Tag Archives: Bury Court

Pictorial or immersive gardens (part 2) – mostly immersive style because that is what interests us more

Part one is here.  You may wish to check the definitions of pictorial and immersive gardens. 

The designers whose work we seek out – often travelling great distances across England to do so – are Piet Oudolf, Tom Stuart-Smith, Dan Pearson, James Hitchmough and Nigel Dunnett with the work coming out from Sheffield University and, to a lesser extent, Christopher Bradley-Hole.

More pictorial than immersive – the Oudolf borders at Wisley RHS

We started with that giant of the New Perennials movement, Piet Oudolf. Who doesn’t? We have seen Oudolf’s work in several places – including Wisley, Trentham Gardens, Scampston, Pensthorpe and Bury Court. I like the controversial glasshouse borders at Wisley (though not so much on the last visit when they had all been freshly mulched in gravel which I found a bit too utility) though I acknowledge that they are more pictorial than immersive. Mark finds them a bit stripey. Our least favourite was Scampston which led me to think that he is probably a better plantsman than designer. Mark is given to describing some of his work as being ‘contemporary Gertrude Jekyll on steroids’ – particularly the large-scale work at places like Trentham and Pensthorpe.

Immersive Oudolf at Bury Court – also the difference between a domestic garden and public work

My absolute favourite is his very early commission on the walled garden at Bury Court. It really is magical and part of that is the scale which is much smaller, more detailed and domestic in nature. What designers create in private commissions is very different to what they do on large scale, public projects and it is interesting seeing both, even though our main focus is domestic gardens. The third aspect is what they do in their own private garden but we have missed the opportunity to see that with Oudolf. He closed his private garden, Hummelo, in the Netherlands last year.

On our July trip, we had scheduled in a visit to the much acclaimed new Oudolf gardens at the Hauser and Wirth gallery in Somerset as well as his early work at Potters Field in London that we have not yet seen.

Stuart-Smith at Mount St John in Yorkshire

We first saw Tom Stuart-Smith’s work at Wisley, too – the border plantings that edge the glasshouse lake. It was a bit early in the season and more recently planted, I think, and we weren’t blown away by it on that first visit. Subsequent visits have made us appreciate it more. The privilege of visiting his private commission at Mount St John in Yorkshire was different altogether. The sunny parterre immediately in front of the rather grand residence was sublime. Sure it was large scale and big budget. From memory, it is the home of a supermarket magnate. But it was a garden that invited you in to experience walking through it while it stretched out to the wider landscape beyond. My photos don’t do it justice.

More traditional  pictorial design at Mt St John – still the work of Stuart-Smith

Immersive design. The hedge at the far side is all that separates this garden from the more traditional one above

Just by way of illustrating the difference between immersive and pictorial gardens, look at these two side by side. It was the fully planted parterre that drew us in and made us catch our breaths in delight. Immediately adjacent to that, also in front of the house and looking out to the view was a more conventional lawn flanked by twin borders. Same designer, same location – two very different experiences. While admiring the horticultural excellence of the latter, it didn’t draw me in and make me want to linger as the more detailed and planted parterre did.

We have also seen his work at Trentham Gardens where most photos I have seen don’t do it justice. The photos I saw on line and in books all made those enormous parterres look very bitsy. In real life, the plantings are large and exuberant and they wrap around, obliterating that bitsy look that is a legacy of historic design features. Visiting a garden in person is a very different experience to looking at photos or videos.

On our July visit, we were planning to rush down from Shropshire to catch the Wednesday opening at Broughton Grange – another private commission of his. We really wanted to visit in person because we have only seen it in photos and it features that Stuart-Smith trademark of clipped caterpillar hedges undulating through a parterre. It was the inspiration for our own caterpillar garden at home which has nothing to do with caterpillars but is defined by the undulating internal hedging.

Bradley-Hole at Bury Court

So too was Christopher Bradley-Hole’s grass garden at Bury Court a direct inspiration. There is another private garden of his design and execution that is sometimes open by appointment. I found it last trip – in Surrey, I think – but we just ran out of time. I was planning to find it again and see if we could include it this time.

