Monday, January 22, 2018

Transplanting myself, or is it uprooting?

One of the last pictures I took at Montpelier Cottage.  Late September.
“I felt so shocked I shut the computer right away and could not get over the news ” wrote a friend when she read my email telling her that we were planning to move. It has of course been a very difficult decision, perhaps the most difficult of my life. So many people who come to visit or stay remark how lovely it is, not the garden so much as the setting (a shallow valley, with woods on one side and no sign of human habitation) or if they mean the garden it is clear that they mean it in its rural setting. “Paradise” is the word often used. So how can we bear to leave?

Paradise of course is precisely that, a non-earthly place, where the garden-of-Eden maintenance was presumably done by angels, or some of the clouds of cherubs which infest Baroque churches. Earthly paradises are hard work. People have often wondered at how I have been able to juggle my varied, disparate and complex workload and garden. The answer is that I have been increasingly unable to; we have had a wonderful one-day-a-week gardener, Diana Sessarego, but I really needed more of her time to really achieve what I wanted, or someone else's, and we couldn't afford that.

Back last June, I wrote a blog post which flagged up our moving plans. We have now made the painful wrench, renting the house to a friend until we decide what to do. We are in for a year of travelling - a trip to New Zealand and Australia, culminating in my doing a presentation for the biennial Australian landscape conference. The rest of the year, I will be in Portugal for much of the time, which indeed is where I am writing this. As flagged up in June, we are seriously considering moving ourselves here.

“Life, and parties are best left too early than too late” is something that I read recently. I would add gardens. In my career of garden journalism, I have all too often visited gardens where the owners have clearly been unable to manage what they originally set out, or had simply over-extended themselves. I have usually found these quite depressing places. Reality unable to match the dream. Only rarely do gardens manage a dignified retreat. In truth, given my main focus being the naturalistic, I could probably do just this, and find it a very interesting and satisfying process. But I, or I should say we to include Jo, do not want to.

I am in many ways an experimental gardener, interested in how plants work, and work together. Once a certain point has been reached, things begin to plateau out: I feel as if I am learning less every year. I'd like to move on to new things. And new plants of course; there is always the plantsman-thrill of trying new plants and there is nothing like being in a new place for having to try new plants simply because of it being a different environment. At a time of changing climates and weird weather, it is important to learn more about drought, resilience to extremes, heat tolerance. Which is part of the thinking about spending some time in a Mediterranean climate.

We've had friends round to dig plants up, particularly rarer varieties which I worry may be lost to commercial cultivation, apart from it just being nice to share plants. I've also been able to distribute plants for some research plots, versions of the plots I have had for the last seven years and which have been a great way to trial plant combinations and learn more about how plants survive and interact over time. That has been a very positive outcome of moving, and the idea of trying to recruit other gardeners into running trial plots as a way of documenting what we learn about plants is something which I think I may well devote quite a bit of time to over the next few years.

Another reason for moving, or even forcing myself to move, is that staying in one place is actually quite limiting. One tries to grow Dicentra a few times, they fail every time, conclude that the soil is unsuitable and that's it, you don't try them again, so we never get to enjoy Dicentra or learn any more about it. Geranium endressii and its pink pals all grow like crazy in Herefordshire, that for me is 'the normal', and so much gardening has to revolve around how to manage or make the most of these plants; that they may not do so well elsewhere becomes a rather alien concept – but that will be the norm for others. Gardeners have traditionally very much been people who have stayed in one place, but as someone who has become a globally-orientated teacher of gardening and related skills, staying in one place has become to seem dangerously limiting. One of the biggest problems in garden writing I think has been the assumption that because it works for me, it must work for everybody, so that's what I'm going to recommend, and drone on about it all the magazine articles and books I write. This way we do not learn but spread self-centred myths.

There is something to be said for getting down on hands and knees in lots of other peoples' gardens, appreciating how plants grow in many different places rather than endlessly in one's own. It sounds like I am arguing for a future rather peripatetic existence of poking around other peoples' gardens. For how long I would actually do this before succumbing to the inevitable temptation of wanting my own plot again I don't know. I suspect probably not that long. We shall just have to see.

