Sunday, February 18, 2018

Singapore's Garden Extravaganza - with a focus on cloud forests

The last time I was in Singapore which must have been getting on for ten years ago, Gardens by the Bay was under construction. The roads near the Marina were lined by trees in enormous containers, making you feel as if you had just driven into a garden centre or nursery that catered to giants. All were destined for one of the world's largest and most ambitious horticulture projects.

So, the first thing on re-visiting, was to get down there and see how the project was doing. The first impressions were very much that this was opulent public horticulture, walking a path between well-funded amenity horticulture and something more educational, but without any pretence at it being a botanical garden. Spectacular constructions, such as the signature 'super trees' and huge scale plantings make a powerful impact, but don't help define quite what the garden is for, other than impressing the visitor. Public gardens have often had this role. In trying to make sense of this extremely large, very well-funded and ambitious project it helps to think back to the Victorian era.
One of the Supertrees
In that golden age of gardening, public parks were about municipal pride, and declaring the status of the city or community that funded them. Not much chance of that happening in today's Britain, the most centrally-controlled country in Europe, where local government is so squeezed by the politics of austerity that basic services are beginning to break down. Singapore, like other successful Asian economies, are in a similar situation to where we were in the Victorian era. With its reputation as a garden city (an inheritance from the British Empire) and the world's leading centre for urban greening, the use of gardens as a national icon seems natural.
These are dogs, since you ask. It is the Chinese Year of the Dog this year.
The scale and level of control is all a bit overwhelming. The control is again, very Victorian, and likewise dependent on cheap labour (mostly south Indian Tamils). It is also very Chinese. Singapore is the ultimate state run on Confucian lines. “We think of the government as being like our parents” says a Chinese friend (and no particular fan of her government in Beijing and in fact having deep personal reasons for thinking quite the opposite). 'Planning' and maintaining control have been key to the city-state's (amazing) success as an economy. Nice tidy public gardening on a mega scale is all part and parcel of a paternalistic state which wants its citizens to enjoy their spare time in suitably safe and unthreatening ways. Its not somewhere where many western liberals would like to live, but it's the only place I have been where multi-lingual poster campaigns invite people to grass up their employers if they face unsafe working practices.
See those little figures down in the bottom right? They give you some idea of the scale.
Possibly inspired by, or aiming to go beyond, Cornwall's Eden Project, there are two vast 'greenhouses', kept cool rather than warm, using a clever heat-exchange system powered by decaying compost. We went into the Mediterranean one first. Here there are some good displays based on the various Mediterranean climate zones around the world, and good interpretation. Trouble is, someone's been unable to stop themselves having a go at some of the shrubs with their hedgetrimmer. There's a terribly kitschy faux-Chinese garden, planted with loads of forced-looking dahlias.

And then, the other 'biome'. Something completely different. Dedicated to cloud forests, this is the most sustained, visionary, high-investment naturalistic planting extravaganza ever. One of those things that gives one real hope. I'm assuming most readers will know what a cloud forest is, but for those who don't it is a mountain region that gets very high precipitation, much of it from being in the clouds. Cloud forests are biodiversity hotspots, often with very high rates of evolution, as every mountain side and valley will have slightly different conditions and the physical fragmentation of the territory allows for isolation and evolution. Think orchids, bromeliads, vireya rhododendrons, tropical begonias. The Gardens by the Bay Cloud Forest biome sends its visitors up in a lift to descend on a vertiginous series of aerial walkways around an artificial mountain covered in plants growing practically vertically.Vertical planting has had a bit of a chequered career in the temperate zone, but here, in a cloud forest zone (real or artificial) a lot of species grow like this naturally.

The standard of everything is just so high, the interpretation spot-on, with firm and imaginatively-driven messages on conservation and climate change. Given that we are entering the Chinese century, it is really encouraging to see such conservation leadership coming from within the Chinese language community.

Lycopodium and Huperzia species, club mosses - fern relatives. Having such botanical curiosities shows just how serious they are here about their plant diversity.

Thursday, February 8, 2018

House Plants are back!

After many years of being seriously uncool, house plants seem to be back in fashion. My son, more in tune with the zeitgeist than I (after all he lives in Clapton in east London – Clapton-the-new-Brooklyn (but hasten to add is NOT a bearded hipster) has started to pack his windowsills. A few trendy looking books have started to appear as well, usually in furnishings and accessories outlets that don't generally sell books, which is always a sign that something is 'on trend'. 

I have long been puzzled by the lack of interest in house plants, particularly amongst dedicated gardeners. So many really good plantspeople seem to suspend all interest once they step inside the house. I am always slightly surprised that a lot of good gardeners and plantspeople don't grow their own veg, but then not everyone is a foodie and growing things to eat is very time-consuming and requires a lot of organisation, so I more or less understand that; to turn from weeding the Arisaemas to nipping down to the local supermarket to busy some packeted veg. is understandable. But not to grow anything inside? I am genuinely puzzled.