Early Pearson at Torrecchia Vecchia

We came to the work of Dan Pearson a little later. We have seen an example of his early work at Torrecchia Vecchia in Italy, his public sector work around the Kings Cross redevelopment in London and the perfection of a smaller, private commission in the Cotswolds. It is such gentle, but inspirational gardening. On this visit, we planned to go to Chatsworth Castle, specifically to search out his part of the garden. As I recall, it was a re-creation of this that won him gold at Chelsea a few years ago. Then we were heading north to see his ongoing work at Lowther Castle. My impression is that it is a softer, more English take on a romantic garden in the style of Ninfa in Italy but I have only seen photos.

Pearson perfection in a private Cotswolds garden. This was my first choice of image but then I went away and thought I have done exactly what I have referred to – picked the one section of the garden that is full of sharp detail and more pictorial in style.

Parts of the garden were like this…

and this. Maybe what made this garden so successful is the sensitive marriage of both pictorial and immersive styles in the one domestic space.

While in the north, we were going to take in the historic topiary at Levens Hall because we are not only going to look at the modern gardens and experiencing some of the historical work gives  context to what followed. I would happily have gone back to see Arabella Lennox-Boyd’s private garden, Gresgarth, which is in the same area (roughly speaking) if time allowed.

The enchanting Hitchmough meadow at Wisley in its early days

I have written often about the magic of James Hitchmough’s Missouri Meadow garden at Wisley when we first saw it in 2009. Magic is not too strong a word, even 11 years later. It was enchanting. We also watched it disintegrate and lose all its charm on subsequent visits and that is what made us interested in seeing how some of these looser, more naturalistic plantings mature over time. It made us realise that no gardens are maintenance free though some are lighter on maintenance requirements. And different skills are needed to manage such plantings. Given that Wisley is staffed with some of the very best and keenest horticulturists in the country, I am sure that major lessons have been learned. We wanted to see what those lessons were and how management of these plantings has evolved both by the designers and those tasked with their ongoing maintenance.

More recently, Dunnett at Trentham Gardens

Hitchmough and his colleague, Nigel Dunnett, were both leading lights in the much-acclaimed Olympic Park landscaping which we visited several years later. Also Dunnett at the Barbican rooftop garden in London, though it was the unexpected discovery of his work at Trentham Gardens that was the greatest highlight. That has been extended greatly (Trentham extends most things greatly, really) and we wanted to see both the newly planted areas and how those original plantings had matured.

We were also planning to spend two nights in Sheffield to look at their public sector work on greening the grey of the inner city. But the real highlight was when I found that their private, home gardens were both opening one Sunday afternoon for the National Gardens Scheme. I structured the whole itinerary of our UK leg around that Sunday afternoon. This would complete the set of having seen public sector work, private commissions and how they choose to garden in their own space. Maybe even meeting them and being able to talk briefly. We were also planning to see James Hitchmough’s borders at the Oxford University botanic gardens which are reputedly excellent and lasting the distance better than his earlier meadow at Wisley.

Wildside – created by a master gardener and plantsman

Finally, we had arranged to return to Wildside, one of the most innovative and exciting gardens we have seen, created not by a designer but by a plantsman. We are really sorry to miss the opportunity to meet with Keith Wiley again, especially as he has now started work on the last area he had to develop.

Wiley at Wildside in 2014. Keith was explaining his plans for his last area to be developed – now under way.

When an unsolicited invitation arrived to visit the private garden of a leading designer – you don’t ask for such a privilege, you understand – we were a-quiver with excitement. In the end, we couldn’t make our dates fit so it was not to be. This is perhaps just as well because it would have escalated our disappointment to a whole new level when everything had to be cancelled.

And that was the trip that was not to be in this strange era we are living through.

NB: If you want to know more about any of the gardens or designers mentioned here, a Google search will bring up a wealth of information. Putting the name in the search box on the top right of this page will bring up more information and photos on most of them from our personal perspective. 