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I shall be back in England in September, leading a tour of Devon gardens. If you are potentially interested do drop me an email on:

Monday, November 27, 2017

Gardening - explaining a British national obsession?

Back in the summer I received a surprise email, from the Almeida Theatre in London, who were staging a play - Albion, in which a garden plays a crucial role. As part of the background to the play, they commissioned me to write a piece for the programme about gardens, as an introduction to people, many of them from overseas, to the whole history of British gardens as part of our national identity. I'm reprinting it here, for the benefit of a non-British audience.
See the review of the play here.
Gardening is very important to the British. It has also a big part of how the rest of the world sees us. Gardening is not just popular as a practical hobby, but also in the form of 'garden visiting', a form of leisure activity which is all but unknown elsewhere. This refers not so much to visiting historical gardens, but to visiting contemporary private ones. One measure of this is the scale of the National Garden Scheme, which this year oversaw the opening of around 3,700 private gardens, the ticket money going to charity. Originally an act of noblesse oblige on the part of the rural gentry, garden opening is now an activity which involves the owners of small and town gardens as well. Visiting other people's gardens gives keen gardeners ideas and something to measure their own efforts against, although to be honest the activity also satisfies a deep sense of curiosity, giving people the chance to, ever so politely, snoop on other peoples' lives. 

Gardening in Britain has many varied, and deep, roots. The first explanation is perhaps that these isles on Europe's north Atlantic shore are a very good place to grow things. With a mild climate and rainfall distributed year round, the growing season is long. Plants from a great many lands and climate zones can be grown together, to the extent that gardening visitors from harsher climates are often astonished at seeing juxtapositions in British gardens that would impossible for them at home. This bringing together of the world's floras gives us another insight into the origin's of Britain's gardening obsession. Several centuries of being an imperial power saw plant hunters set of with the explorers, the missionaries, the traders and the plunderers who were all a part of the story of empire. Indeed quite often the role of plant hunter was combined with one or more of these other roles.

Wave after wave of trees, shrubs and perennials arrived on British shores, sometimes first coming to botanical gardens, such as that established at Kew , but more likely in the nurseries that supplied the gardens and greenhouses of the aristocracy. At first the playthings of the wealthy, the very ease with which many plants can be propagated, from seeds, cuttings or simply digging a plant up and splitting it, meant that new introductions could very rapidly find their way down the social scale. A novelty in His Lordship's garden would very quickly be propagated, at first to provide gifts for other gardening members of 'society', but then later as gifts from one head gardener to another, and then to the head gardener's family, and then the mother of the girl the under-gardener had his eye on, and so on through the village. Nurseries catered for the rising middle classes, while even the urban poor could grow geraniums on their windowsills. 

Whilst one great arm of British gardening has been about plants, another has been about landscape and garden design. Indeed it might be said that perhaps Britain's greatest contribution to world culture has been the landscape movement of the 18th century. Until then gardens in Europe had been firmly formal and geometric. British landowners however made a break with this tradition, ripping out mile upon mile of clipped hedges, tearing out intricate parterres and inserting bends and curves into formerly straight ponds. The landscape around the country house was made to look as unmanaged as possible, with artfully arranged clumps of trees amidst acres of grass, usually grazed by cattle or sheep. The new landscape was on the one hand rational (the grazing animals produced an income) but at the same time an artistic celebration of a supposedly 'natural' landscape. This was no mere practical movement, but a philosophical one as well, with garden making being earnestly discussed in journals, coffee houses and London clubs.

Later developments may have brought back the formal garden in many different guises, but the naturalistic curves and contours of the landscape movement never really went away. A tension between the love of the formal and ordered and the informal and supposedly natural has remained ever since. The 1890s saw this explode into a long-running dispute between two prominent garden makers and commentators, the architecturally-trained Sir Reginald Blomfield and the irascible gardening journalist William Robinson, whose views can be guessed from the title of his 1871 book, The Wild Garden. Both laid claim to their vision of gardens as exemplifying Britishness, Blomfield that terraces, allées and topiary expressed the country's architectural tradition, Robinson that sensitivity to nature, to local landscape and wildflowers was more important. Ultimately however it was a turf war between professions: architects versus horticulturalists. 

