, 123 plants 54–5, 88, 122, 140, 161, mature 109
trees for 297 bulbs, corms, tubers for 341 190, 233, 248 medium-sized 294–5
spruce see Picea climbers for 319 types of 54 multi-stemmed 172
Stachys shrubs for 313 Thalictrum planting 280–1
S. byzantina 92 sun-tolerant plants 82, 92 T. delavayi 88 pleached 137, 138, 140, 142–3,
S. officinalis ‘Hummelo’ 244 sunflower see Helianthus T. flavum subsp. glaucum 325 228–9, 230
staking trees 280–1 sunken gardens 232–3 Thompson, Jo 91, 153, 243 pollarded 295
standard roses 200 sunny sites 82, 92, 103 thrift see Armeria maritima positioning 86, 126
statuary 72, 86, 139 surfaces Thuja plicata 94 removing 109
steel 65, 67, 229, 248, 249, 254, drainage 59, 104–5 Thymus (thyme) 92, 160 and right to light 111
255 materials for 58–9, 352–5 T. citriodorus ‘Bertram small 296–9
edgings 141, 171 surveyors 23, 113, 114, 115, 116 Anderson’ 165 specimen trees 168, 180
steppe planting 221 sustainable gardens 216–25 T. ‘Doone Valley’ 204 for spring interest 297
stepping stones 258, 261, 354 sustainable materials 133, 217, Tilden, Philip (1887–1956) 145 trellis 42, 43, 44, 61, 110, 284,
Japanese gardens 177, 178, 179, 218, 219 tiles 67, 158, 159, 160, 161, 164, 285, 358
180, 181 sweet peas see Lathyrus odoratus 213, 352 triangulation 116, 117
steps 40, 41, 181, 237, 245 swimming pools 54, 168, 169, 1 decking tiles 354 Trillium
lighting 76 87, 191, 210 Tilia (lime) 140, 229 T. g. ‘Flore Pleno’ 343
materials for 65 swings 25, 33, 215 T. x europaea ‘Pallida’ 143 T. grandiflorum 343
Stewartia sinensis 299 symbolism 177, 178 timber 54, 64, 65, 67, 73, 187, Triteleia 96
Stipa 171 symbols, for planting plans 22 189 Tropaeolum (nasturtium) 198
S. gigantea 143, 175, 347 symmetrical layouts 21, 36–7 paths 31 T. speciosum 321
S. tenuissima 185, 347 symmetry 36, 99, 137, 138, 139, pressure-treated 65, 261, 274 troughs 99, 362, 363
stone 67, 73, 142, 147, 177, 187, 140–1, 238 reclaimed 53, 65, 68, 69, 225, Tsuga canadensis ‘Aurea’ 299
207, 239, 258 formal gardens 21, 26, 126, 274 tsukubai (stone water basins) 178
chippings 54 132, 135, 142 sustainable 218, 219 tubers 338–43
paths 58, 154, 199, 225, 352–3 Symphyotrichum see also FSC; wood Tulipa (tulip) 53, 92, 96, 173
paving 137, 139, 145, 160, 163, S. ‘Ochtengloren’ 325 time to devote to the garden T. ‘Flaming Parrot’ 343
174, 232, 237, 352–3 S. ericoides ‘White Heather’ 333 18–19 T. kaufmanniana 92
wall panels 173 S. novae-angliae ‘Andenken an tints 46, 49 T. linifolia Batalinii Group 92
walls 54, 60, 64, 147, 168–9, Alma Pötschke’ 333 Tofokuji (Japan) 181 T. ‘Prinses Irene’ 343
171, 356 Syringa vulgaris ‘Mrs Edward Toll, Julie 214 T. ‘Queen of Night’ 89, 343
stone lanterns 176, 179, 181 Harding’ 303 tomatoes 201, 203, 205 T. ‘Spring Green’ 343
stones 42, 178, 179, 180, 181 Tomlin, Andrew Fisher 193 turf 139, 207
Stopherd, Chuck 208
storage 69, 70, 360, 361 T tones 46, 49
topiary 37, 44, 72, 87, 94, 95,
laying 286
Typha minima 351
strawberries 201 tall perennials 322–5 139, 141, 142–3, 144, 147, 255 tyres 363
strawberry pots 362 tamarisk see Tamarix topsoil removal 259
strawberry tree see Arbutus Tamarix (tamarisk) 125 Trachelospermum jasminoides 128,
unedo T. ramosissima 303 235
390/391 Resources
INDEX