 

Alliums at Mount St John. It was interesting going through my photos. In pictorial gardens, I tend to have framed landscape views and vistas or photographs of man-made focal points. In immersive gardens, I mostly take photos on a close-up scale – and many more of them at that. My photos are much more about colour, plant combinations and plant forms.

 

Reinterpreting inspiration. The new garden progresses.

The resident cat at Bury Court in 2014. We plan to visit this garden again next month.

I have been planting what I loosely refer to as “my grass garden”. I wrote about this back in February and progress is being made. I have been asked whether this garden has been planned on paper and for a while I felt somewhat shamefaced to admit that it has not. Now I just think experience and instinct will serve me better than a paper plan. Trained garden designers learn to plan on paper and good ones know how to relate open space and proportions to paper measurements. Amateurs do graph paper gardens and then, when religiously followed outside even though proportions don’t translate well, these remain forever looking like graph paper gardens. I have seen this mistake made in other people’s gardens.

This is part of a much larger area that we are gently bringing in to an entirely new garden and Mark did draw up the entire space to get the proportions right for the separate sections. He also staked out the area with bamboo sticks to define the spaces visually before any earth-moving and planting started. The first plants to go in were the structural ones which will give a formal backbone – Fairy Magnolia White in two rows to be pleached in due course, underplanted with Camellia Fairy Blush to be clipped tightly as a hedge. String lines were used to make sure that this formal green structure was straight.

Work starts. A man with a rotary hoe can be a wonderful thing.

My patch is like passage-way to the side of all this, albeit a passage-way in full sun that is about 10 metres wide by 30 metres long; at around 300sqm it is larger than some urban dwellers get in life.  The idea of a “grass garden” has somewhat morphed into “grasses and other plants with long, narrow foliage and spear-shaped foliage”. The plant palette is broadening substantially as I go but still restrained overall, by our standards. “You are not copying the Bury Court garden, are you?” asked friend and colleague, designer Tony Murrell. Well, no.

The grass garden at Bury Court

The hallmark of Bury Court was the sharp edged, geometric design filled with billowing grasses – a signature style of English designer Christopher Bradley-Hole. No hard-edged design in mine. We want even the path to meander informally without sharp definition.

From memory, Bury Court’s garden is fully deciduous in that English and Northern European style. We just don’t do fully deciduous gardens in New Zealand. Our climate is milder but also our native flora is almost 100% evergreen so we think in terms of foliage and flowers all year round. My ratio is probably closer to 60% evergreen and 40% deciduous.

Not exactly Bury Court but planting has started

Bury Court’s garden was, I am guessing, big budget. What we lack in budget, we have, I hope, made up for in sustained thought and discussion over a fairly long period of time, along with the trialling and analysis of most of the plant material. At the back of my mind, I keep repeating some of the points made by Tim Richardson in the book I reviewed recently. “Immersive, not pictorial”, I say to myself. These are not twin herbaceous borders. They are an antipodean interpretation of the New Perennials movement and I chant like a mantra the words ‘rhythm’, ‘drifts’, ‘billowing’, ‘repeats and echoes’. It is a whole new approach to composing with plants for me.

Because we are not buying in the plants but relocating them from other areas in the garden and from small accumulations in the nursery, it is more work digging and dividing than simply knocking out of pots. But I am also starting with larger plants and with the luxury of plenty of plant material. I repeat again, a lot of thought has gone into the plants to be used – a few years of thought and observation.

We have never seen gardening as instant gratification and there is much work to be done in this new area before we are ready to share it in a few – or maybe several – years’ time.