Another great dispute lay at the heart of the golden age of British gardening, the Victorian era. More than anything this was dominated by a passion for exotica on the part of those wealthy enough to afford greenhouses, the men to manage them, and the coal to fire the boilers to keep them warm. The collecting and display of exotic plants, orchids in particular, became something of a national obsession during the latter half of the 19th century. Fortunes would be spent on rare plants and elaborate glasshouses in which to display them. Members of the aristocracy and the new industrial elite vied with each other to build the finest collections of plants. For the general public there was a spin-off, as city parks departments would lay out elaborate plantings for the summer, mostly using warm-climate plants reared in greenhouses.

However a reaction set in by the end of the century. Just as the Arts and Crafts movement questioned the new industrial society, so many gardeners began to react against the artificiality and exoticism of sub-tropical summer planting reared in hothouses, instead promoting the supposedly simple plants grown by country people, hardy annuals and herbs which could be sown out of doors in spring and perennials which came back year after year with no effort. Thus was born the cottage garden movement and a whole new phase of garden making. In many ways this became the core of the British garden ideal. Images of country gardens, often featuring colourful flowers against a backdrop of clipped hedges and topiary (which had now made a come-back) were reproduced in the books and magazines and on the packaging of the merchandise that bound the empire's far-flung servants to a particular sense of what it meant to be British.
During the early 20th century, a great final phase of plant hunting brought hardy plants rather than exotica to British gardens, as the incredible bio-diversity of the Sino-Himalayan region's rhododendrons, magnolias and camellias were discovered and brought home, again primarily to the estates of the elite. In the end though something more important happened - a healing of the formal-informal rift. Garden makers began to bring together cottage garden insouciance with clipped geometry. Gardens such as Hidcote in Gloucestershire (actually made by an Anglophile American) and Sissinghurst in Sussex (created by the aristocratic duo of Harold Nicolson and Vita Sackville-West) used frameworks of hedges to contain exuberant perennials and annuals; voluptuous abundance balanced with ascetic discipline. This Arts and Crafts garden style dominates the most popular British gardens, and has been widely emulated internationally, its intimacy, order and sense of historical roots proving an immensely satisfying and pleasurable part of the national psyche.

Friday, October 27, 2017

Overwhelmed by garden books?

Many gardeners accumulate as many books as they do plant species. Now that we are moving, I face the problem of culling an extensive library that has not had a serious edit since we came to this part of Herefordshire twelve years ago. It is an interesting exercise, sometimes difficult, sometimes painful, but strangely cathartic. And it makes me ponder on the relationship between books, gardening and gardeners.
I am sure gardeners write more, read more, and accumulate more books than other hobbyists or semi-professional activities. Whereas most beekeepers, dog-breeders, potters and embroiderers probably have a good shelf or two, I don't think they have the multiple-shelf-verging-onto-libraries that many gardeners have. Why is this?
Partly I suppose it's because modern gardening has a great deal to do with information. Whereas the traditional core of gardening is a craft set of skills and intuitive abilities, the kind of gardening we indulge in (if hobbyists) or profess (if well.... professionals) is both an art and a science. The former implies constant change and the expression of different and often rival ideas, and the latter the access to hard data. We want to know what Dan Pearson thinks of Veronicastrum virginicum as well as what conditions the Veronicastrum likes to grow in (we do not however have so great an interest in what conditions Dan Pearson likes to live in – there is no 'Hello' magazine of the garden world and I am not sure there is even a functioning gossip column anywhere).
Gardeners, and their surprisingly modern colleagues - garden designers, are also great writers and communicators. More so than those of many other fields of human endeavour. There seems to be a strong urge to share and broadcast ideas, knowledge and opinions. Gardening is after all a surprisingly social business. The plantsman always seeks the new, and this is usually gained through some interaction with others: the garden visit, the club meeting, or a nursery fair. Transmitting ideas through print (or its modern digital equivalent) is the next most obvious thing.

