Garden decoration 1: leaning to the understated look

Tempted though I am to show some of the worst excesses of garden ornamentation I have photographed – and believe me, naff does not begin to describe some – I thought it better to be kind than cruel. This week it is understated decoration which blends into the garden surrounds rather than dominating.
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1) These are the work of potters Lynn and Mike Spencer, spotted in their own garden. Mike called the long-necked pieces his “African ladies’ for reasons that are obvious as soon as it is mentioned. The penguins are undoubtedly engaging, all the more so for being hand crafted and not mass produced. I particularly like they way these nestle in the foliage, adding subtle detail and delight, rather than being placed on a plinth or stand to become a lonely focal point.???????????????????????????????
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2) Te Popo Garden also features pottery, this time by Nick Brandon. What I like there is how they have grouped related pieces closely together. Each on their own would be small and likely to get lost or look bitty. I once suggested grouping to a gardener with a large selection of bright, shiny blue glazed pieces from the Warehouse. She followed my advice and they did indeed look much better clustered together in one arrangement, rather than dotted throughout the garden.
??????????????????????????????????????????????????????????????3) I admired these rope balls constructed around a metal frame at Winterhome Garden near Kaikoura. Garden owner, Sue Macfarlane, told me she had made them herself because she wanted an avenue entrance for a wedding party. I saw something similar offered for sale recently – though smaller and made from recycled barbed wire, which gives a distinctly rural New Zealand flavour. However, because barbed wire is somewhat hazardous, these balls would need to be placed where nobody is likely to brush against them or hit their heads standing up after tending to any garden below.
???????????????????????????????4) Personally, I am not a fan of classical-inspired statuary in New Zealand gardens. The cultural reference of such works is usually to Europe and to me it looks out of context here. I might be tempted to make an exception for this piece but it is the studied nonchalance of the setting with its long grass and the artfully casual placement which makes it such a romantic image. I also photographed it in an English garden, Gresgarth, where it looked wonderfully at home.
???????????????????????????????5) Unable to hold back my didactic tendencies, I include this example as a message. Dear readers, a beautiful pot does not need to have a plant in it. It can exist as a decorative feature in its own right and will often look a great deal better for the absence of a plant. I don’t know the origins of this pot – it looks like a lime-washed oil jar – but I think the phallic trichocereus cactus spoils it, even without the plastic stake which is out of sight in the photo.
???????????????????????????????6) Finally from our own garden, I offer the inverted plum trees. These were dug up and reburied upside down to make the root systems the feature. We did not treat the trunks to preserve them. Eventually they will rot out and fall over but they have been in place at least a decade now and are still stable. The white stones were a gift from a geologist friend who gathered them from somewhere on the Marlborough coast. I bleach them once a year to remove lichen and discolouring and they just sit casually on a stone table.
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First published in the Waikato Times and reprinted here with their permission.

Garden Lore

“We saw the palaces and garden of Versailles… full of statues, vases, fountains, and colonnades. In all that belongs essentially to a garden they are extraordinarily deficient.”

Percy Bysshe Shelley, Journal, September 3, 1816

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Hypertufa basin

A wash basin of some description is very handy in the garden, but old porcelain or stainless steel usually looks out of place. I spotted this hypertufa basin in a Hawera garden recently. I assume this was commercially made because it had a Tomo Potz label still attached but, for DIY enthusiasts, it is not too difficult to make one. Hypertufa was all the rage a decade or more ago. It gives the weathered look of stone without the weight.

The internet has an abundance of recipes and step by step instructions. Martha Stewart made it popular in USA and the common American recipe is 3 parts peat moss to 3 parts perlite or vermiculite (used in hydroponics) to 2 parts cement (not the instant, ready-mix convenience bags). This is a 3:3:2 ratio. I found a New Zealand recipe which was 2 parts peat, 1 part river sand (not fine beach sand) to 1 part cement making a 2:1: 1 ratio. Essentially it comes back to 1 part of cement to 3 parts of gritty but light bulk. You need a mould which is where an old basin would come in handy. Just make sure you have your plug fitting to hand when you are making the basin so you get the drainage hole the right size from the start.

Hypertufa is used for natural looking troughs or pots. Why, I even have a couple myself, though I admit they were a gift. They are much easier to handle than the heavy, old concrete pots I inherited.

First published in the Waikato Times and reprinted here with their permission.

Treemageddon

???????????????????????????????It is both a blessing and a curse to have a garden with very large trees. The pines (mostly Pinus radiata), native rimu trees (Dacrydium cupressinum) and Australian eucalypts all date back to 1870 to early 1880s when Mark’s great grandfather planted them. The rimus are rock solid with a life expectancy of many hundreds of years but from time to time we lose a pine or gum.

014 (2)While we can manage most of our tree work ourselves, this one posed a major problem. It broke about 6 metres up where Mark’s grandfather had topped the row in the early 1900s, creating a weak point. But it didn’t break cleanly and the top formed a major swinger. We did the initial cleanup but dealing to the body of the tree required specialist attention.

002 (2)Enter the arborist crew this morning.

003 (2)There was a lot of consultation for this was a tricky operation.

009 (2)And a lot of supervision.

004 (2)Cuts were made but things did not quite go to plan.

005 (2)Soon, more equipment was needed. Do not laugh at our baby tractor. It is enormously useful, though not quite equal to this task.

023 (2)Both ends of the tree were cut through but it remained determinedly in position, defying all attempts to unbalance it.

022 (2)There was much manly consultation.

025 (2)And even more consultation. Lots of consultation. A winch was needed, they decided. The crew departed for more gear.

???????????????????????????????In the end, the crew returned with us not even noticing and both Mark and I missed the final rites when the tree was winched down. We were a little disappointed. It all seemed a bit of an anticlimax but is at least a major problem solved. It is remarkable how a tree some 40 metres high can eventually come down with minimal damage.