Radio Live has now set up a separate site with Tony Murrell’s Home and Garden Show audio and photos so it is a whole lot easier to find than before. Last Sunday, Tony and I were talking about hybrids and species. Coming up this Sunday, we are discussing cottage gardening. I tell you, I leap down the stairs as my alarm rings 6.23am, make myself a cup of tea and am sitting wide awake and firing on all cylinders for when the phone rings at about 6.32. These are relatively extended discussions we have and it takes quite a bit of combined concentration, especially at that hour of the morning. For me it is a new skill to be focusing my mental energy on a radio discussion rather than on writing – often the ideas are similar but the process and skills in communicating them are very different. It is probably why I have not been writing as much recently.

Finally and entirely unrelated, I give you flowers for no reason except to share the pleasure. It is tree dahlia season again.

A garden of grasses. Mostly.

The grass garden at Bury Court

The grass garden at Bury Court

It is interesting to reflect on gardens over time. Sometimes a garden that makes you go ‘wow’ on the day is not the one that endures in the memory. In fact, not wanting to be too dismissive, but it is a rare garden that stays in the memory for long after a single visit.

That is Mark, not the owner, at Bury Court

That is Mark, not the owner, at Bury Court

The grass garden at Bury Court has endured for me. So much so, in fact, that it has inspired me to start a grass garden here.  Bury Court’s grass garden was by leading UK designer, Christopher Bradley-Hole but credit must also go to the garden owner, John Coke, whom we didn’t meet but had certainly stamped his mark on the other areas of the garden which were early Piet Oudolf. It is not that I want to recreate that grass garden which was full of soft, waving, tall grasses in informal plantings but contained within a sharp-edged, rectilinear design with a charming Japanese-influenced summer house at its centre. I am just using it as inspiration.

Anybody who has looked at gardens in the UK and Northern Europe over the past decade or maybe nearing two, will have seen the extensive use of grasses in perennial plantings. It is variously described as ‘prairie planting’, ‘New Perennials’, ‘naturalistic gardening’, ‘Sheffield School style’, ‘Oudolf- inspired’ and, no doubt, other terms as well. The bottom line is that it is the integration of grasses with flowering perennials in various styles and combinations and it has yet to catch on in New Zealand. Towards the end of our last trip in 2014, we started counting the ratios and it was common to see 3:1 – three flowering perennials to one grass. The Bury Court grass garden was 1:8 – that is one flowering perennial to eight grasses. The effect was very different and the movement of the tall grasses a delight.

A blank canvas of about 250 square metres (I paced it out)

A blank canvas of about 250 square metres (I paced it out)

I have been incubating ideas for the past three years. In an old garden, it is rare for us to be in a position to start a new area from scratch but that opportunity has arisen. Somewhere over 250 square metres of empty space in full sun with good drainage, in fact, that I can get down on for my grass garden. But we need that amount of space for we envisage B I G grasses waving in the breeze and when each plant will take up probably a square metre, that chews up the space. We have enough highly detailed garden here already, so we are looking at bigger canvas garden pictures with lower maintenance. That is the plan, anyway.

Stipa gigantea, with phlomis, at Wisley. Lovely ethereal seed heads but unproven in our conditions

Stipa gigantea, with phlomis, at Wisley. Lovely ethereal seed heads but unproven in our conditions

Our native toetoe, or cortaderia

Our native toetoe, or cortaderia

We have been given some plants of Stipa gigantea, beloved by UK gardeners. It remains to be seen if it will perform in our conditions, but I have put the first nine plants out. Also our native toetoe (which used to be a cortaderia but has now been reclassified as an austroderia) which will grow here and is our native version of the pampas grass often used overseas. Pampas (Cortaderia selloana) is on the totally banned list where we live, be it pink or creamy pampas. I have a very large miscanthus that I will relocate and divide in winter and a few other different grasses we have gathered up over the years but never found a suitable spot for. In using some of our native grasses and the Australian lomandra, there is an immediate difference to what we have looked at overseas. For our grasses are evergreen and theirs are generally deciduous. That is a big difference. Deciduous grasses give a fresh new look every spring whereas evergreen grasses hold their dead leaves so they don’t look as pristine but they are present all year round.