Gardening and garden design are lucky in that they do seem to attract people who actually like writing and do it well. Communicating ideas in print does seem to be a real expectation at a particular point in someone's career. The result is an awful lot of books. The garden book has become a genre in itself, and one that has benefited enormously from all the technological advances in printing technology and colour photography of the last few decades.

Inevitably the books accumulate which raises the question – when you are getting ready to move, as we are. What do you keep? and what do you give away or sell second-hand? Books are heavy, gardening books particularly so, because of all that china clay smeared over the paper to create a nice photo-friendly gloss. You don't want to be carting too many of them up and down stairs, into and out of vans, etc. Starting with reference books, I find I'm hardly getting rid of any. The internet has of course become the first point-of-reference but it has huge limitations. Put in a plant name and very often it is nursery sites which come up; it can be very difficult to find more dispassionate sources, or which tell you anything else about the plant. Websites often just give bald data: height, flowering time, hardiness zone etc., but none of the subjectivity and opinion that gives the text in a book real character, and which is often far more useful in making decisions about whether to grow something or not. Nothing online comes anywhere near the dry wit of Henk Gerritssen in Dream Plants for the Natural Garden or the measured aristocratic snootiness of Graham Stuart Thomas in Perennial Garden Plants, Or, The Modern Florilegium: A Concise Account of Herbaceous Plants, Including Bulbs, for General Garden Use. Such a wonderfully 18th century title.

Books about gardens or by designers are a different matter. So many are inevitably in the much sneered-at 'coffee table' category. Publishers also have a high turnover, so the same book concept basically gets published every few years, with different authors and photographers. I shall never forget a commissioning editor saying to me “we haven't done a small gardens book for five years, its time we did another one”, implication of “it's your turn”. The advances in colour repro also mean that what may have looked stunning ten years ago, now looks dated and fuzzy.  A lot of writing about design is fuzzy too; there is little real hard analysis of why some designs work and others don't. Designers writing about their own work is often a disaster, they lack the perspective to 'stand outside their own work', to explain how it functions, let alone to look at it critically. As you may have guessed, an awful lot of these end up on the 'go to second hand' pile.

Old magazines are going out too. There is always the Lindley Library in London to go through anyway. And increasingly, contents are available online, as with The Hardy Plant Society Journal
How often do I refer back to the carefully ordered copies of The Garden that took up nearly two metres on my shelves? Almost never. Out they go. Hortus? Collective noun for a pile of Hortuses; the classicist might suggest 'Horti', I would suggest a 'smug' - some very good writing in it, and far too nice to put out in the recycling, but always so oddly unchallenging and unquestioning - 'gardens of a golden afternoon' type complacency. So they are on ebay, unless someone wants to come and pick them up. Any offers?

In going through books I am reminded of some real gems, classics that stand out and in many cases, deserve to be better known: Andrew Lawson's The Gardener's Book Of Colour, The Inward Garden by Julie Moir Messervy (a psychological approach to garden design, quite unique) Plant-Driven Design by Lauren Springer and Scott Ogden. The common thread being a unique approach, a singular vision, stepping outside the box. When so much in garden publishing is so samey, such individuality is all the more important.

Wednesday, October 4, 2017

Voyages east and west - but new plants needed

Three year old street planting in Vilnius, Lithuania
At home after some very interesting travelling. I blogged before aboutLatvia and particularly Lithuania. And then Poland, which has a very organised wholesale nursery industry but no real organisation for domestic gardening. Ten days or so at home and then running a workshop in Italy for the Valfredda nursery near Bergamo. Something of a culture shock. Actually that is the first time that I have been asked to lecture or teach south or west of the Alps; something I think which highlights the deep cultural divide in Europe over attitudes to nature and its expression in naturalistic planting.