U country gardens 237, 238, 239

formal gardens 137, 138, 139
lighting 76, 77
materials for 66–7
willow
hurdles and screens 359
umbrellas 110 from the house 126 Mediterranean gardens 160, living 359, 360
Uncinia rubra 347 Japanese gardens 177, 178, 179 161, 162, 164 tree seats 70
understanding plants 82–3 Villa Gamberaia (Italy) 141 planting 98–9 see also Salix
United States (US) 168, 218 Villa Noailles (Hyères, France) positioning 98 Wilmott, Ruth 75
University of Sheffield 218, 224 171 safety 98, 109, 207, 210 Wilson, Andrews 175
urban gardens 53, 129, 134, 215, Vinca (periwinkle) see also cascades; fountains; Wilson McWilliam Studio 69
226–35 V. major 93 ponds; pools; rills; waterfalls windbreaks 61, 84, 102, 123,
case study 232–3 V. minor 93 water plants 348–51 200, 238
formal 140, 144, 145 V. m. ‘La Grave’, syn. V. m. waterfalls 15, 66, 99, 187, 189, window boxes 16
jungle style 9, 187, 188, 193 ‘Bowles Blue’ 317 237 windy sites 102, 103
kitchen gardens 201 vine see Vitis Japanese gardens 180, 181 winter interest 53, 84, 97, 123
microclimates 102, 133, 194 vistas 32–3, 38, 141 watering 279, 285, 288 winter-flowering shrubs 315
urns 129, 139, 144, 362 visualization technique 122, 126 automatic irrigation 288 Wirtz, Jacques 240
uses of the garden 12–13 Vitis (vine) 157, 158, 205, 284, 361 when and how to 288 Wisteria 152, 284, 361
V. coignetiae 321 waterlily see Nymphaea W. floribunda 321

V V. vinifera ‘Purpurea’ 128, 321 weathering steel 65, 362

weed supressants 283
W. f. ‘Macrobotrys’ 254
W. f. ‘Multijuga’ 321
Valeriana phu ‘Aurea’ 325
Vaux le Vicomte (France) 139, W weeding 18, 19, 287, 289
hand weeding 289
wood 54, 353, 357
pressure-treated 65, 261, 274
141 Wade, Charles (1883–1956) 154 spot weeding 287 recycled 53, 65, 68, 69,
vegetable beds 64, 148, 149, 275 wall planting 230 weedkillers 287, 289 225, 274
vegetable gardens 37, 134, 198, wall shrubs 103, 284 weeds, perennial 279, 286, 289 see also FSC; timber
204, 205 wallflowers see Erysimum weekend gardeners 18 wood preservative 65, 353
ornamental plants 198 walls 41, 42, 44, 284, 356–7 Weigela wood stain 65, 360, 361
see also potagers; productive brick 48, 60, 64, 356 W. florida ‘Foliis Purpueris’ 317 woodland 237, 238
gardens concrete 54, 64, 357 W. ‘Naomi Campbell’, woodland gardens 65, 72, 83,
vegetables 64, 135, 149, 202, 275 coping 60 syn. W. ‘Bokrashine’ 128 224
planting in rows 199 dry stone 54, 64, 214, 222, 356 Weihenstephan University woodland-style plantings 96,
Verbascum 83, 125 living walls 44 Garden (Freising, Germany) 103, 187, 222, 281, 283
V. ‘Cotswold Queen’ 325 materials 356–7 221 working plans 22, 119
Verbena Mediterranean gardens 157, Weisse, Rosemary 218, 221 workload 18–19
V. bonariensis 155, 191, 325 158–9 Weller, Richard 251 Wynniatt-Husey Clarke 175
V. venosa 145 painted 160, 161, 164 Wendy houses 361
Veronica 128
V. gentianoides 337
planting in 60
rendered see rendered walls
West, Cleve 127, 163
West Dean (West Sussex) 201 Y
V. ‘Shirley Blue’ 154 retaining walls 40, 64 Westpark (Munich, Germany) year-round interest 87, 97, 123
V. spicata subsp. incana 337 stone 54, 60, 64, 147, 168–9, 221 yew
Veronicastrum 171, 356 Wigandia (Victoria, Australia) hedges 73, 75, 123, 139, 145,
V. virginicum 325 timber 64 190 155, 239, 241, 293
V. v. ‘Album’ 325 Washingtonia robusta 250 wildflower gardens 72, 125, 222, topiary 37, 94, 293
Versailles (France) 138, 139, 141 water 14, 54, 167 223 see also Taxus baccata
Versailles planters 363 Japanese gardens 183 wildlife 12, 133, 208, 237, 280 Yorkstone 144, 214, 239, 353
vertical planting 227, 230 Mediterranean gardens 158, cottage gardens 152 Yucca 94, 159, 249
Viburnum 96, 97 159, 160, 161 Japanese gardens 183 Y. aloifolia 175
V. x bodnantense 309 recycling 105, 288 natural gardens 217, 218–19, Y. filamentosa ‘Bright Edge’ 317
V. x b. ‘Deben’ 309 reflections 55, 77, 139, 161, 220, 225
V. x burkwoodii ‘Anne Russell’
317
167, 168, 169, 177, 185, 189,
234, 240–1
water features for 98, 99, 101,
134, 207 Z
V. carlesii ‘Aurora’ 309 for sound 142, 158, 159, 189, see also birds; habitats; insects Zantedeschia 99
V. davidii 317 213, 231, 249 wildlife gardens, perennials for Z. aethiopica 351
V. opulus 185, 303 water butts 105, 218, 219, 288 325 Z. a. ‘Crowborough’ 175
V. plicatum f. tomentosum water features 17, 54, 57, 66, wildlife ponds 66, 105, 134, 208, Zen gardens 177, 178, 179
‘Mariesii’ 94, 95, 309 178, 249, 258 211, 219
V. tinus 165 containers for 161, 362 wildlife walls 357
views 32–3, 38, 123 cutting-edge gardens 251 Williams, Paul 129
borrowed views 33, 97, 180 formal gardens 142, 143 Williams-Ellis, Nick 193
About the contributors
Editor-in-Chief Authors
Chris Young is Head of Editorial for the Andi Clevely has worked in gardening for over 50 years
and is the best-selling author of The Allotment Book, as well
Royal Horticultural Society and Editor of its as over 20 other titles. He also writes for magazines and
members’ magazine, The Garden. He studied has twice been awarded Practical Journalist of the Year
landscape architecture at the University of by the Garden Media Guild. He lives in mid-Wales, where
he tends a wild garden and allotment on a rocky hillside.
Gloucestershire, England, and was Editor
of Garden Design Journal (UK), the magazine Jenny Hendy has a degree in botany and is an author,
garden designer, teacher, and presenter. She has written
for members of the Society of Garden books on a wide range of subjects, including design,
Designers, for five years. He has won two planting techniques, and topiary, and writes for the
Garden Media Guild awards for his writing, gardening press. She is a regular contributor to BBC
local radio and runs gardening workshops for adults
and is also author of Take Chelsea Home and children near her home in North Wales.
(Mitchell Beazley). Chris enjoys all aspects
of gardening and garden making, and is Richard Sneesby is a landscape architect, garden designer,
and lecturer, based in Cornwall, with over 25 years’
currently working on his new garden on experience in the design of private and public landscapes
the Northamptonshire/Rutland borders. and gardens. He has presented a number of television
series, writes regularly for the garden press, and runs
workshops for garden and landscape designers.