When less may be more – restraint with focal points

We lack a cricket pavilion in our garden. To build one, even as attractive as this one, would look sadly out of place

We lack a cricket pavilion in our garden. To build one, even as attractive as this one, would look sadly out of place

I have been pondering focal points and garden structures. This was partly initiated by an email from an overseas friend who, while praising our garden, was lamenting the lack of “features”. By features, he meant man-made features. He mentioned such things as tempietto, summer houses, maybe even ruins in the William Kent style of Palladian garden architecture. I laughed. I do not think he has quite got to grips with the differences in New Zealand. This is a man, after all, who has a splendid garden full of substantial features including his very own cricket pavilion which was designed to be used for the annual village cricket match.

We lack an amenable village nearby. Such a pavilion might look a tad pretentious in our situation. And we have always subscribed to the view that it is better to have nothing than to have a cheap imitation. I have yet to see a New Zealand garden that imports classical European or indeed Asian antiquity-inspired features and settles them well into our New World gardens. Summer houses built out of tanalised timber – which are commonly favoured here – have never appealed to us. Painting them white does not necessarily improve them, either.

The tanalised pine gazebo is much favoured in New Zealand gardens, often as a focal point

The tanalised pine gazebo is much favoured in New Zealand gardens, often as a focal point

I have seen a fair few around the country in my time, and often situated where they are to be a focal point, a feature, rather than to be used as an outdoor entertaining area. I guess what it comes down to is that we have different spending priorities in the garden. A well designed garden room that is both functional and architecturally attractive would be nice to have but would cost a great deal more than a kitset, octagonal gazebo.

Maybe we are just too ingrained with functionalism because we would place a garden room in an area that is most convenient and attractive for use, rather than where it would serve primarily as a visual focal point. I find little gazebos marooned forever as an unused, ornamental point of interest a bit sad, really.

An outdoor seating area marooned forever as a focal point more than a social centre

An outdoor seating area marooned forever as a focal point more than a social centre

The same philosophy applies to seats, in my book. Seats are to be sat upon and therefore situated in a position where there is a reason to sit rather than to be cast in the role of focal point. But I am a lone voice in the wilderness on this topic. A brightly painted chair is often forced into fulfilling this function.

If you go back to basics, the purpose of a focal point is to focus the eye of the viewer. It may be to serve as a punctuation point to end a view, or it may be to channel the eye towards a desired feature, maybe a vista or a borrowed view if you are lucky enough to have one. It creates an illusion of depth but if you already have depth, you may not need one at all. If you clutter the place up with endless focal points (a common mistake in small gardens), it becomes bric-a-brac rather than a statement. Less is more. And remember that the focal point is what attracts attention, often to the detriment of the areas of garden that lead to that point.

Miscanthus and alliums gave a subtle end point to a long walk at Gresgarth

Miscanthus and alliums gave a subtle end point to a long walk at Gresgarth

Because we have always leaned more to plants than structure, we prefer the judicious use of plants as focal points. It is a softer, more naturalistic approach which does not immediately claim centre stage. We had watched a television interview with Lady Arabella Lennox-Boyd, one of Britain’s foremost gardeners and garden designers. She was commenting about needing to terminate her herbaceous borders in some way, to create a visual end-stop. She would have liked water but that wasn’t possible and she didn’t want the cliché of a statue. Instead she decided to use miscanthus grass which, she commented, looked somewhat like water.

We remembered her comments when we visited her personal garden at Gresgarth. There was the miscanthus bed, with the globes of giant allium seedheads rising above and giant cardoons flanking either side.

It wasn’t a strong visual statement. It didn’t shout “look at me! Look at me!” It provided a gentle endpoint to what was a complex and highly detailed walk along battlemented herbaceous borders with interludes of detailed mosaic paving – an exercise in subtle understatement. We really liked the effect.

Similarly, a clipped or shaped plant can give a point of interest which keeps harmony with the surroundings while giving an accent point. Because we have a garden richly endowed with large, established plants, we have tended to head more in the direction of using plants as visual focus points rather than dropping in manmade objets d’art, or, worse: objets sans d’art.

Statues, urns and sculptures? Now that is a whole can of worms to be returned to at a later date. Decorating one’s garden can be a minefield.

Camellia Elfin Rose, cloud pruned in layers to give an accent point

Camellia Elfin Rose, cloud pruned in layers to give an accent point

First published in the Waikato Times and reprinted here with their permission.

Garden Lore: Friday 28 November, 2014

“I have rarely seen either ruins or rivers well manufactured.”

William Gilpin Remarks on Forest Scenery and Other Woodland Views (1834)

The ha-ha at Puketarata as viewed from below

The ha-ha at Puketarata as viewed from below

Garden Lore: A Ha-ha

Behold, a ha-ha. Or, as we prefer to call them here, an infinity lawn. That is a bit of an in-joke referencing infinity pools and landscapers’ love of such visual tricks. It is in fact a stock barrier which can trace its origins back at least 800 years in both Europe and China. This particular one is at Puketarata Garden near Hawera and you can see how it is constructed and how they have managed to keep the end stock-proofed while allowing easy access through to the garden. From on top, the mown lawn melds into the grazed grass without a visual interruption and encourages the eye to look to the vista beyond. It is a huge improvement on a fence, blurring the line between garden and the natural environment.

The origin of the term ha-ha is not known, apparently. We are of the view that it is what imbibing guests say as an unsuspecting victim falls off the edge at drunken, carefree garden parties.

The ha-ha as viewed from above - the near seamless connection to the wider landscape is what it is about

The ha-ha as viewed from above – the near seamless connection to the wider landscape is what it is about

First published in the Waikato Times and reprinted here with their permission.