Using perennials in Italy is relatively new. There is a kind of obvious reason for this in that Mediterranean climates, with their dry summers do not favour the growth of plants which need summer moisture, as most perennials do. Just before the lecture started, the presence of two Russian students led me to musing about as a gardener how much more at home I feel in Russia, which may have a very different climate to ours but which at least allows the kind of plants I am familiar with to do very well. Italy of course is at least as divided in gardening terms as it is in every other way: regional cuisines, language and political culture. It is only partly 'Mediterranean' - there are in fact plenty of areas where the water table or moister microclimates, or altitude, allow for good perennial growth. 
Seven year old pot-grown Miscanthus at Valfredda

Italian planting design has tended to be very conservative, at least what you see publicly, and garden design generally to be dominated by evergreen shrubs, which after all, are the most ecologically appropriate plants for much of the country. This is however, an incredibly design-focussed culture, so it will be interesting to see what happens to planting design here. Grasses at least seem to be making a big impact in the little exhibition spaces around Bergamo which are set up for the annual conference held here in September. On this subject, it was interesting to see the enormous pots of grasses dotted around the Valfredda nursery – these are used for when the company do exhibitions or trade shows. Some of the miscanthus or panicum grown like this have been in the containers for five to seven years. 

The big divide in European planting design does seem to be around the question of 'is nature beautiful?'. I have always read about this from garden history in terms of an attitude that dates back to the Renaissance, of nature only being beautiful when shaped by the hand of Man (male gender, capital letter), Man being the image of God (ditto!). How much of this is down to Catholicism or Renaissance Humanism I don't know. The other Europe: Germanic/Scandinavian/Slavic/Baltic has a love of nature for its own sake which is quite different; always expressed with an inappropriate definite article, as in “we love the nature”, which further stresses its singularity and importance. I suppose a cultural historian might put this down to a residual paganism which gives untrammelled nature a value which it lacks elsewhere. 

What about the British? I hear you ask! My immediate answer is to reach up onto the bookshelf to get out Keith Thomas's monumental study Religion and the Decline of Magic of 1971, and think about re-reading it. My gut reaction is that in many ways we are a sort of in-between: like our language (German grammar and core vocabulary, plus Latin vocab) something of a hybrid. The British love nature but we don't really understand what it is, as a cultural landscape of fields and hedges has long since replaced the real thing. Above all we have very little woodland, and indeed sniff at dense forest as somehow 'germanic' and therefore not to be trusted. 
students on the course at Valfredda

Basically, I would guess that the great wave of interest in perennials that kicked off in northern Europe in the 1990s is finally reaching southern Europe (see a previous post). However up and over in eastern Europe the interest in perennials is totally climate-appropriate in the way that it is not so in southern Europe, the idea of naturalistic planting is immediately understood, and – crucially, the economies of most of these countries are now at a level whereby there is, increasingly, money for ornamental private gardens and quality public planting. Some of the most large-scale and best work seems to be happening in Russia, thanks to Anna Andreyeva. Lithuania and Latvia show great promise, as I have flagged up before.

The Italian nursery I worked with – Valfredda, and the nurseries emerging in eastern Europe (which mostly seem to be in Poland) currently offer a very similar range of perennials to what we might expect in Britain or Holland. There is a great danger that a successful roll out of these, especially in public places, might lead to a boredom factor kicking in. What is currently lacking appears to be R&D – developing new varieties. New cultivars and hybrids developed which are climate-appropriate will enable these emerging perennial markets to improve their sustainability and to develop local character. More important still will be collection from the wild. Italy has pretty good biodiversity, as do Spain and Portugal, and the geographical and climatic complexity of this whole region means there must be plenty of garden-worthy species awaiting discovery, or distinct forms of already established species. 