Aurelian lilies in abundance here

Aurelian lilies in abundance here

In terms of flowers, it will be a restrained palette. Mark has raised a lot of Aurelian lilies (clear, bright yellows and few in orange) that flower in early January and are desperate for a forever home in the garden. They will be number one, planted in groups of five. I have no idea how many there are out in his vegetable garden waiting to be lifted – maybe 80 flowering sized bulbs or so?

Crocosmia - from left: the roadside weed known as montbretia which is way to invasive to introduce to the garden, a spectacular large orange form that unfortunately does not increase quickly at all, yellow and orange forms and red 'Lucifer' for the new garden

Crocosmia – from left: the roadside weed known as montbretia which is way too invasive to introduce to the garden, a spectacular large orange form that unfortunately does not increase quickly at all, yellow and orange forms and red ‘Lucifer’ for the new garden

For mid summer, the crocosmias can add spots of colour and I may use the pure red and pure yellow tigridias too. We have a giant, autumn flowering yellow salvia that towers over 2 metres high so needs big space. I think that will fit in. Self-seeding, towering fennel (I like fennel flower and seed heads), a tall, creamy yellow alstromeria and that might be it for the initial plantings. The grasses are to be the prime focus in this new area.

Fennel, seen as a roadside weed here but I think it will fit well in the grass garden

Fennel, seen as a roadside weed here but I think it will fit well in the grass garden

Being gardeners, not designers, we are working from gut instinct and experience, not a formal plan. We are debating about whether to turn it into a gravel garden by using fine gravel as both mulch and path surface but that is a bit further down the track. We happen to have a small mountain, almost a mountain range, even, of fine gravel that would be suitable if we decide that is a good idea.

It is not instant gardening. Because it is dependent on plants, not hard landscape features, it will take time to fill in and mature. But that is in the nature of long term gardening – gradual evolution rather than instant gratification.

And a weedy carex - at least we think it is a carex, that we are hand digging to remove from both the new garden and the park. Decorative seed heads but way too badly behaved and invasive

And a weedy carex – at least we think it is a carex, that we are hand digging to remove from both the new garden and the park. Decorative seed heads but way too badly behaved and invasive

Postscript: A Facebook follower says of that weedy carex above: “Eek, that weed is a Cyperus eragrostis ( I think) type of sedge.” We are in complete agreement that it is a menace.

Tikorangi Notes: Thursday 12 February, 2015 Wildflowers or weeds?

Pretty by the road to town. The convolvulus IS a problem and agapanthus come in for a lot of criticism in NZ.

Pretty by the road to town. The convolvulus IS a problem and agapanthus come in for a lot of criticism in NZ.

Feeling the need to head my site with something more pleasing than the industrialisation of our beloved Tikorangi in my previous post, I flag wildflowers and roadsides. We have been talking about this a great deal over summer and clarifying our thinking. In New Zealand, these are often – in fact usually – seen as weeds for we are still a pastoral countryside where unrelenting green fields are deemed to be the desirable state. And of course our roadside flowers are almost all introduced plants, a few of which run amok.

Who wouldn't covet the oast houses at Bury Court?

Who wouldn’t covet the oast houses at Bury Court?

It was interesting watching BBC Gardeners’ World a few days ago. We seem to run about two years behind here so any UK readers may not remember the episode where Carol Klein visited Bury Court and the owner spoke about how he wanted his garden to echo the nature. The nature to which he referred was the hedgerows, meadows and road verges.

We visited Bury Court late last June. Naturally we coveted the lovely oast houses but the garden was also a delight and we learned a great deal from it. We could see the echoes of the English countryside repeated in a managed fashion.

To New Zealanders, nature is more likely to evoke images of our verdant and dense native forests and bush. It is a different perception of the environment altogether and it is taking some thinking to move preconceptions away from weeds to valued wildflowers that contribute to the eco system. Of course the pasture grass that we value so highly for our grass-fed stock is no more native than the wildflowers that grace our verges but the latter still get a bad rap here. I will return to this topic.

More Bury Court. Is this not lovely? I think so.

More Bury Court. Is this not lovely? I think so.