Paul Williams has spent a lifetime in horticulture, working

and designing with plants. Trained at Pershore College of
Horticulture, he has used his passion for plants and gardens
to build a thriving horticultural consultancy and design
practice. He has written several books on plants and
gardening, and lectures in the UK and Japan on gardening.

Andrew Wilson is a multi-award-winning garden designer,

Director of Garden Design Studies at the London College
of Garden Design, co-director of design practice Wilson
McWilliam Studio, and a lecturer and respected author.
Together with his design partner, Gavin McWilliam, he has
won a string of awards for his show gardens, both in the
UK and internationally. He is also a Fellow and former
Chairman of the Society of Garden Designers.
 REVISED EDITION

DK UK
Senior Editor Alastair Laing
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Design Assistance Philippa Nash
Picture Research Martin Copeland, Myriam Mégharbi
Cover Design Nicola Powling
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Managing Editor Stephanie Farrow
Managing Art Editor Christine Keilty
Art Director Maxine Pedliham
Publishing Director Mary-Clare Jerram

DK INDIA
Project Editor Janashree Singha
Editor Nishtha Kapil
Assistant Editor Devangana Ojha
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Pre-Production Manager Sunil Sharma
Senior DTP Designer Tarun Sharma
DTP Designers Manish Upreti, Umesh Singh Rawat

ROYAL HORTICULTURAL SOCIETY

Image Library Ewan Guilder
Publisher Rae Spencer-Jones
Head of Editorial Chris Young

This edition published in Great Britain in 2017

in association with The Royal Horticultural Society by
Dorling Kindersley Limited, 80 Strand, London WC2R 0RL

First edition published in Great Britain in 2009

Copyright © 2009, 2013, 2017, Dorling Kindersley Limited
Text copyright © 2009, 2013, 2017, Royal Horticultural Society
and Dorling Kindersley Limited

A Penguin Random House company

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is available from the British Library
ISBN 978-0-2412-8613-5

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