Eastern Europe can, in theory call on the vastness of the Eurasian landmass for new hardy species for cultivation. They will need to, as the geography (predominantly flat) and geological history mean that there is little local genetic differentiation amongst plant species, until you get down as far south as Romania and Bulgaria, both still 'off the map' in terms of gardening innovation. There is a problem though, and that is that eastern Europe has so firmly set itself looking westwards, away from the old tyrant to the east, that any thought of going plant hunting in Russia or central Asia is a non-starter. An older generation had Russian as a common language (something the non-Russians could all moan about the Russians in) but a younger one went wholesale for English around 1990 (my wife Jo was involved in training English teachers in Slovakia in the early 1990s). East European botanists and plantspeople may have been forbidden from travelling west but the whole vast Soviet empire was open to them; it was interesting a few weeks ago to hear Janis Ruksans, the Latvian bulb expert, reminisce about looking for bulbs in Soviet central Asia. Much as we are all glad for the political changes there is a sadness in seeing this common scientific culture and language disappear. Also sad to hear about is the personal divide between the western-looking republics and Russia. I once suggested to an east European colleague that she invite a certain Russian landscape architect to speak (incidentally known for their liberal views), I was told a firm “no, we're not ready for that yet”. But she's not going to arrive in a tank!

Serious planting hunting and new introductions will almost inevitably depend on Russian plantspeople and nurseries looking east and not just growing western-developed species and cultivars, which they all seem to do at the moment. I haven't heard of any Russian plant hunters yet – I very much look forward to doing so. We would all greatly benefit. As we would from some Italian ones.

Wednesday, September 6, 2017

Białowieza - Europe's last virgin forest

The Białowieza Forest in eastern Poland is somewhere I have always wanted to go – the only genuinely virgin, untouched lowland forest in Europe. Last week I finally got to go there, thanks to friend and colleague Małgosia Kiedrzynska who organised the trip. The scale of the place is immense and to us, used only to 'forest' being small areas of woodland, overwhelming. At 1,400 square kilometres it is almost the size of London. The border between Poland and Belarus goes more or less down the middle.

At the moment the forest has a somewhat higher 'recognition factor' than normal, owing to the proposals by the Polish Ministry of the Environment to allow tree felling in supposedly protected areas. See the Guardian article here. <>

What is intriguing for the British visitor is to see familiar species we all share as natives, both trees and perennial ground flora, growing in very different ways. Everything on one level is totally familiar and on another level very different. Take the trees for a start. There is oak, although it is nothing like as dominant as it would be at home. Oak at home branches low down, even when fairly densely planted, but here the trunks soar upwards, dead straight for 15m, maybe even 20m, and then branch out rather sparsely; they look more like something out a tropical rain forest than anything I'm familiar with. And alder, great dense stands of them, dead straight and soaring upwards, at least half as much again in height with what we are familiar with from British riverbanks.

There is (on the Polish side) a protected core area, which you can only enter with a guide. It is surprisingly light, with a high canopy, a mix of hornbeam, lime (Tilia cordata), ash, maple (Acer platanoides) and oak. Very few trees are actually that big, for reasons I didn't get to understand. What is intriguing is the ground layer. Lots of indicators of high fertility like ground elder and nettle, but they are sparse and mixed up with a huge range of other species. We are so used to seeing both these plants as aggressive weeds, but here it is presumably lower light levels that keep them in check and allow for greater diversity. In fact ground elder is almost universal in light shade everywhere I went on this trip (Latvia southwards) which gives you a different perspective on it compared to the “ohmygod what a terrible weed” attitude we have at home where it is not actually native.

The forest is divided up into a whole series of segments on a grid, put in place by the Russians when it was an Imperial Forest in the latter part of the Romanov regime. Each grid is marked with numbers, which makes it actually very hard to get lost. Different grids are managed differently, with many being commercially managed and others under varying levels of protection. This all means that in travelling around (which we did on bikes) you get to see an enormous range of woodland types: different tree compositions, different soil-determined habitats, and different types of management. And water level, which was particularly interesting.