For myself, and I think for quite a few gardeners who started in their teenage years, the first plants we grew were indoor ones. Tropical stuff, cacti, orchids, insectivorous things, kinda adolescent slightly nerdy things. Most of us then soon moved outside, but the love of plants on windowsills or atop cupboards has never left some of us. 

Those who started as 'outside gardeners' don't often seem to be able to make the transition to keeping plants inside. One reason might be the sheer artificiality of keeping plants growing in what is, after all, a very alien environment. The quality of growth that it is possible to get from plants growing in the ground is so much more difficult to achieve from indoor plants. House plants are incredibly dependent on their owners and keepers for their most basic needs. Many plants also respond to seasonal changes, primarily to temperature, and since we humans seem happy only if we are kept at around 21ºC that limits possibilities. Small failures build up, and if things go slightly wrong, we are then stuck with a below-par plant which given the shortage of spaces to grow plants in most houses, is always on view. We are then constantly confronted with evidence of our own failure as gardeners in other words (and the horti-social embarassment).

The hard fact is that there are not very many plants which grow well inside. Light levels are generally too low; dry air is also often a factor that affects plants badly. Succulents do well, but only if they have really good light – so unless you have extensive sunny windowsills there is not much habitat for them. The range of houseplants which was developed during the 1960s, the high point of house plant history, was a pretty limited one. Essentially it built on what I call the 'aspidistra concept', the very idea being one which has been one of the factors which has limited interest in them over the years anyway. It was the Victorians who really were the pioneers in growing house plants, despite the fact that their homes were infamously dark, with big extremes of temperature and polluted (coal smoke pollution inside and out was horrendous in the 19th and much of the 20th century, making today's worries over diesel exhaust seem almost like minor niggles). 

Aspidistras survived the grim growing conditions of the Victorian home, along with a limited range of other, it-has-to-be-faced, rather dull plants. They grow incredibly slowly, with very long-lived leaves. They are as near to static and plastic as plants can be. The aspidistra is a plant of deep shade, where resource inputs are low, so it grows immensely slowly. Ivy (Hedera helix) will survive similar conditions, and of course if conditions are right, can move pretty fast, but if poor can just survive, for years; not surprisingly it too was common in the Victorian home. Much of the 1960s house plants were visually more exciting but in many ways not much better, many being tropical forest floor plants – happy at 'our' temperatures, but able to survive for long periods without growing much: Philodendron, Monstera, Aglaeomena, Anthurium – all tropical Araceae. If they do start to grow their new growth is often weak and unattractive. They are not really living plants, in the sense of something which grows and develops.

I did do a house plant book once – a long time ago. Unfortunately all packed up, which given my current peripatetic status is going to be the story of my life for some time from now on. So I can't share pictures, but will try to do so in a future blog. In researching the book, we did find a few people who had examples of the kind of plants I have been just discussing, but which had been cared for well and had actually grown pretty spectacularly. There was a Rhoicissus which had colonised the hallway of a substantial north London house (actually part of the family) and an enormous Swiss cheese plant (Monstera deliciosa) in a Liverpool sitting room (ditto, belonging to the late Tony Bradshaw, the botanist and ecologist). 

The static nature of much of the conventional house plants flora must be one of the main reasons as to why few 'real gardeners' can be bothered with them. Plants which grow more vigorously, in particular those which flower, generally need more light than we can give them, or many of them. An exception might be orchids, which are relatively common as house plants now, all but unknown as such forty years ago. And of course, gesneriads: Streptocarpus, African violets, Achimenes. Small, relatively quite fast growing, not needing too much light (good indirect is best) and often usefully dormant for part of the year, gesneriads are an amazingly diverse and fascinating family. Their slightly hairy foliage and compact size give them a sort of cuddly, teddy bear quality too. When I'm in my dotage, I shall surround myself with them in the old folks home.

Our houses are actually very badly designed for plants – another problem facing the 'home' gardener. There were some attempts in the 1950s and 1960s in Sweden, a period and a place for particularly bold re-thinking of the domestic environment to create houses with small integrated growing spaces. The only one I have ever actually seen was, I think, at Beth Chatto's, a modernist 1960s design. I have often had the fantasy of designing a house around growing spaces for plants: light in just the right places at just the right amount, small planting beds strategically placed. There is a disadvantage perhaps to having too much vegetation around: the dead leaves, flowers, occasional insect pests, all add to a confusion of housework and gardening. I suspect it was this dislike of 'mess' which so restricted the use of plants in the conservatories of the 1980s conservatory boom. Victorians loved conservatories but had lots of cheap labour in the form of servants to attend to the cleaning, picking up and primping. 

So, its good to see house plants as 'back' but I can't help feel that we could do so much more.

Thanks to my son, Kieran Bradshaw. for the pictures.

Saturday, February 3, 2018

Portugal's firestorm disaster - eucalyptus to blame

This is the old manor house which Jo's daughter and family were thinking of buying, but the estate agent hadn't updated the pictures.