Much of lowland Britain probably had forest like this, very wet, and at times flooded. Now we have almost none. In fact we have no river floodplain forest at all, and haven't had any for centuries, only a tiny bit of alder carr (wet alder woodland) and very other little wet woodland – most was drained or drained and cleared in the 19th century. Being here and seeing these vast swampy woodlands, where it was simply too wet to risk walking across, gave me a sense of what a lot of lowland Britain must have once looked like. And then there is one area, conveniently located near our hotel, which is spruce over a peat bog, but mysteriously given the obviously acidic conditions, the sphagnum moss etc, there were some (famously nutrient-hungry) nettles. Apparently this is the most westerly example of the habitat that covers vast areas of Siberia – the taiga.

So what about the notorious tree felling which has broght Białowieza into prominence? There is a whole patchwork of old-growth forest outside the main protected zone which the environment ministry has started to extract timber from, under the guess of controlling spruce bark beetle, threatening a uniquely old habitat. Commercial factors are of course thought to be the real reason; presumably because the old-growth trees are bigger or better quality than the truly epic amount of younger material which could be felled without damage to old-growth forest. The forest does seem very poorly managed from a commercial point of view however. I noticed masses of felled timber, much of it presumably felled for safety reasons along roads, where it had clearly been left for years. I suspect the real reason for felling is political provocation, as the current Polish government is one of the few foreign admirers Donald Trump has, and which is similarly dividing families and friends.

To see it in English tap the Union Jack in the top right hand corner.

Thursday, August 31, 2017

Gardening's new frontier: Latvia and Lithuania

I've been travelling to eastern Europe since 1993 when Jo got a job in Bratislava, Slovakia. I love the area, for all sorts of reasons, and am particularly fascinated by how societies emerge from a long period of cultural, political and economic repression. I've just come back from a trip where I was lecturing and teaching in Latvia and Lithuania, two of the 'Baltic Republics'. Latvia was fantastic but what I experienced in Lithuania was extraordinary.

“I needed something for the backyard” Lina Liubertaitė recalls. “People here know how to garden, but not how to make it look nice, to design”. And so began one of the most impressive experiments in garden promotion I have come across. Lithuania is a small country in northern Europe, long colonised by Russia under the guise of the communist Soviet Union, and only independent since 1991. Like all ex-Soviet countries, growing vegetables and fruit (with a few flowers on the side) was second nature. It had to be because the shops were often empty. Now there is a new world, of higher living standards, a consumer culture and many entrepreneurial possibilities.

“All the information available was so old-fashioned” Lina says. With a background in marketing, Lina saw the possibilities for promoting gardening, and started writing magazine articles and crucially, began to get local experts to run courses. At the beginning it was hard, a young woman in a rather conservative culture faced criticism as a newcomer, and not a professional or trained horticulturalists. Eventually she has triumphed, with her company and brand - GeltonasKarutis – Yellow Wheelbarrow.

Last week I was one of the speakers at Garden Style, an annual conference Lina has organised for three years now. There were 500 people there, “about half the population” joked a Polish friend (the popn. is actually 2.7million), an incredible number in a small country; a third were professionally involved in gardening or design. Lina gave her conference clout by inviting overseas speakers from year one: Carrie Preston from Holland in year one. The great thing about Yellow Wheelbarrow is that it is a 'one stop shop' for gardening – if you want to know about gardening in Lithuania go to the website. 
Lina asked me to do some teaching, as her big thing is education. I ended up teaching three day workshops back to back, with twenty people each day. For the first two days I was interpreted by Rasa Laurinavičiene, a very innovative local gardener whose garden in a village just outside the capital, Vilnius, is packed full of perennials. We used the facilities of Vilnius University Botanical Garden, which is an excellent teaching garden with a wide range of plants. As a garden though, it still feels like it does not yet belong in the modern world, Soviet style public gardening - with but in the best possible way, with enough labour to continue to maintain enormous beds of perennials, and mostly very well-labelled. 
As always with east European audiences the thirst for information was almost palpable and there is that wonderful sense that you are really helping something develop. There were plenty of landscape architects in both the Latvia and Lithuania groups, a good sign that quality planting is part and parcel of larger projects here. Indeed in both countries perennial combinations perennial plantings are beginning to emerge in public spaces. Places to watch indeed.

Friday, August 11, 2017

Jimi Blake and Hunting Brook Gardens - Gardening's R&D Department

I recently took a day trip to Dublin, flying there and back in one day, which is not something I have done to anywhere before. To go to Ireland and not drink a Guinness seems sacrilege but sometimes needs must. All for a meeting with Jimi Blake and of course a look around the fantastic garden he has created over the last dozen or so years – Hunting Brook Gardens. I went with Anna Mumford of Filbert Press, as we wanted to talk to Jimi about the possibility of doing a book with him.

Jimi's garden is quite amazing. All the more so for its hidden almost unexpected nature. The Irish countryside is, famously, green, not as green as a Boston-Irish St. Patrick's Day hat of course, but a gentle quiet green, so when you drive off the main road up a very undistinguished looking side road up a hill, woodland on one side, and a field of cows on the other, you do not expect to suddenly turn off into a crazily-flamboyant botanico-artistic wonderland. There is something very 'Portland' about the garden: the defiance of obvious climatic boundaries, the combination of rich textures with strong colours, an obvious passion for diversity, the rather whacky sculptural elements – above all a clear love of plants and of things that show them off.

Gaining a reputation as one of our most consummate gardeners Jimi will undoubtedly fill the shoes of Helen Dillon, who has been gradually, and needless to say, gracefully, retiring for a few years now. Plantsmanship and a good eye so often do not go together, but with Jimi they do. He seems to have an eye for enough consistency to balance the more pushy and show-offy of his plants; bananas arise from a mass of lower herbaceous leafy stuff but are sufficiently far away from other bold exotica that you don't get the sense of overstimulating clash that you get in the gardens of many exoticists. In fact I think it is the combination of an interest in bold foliage and in naturalistic planting that makes Hunting Brook Gardens so good; the frothy chaos of the latter (or what is so often frothy chaos by August) is held together and given focus by the strong forms of the former.

Nurseries and plant hunters seem to be making more and more new cultivars and species available. Of these only a very limited number get a wide circulation. In particular there seems to be a wide gap between the sources of introduction and good creative use in gardens. Nurseries and plant producers only have a limited interest in design, and garden designers are rather infamously, often have rather limited plant knowledge. It is people like Jimi who fill the gap, creatively using new plants.

The imaginative use of new plants is most dramatically seen in the woodland garden. This is actually the newest part of the garden, or perhaps I should say that there has been a huge amount of new planting over the last few years, which will take a long time to really take off. For example, Jimi has been planting out a lot of the dramatic woodland plants being introduced by Bleddyn and Sue Wynne-Jones of Crûg Farm nursery in north Wales from the Far East and Central America: many are shrubby Araliaceae (ivy family) with big dramatic palmate leaves, ferns, hardy begonias and 'Solomon's seals' (Polygonatum, Disporum etc.). These are overwhelming foliage plants, with a vast array of form and texture around a limited range of greens; subtle but a very long season. Many of these might have potential as urban courtyard planting, but we need to see them in an environment nearer their native habitat first – like Jimi's woodland.

Some of the older plantings in the woodland have really taken off, showing what a perfect habitat this is: well-drained soil on slopes, but (it being Ireland) never short of rainfall, high shade from beech and sycamore. Rodgersias and Chrysosplenium have begun to run forming big patches with self-sowing Primula florindae dotted around.

One really important aspect of plant introduction is conservation; natural habitats are being destroyed at a terrifying rate in much of the Far East. Plant populations are often highly diverse with very localised genetically-distinct populations, which is not something we are familiar with in Europe, where the same species is found in the same habitat across vast areas. Each mountain top may have distinct species or at least clearly distinct populations. In many cases cultivation in the gardens of the western nursery trade and consumer may be the only chance of survival.

Less than an hour from Dublin, Jimi's garden is perfectly located for easy access. Its a truly inspiring place to meet new plants and see how they might be used, a true R&D department for horticulture.

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