There was a day last year, October the 15th, when the sky over southern Britain turned an apocalyptic orange – we knew that the remnants of a hurricane, Ophelia, was about to hit us, but it was not until later on that we learnt that the extraordinary light conditions were the result of soot from fires in Spain and Portugal. Forest fires on a massive, and so far unprecedented scale for Europe. Having just spent a couple of weeks in the affected area, and concerned that there has been very little publicity about what happened outside the region, I want to say something about the issue here.

There had already been severe fires in Portugal in June, and a blog posting of mine then had discussed them in terms of them being largely the result of extensive eucalyptus planting. The conditions in October were exceptional: Ophelia was the most easterly tracking hurricane ever, big storms rarely go that far south, and the region was tinder-dry after many months without rain. All of these are indicators of a possible outcome of climate change.

Words cannot even begin to describe the scale of devastation, which has had nothing like the international press coverage it deserves. It looks as if someone has taken a flame-gun to the countryside. It is possible to drive for several hours across central Portugal and nearly every area of forest or trees in villages or in farmland have been burnt. Many houses too, especially the rather splendid big old abandoned houses which this country of large-scale rural depopulation is littered with. Some factories and warehouses too. Parts of the country are like a war zone. The Avo valley, a steep river valley, once very picturesque despite the ever-present eucalyptus is now a blackened ruin of a landscape. All in all, a terrifying presage of what might become much more common with climate change.

Eucalyptus acted as a vector for the fires spreading them into areas of pine (also relatively inflammable) and other areas of woodland. There is very little deciduous woodland left in central or northern Portugal, and oddly a lot of oaks loo relatively damaged. Deciduous trees like oaks and chestnuts are not so inflammable. Indeed where there is deciduous woodland, it seems as if the fire has not penetrated.

Fire is an important part of ecologies in many regions and the idea that it is always bad and damaging is now rejected. Understanding it is vitally important as to how we manage landscapes and indeed plant gardens.

There are many 'fire-resistant' trees. Eucalyptus however the opposite, as they appear to deliberately court fire. This is what makes them so dangerous. I'll try to explain.

Think of Pinus pinea, the umbrella-shaped Stone Pine of the Mediterranean – its shape is obviously designed to keep the foliage canopy up and away from ground fires. Cork oaks are similar, and of course have the amazing fire-resistant bark which has long been one of Portugal's main exports. Pinus palustris, the Longleaf Pine of the American South does not have this shape but gets its foliage up from the ground very quickly. This latter and its relationship with fire is now recognised as having been fundamental to a vast swathe of land from North Carolina around to the border with Texas (most was felled in the late 19th century to make way for slave-grown cotton). Longleaf dominated its territory, but by leaving a big gap between the ground and the canopy allowed ground fires to sweep across vast areas doing little damage to the trees. The regularity of the fires ensured that there was no build up of fuel – many of these fires were probably like prairie fires, very superficial. They would however have damaged many tree seedlings but left the better-adapted Longleaf seedlings. However it enabled a very diverse grass and wildflower flora to flourish.

I first heard about Longleaf when I went to a lecture by Janis Ray at the university of Athens, Georgia many years ago. I thoroughly recommend her bio –'Ecology of a Cracker Childhood' 
and indeed anything else about this remarkable tree that you can find.

Key to the survival of all these species is to have small and frequent ground fires. This makes canopy fires rare, and it these that do the really lethal damage to mature trees. Pines do not survive, and generally only do so through their seedlings taking off after a disastrous fire.

Eucalyptus however seems to deliberately encourage canopy fire. Their bark peels off and falls off in great strips, leaving a pile of what amounts to kindling at the base of the tree, with some loose strips leading thoughtfully up into the canopy of oil-soaked leaves. They are a recipe for the smallest ground fire leading to an almost explosive canopy fire. After which they recover, remarkably quickly. Sprouts can be seen surprisingly far up blackened trees only months after burning. In other words the trees' burning seems an evolutionary adaptation, that knocks back other tree species and gives the eucalyptus a competitive advantage. Just the same as with grasses, which burn easily, but survive and flourish amongst more seriously damaged woody plant seedlings. 

To add insult to injury, young eucalyptus seem almost unaffected by the fire - presumably the canopy fires sweep over the top of them. I wonder too if the silver foliage they have is somehow fire-proof. 

I wrote about the origins of the Portuguese eucalyptus problem in this posting. Only to add that I have since found out that Portugal was massively deforested in the 19th and early 20th century by a combination of overpopulation and traditional agriculture linked to a failure to industrialise. Zillions of sheep and goats roaming the hills eating tree seedlings apparently. That linking of population issues with unadaptive agriculture and failure to develop sounds like today's Haiti or Rwanda. That's another story.

Find out more about the battle against Eucalyptus in Portugal here.

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.

* * * * * * * * * * * 

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.