A good transitional entrance space between house and garden
November 6th, 2018 by Mark Laurence

This article was first published in 2009.

There are few aspects of our built environment more emotive that that of the entrance door. It can mean shelter, warmth, food, security, friendship. All of life involves the act of entrance, from the earliest caveman to the present day.

How many times per day do we go in and out of buildings and our homes? We scarcely stop to think about it, yet entrances all convey subconscious messages which can affect us on deeper levels, for good or ill. Some doorways are enticing, friendly; some oppressive; some just dingy and neglected. Most are probably functional and non-descript, of itself a message just as powerful as the others.

We move from our homes to cars, to shops, offices or other houses. Each time we do this we experience a subtle shift in light levels, humidity, warmth, expectations and intentions. Our mood shifts and adjusts with our purpose and our expectations. Going to work we might subconsciously don a mask as we enter busy offices or a large railway station. Arriving home again, we relax as we walk up the path, shedding the mask as we close the door behind us.

A Wisteria-covered pergola gives a deep connection

A Wisteria-covered pergola gives a deep connection between the kitchen door, driveway, outhouse and rear garden

The physical structure of a building and its entrances tell us what to expect: grand doorways with tall columns tell us of status, power and authority. Grim entrances to prisons have an unmistakable message. In public buildings especially, proportion is everything, where tall ceilings and doors give formality. By contrast a humble cottage door or an old garden gate recessed into an ivy-covered wall might look secretive or inviting, asking us to explore the spaces beyond. What do the doors to our homes tell us? Most front doors are rather bland or feel inauthentic, for example the many mock-Georgian style doors on modern houses offer us nothing more than a thin veil of pseudo-style applied over a nondescript structure.

In the home, layout and door position is also important. The front door is our formal entrance to the world, the back for our private comings and goings. Yet how many house layouts truly observe such simple criteria? Some houses have both the front and back doors equally visible, with no clear indication as to which is which. Or the back door opens onto a narrow side passage, rather than directly onto the garden. Many of us live with awkward house layouts.

Overcoming the problem of awkward flow is, however, fundamental to the harmonious functioning of a house and its occupants. On occasions when looking at a house and the way it connects to the garden, I have recommended the re-location of the rear door. It sounds extreme but I have had several clients who were very glad they took my advice. Fundamental problems sometimes need bold solutions and the picture below is one such example.  Here, a new connection from kitchen into the garden via a (new) seating area made a big transformation.

French doors give connection to the garden

New French doors give connection to the garden, creating a new experience in this house

French or patio doors aren’t always the bonus they’re meant to be, though. Sometimes these confuse the traffic-flow and can destroy the usability of the room in which they occur. Lines of movement (inside or out) should not cut through a still-point. Of course, sliding doors which truly open up the house and invite a more relaxed transition can be fantastic. It’s all down to careful thought and good design.

So much for placement, what of the physical act of entering and leaving? All too often it’s a bit, well, abrupt. Ground and wall meet at the perpendicular, at which point, there’s a door. You open it, go in or out. That’s it – all over with. Yet it takes a moment to adjust, from one environment to another, both physically (light and warmth) and mentally (tasks, purpose, relaxation). Ideally therefore, we need a space in which to adjust, to experience transition, even if it’s for just one second. That space becomes an area that is “in-between” – it could be a porch to the front entrance or a pergola to the rear. A covered walkway might lead to the car, a path or set of steps might connect us to the garden.

How this transitional space is styled will of course depend upon its use. For a front door, nothing beats a good porch or recessed doorway. The visitor waits in this transitional space for the door to be opened, the owner pauses to find their keys. Both might be glad to be out of the rain, or bathed in a welcoming light at night. Where possible, the porch should be preceded in the approach by a path and suitable planting, building up the sense of arrival. In these days of open-plan front gardens, attention to these simple things can make a big difference.

Where a door fronts onto a street, a roof canopy over the door and some tubs or wall planters might serve. A step up onto a different level might be frowned upon by planners, but where disabled access is not an issue, a step up, off the pavement can make a huge difference – suddenly we are in stasis, out of the busy flow of the main path.

To the rear, where a door connects you to the garden, there are multiple ways to enrich the experience of transition. A pergola might frame a door and be part of a larger structure which defines an outdoor room. Conservatories and lean-tos might be the connecting space. Loggias and verandas make a great transitional area. Where the back door has to be to the side of the house, perhaps make a shady passage covered by pergola, with ferns, foliage and climbers to give dappled light. Choose a good brick or stone and make it feel like a tunnel leading out into the garden proper.

So think about the way you move in and out of your house. Imagine the use, mood and character you wish to create and then find the structure to answer that need. A good entrance can really root a building into its environment and enhance the user experience considerably. If a building feels settled, like it belongs, you will too. Don’t put up with the merely adequate – enrich that transitional moment and rediscover the lost art of entrance.

Posted in Design, design principles, Garden Design, landscapes, Uncategorized, Urban Landscapes Tagged with: , , , , , , ,

November 2nd, 2018 by Mark Laurence

This article was first published in 2007 and has been updated 2018.

Future gardens will be an integral part of a living biosystem that is part house, part garden, an energy conserving and production environment, a resource for water retention and cleansing, food production area, biomass and environmental haven as well as a sanctuary for the soul and from the world at large.

Why do I say this? We cannot consider the future of gardens without accounting for climate change, which is now having a tangible impact on us all. UN scientists say (in 2018) we have 12 years left before things reach the point of no return. Whilst there is less talk now about global oil reserves peaking and that energy will be in increasingly short supply, it is still true that we have a long way to go before we have a fully renewable clean energy supply chain. Whatever the outcome, big changes are on the way.

So when we look to the future of our gardens, it’s not so much a matter of what style or vogue will be popular, for such things come and go and in this context are not particularly relevant. You might imagine it is a case of asking what will our climate be like and how will gardens adapt. Yet to talk only of adapting plants to suit the changing conditions is actually to miss the main opportunity for our gardens to become part of the solution to global warming and perhaps, even a core part of our individual – and so collective –  survival.

House-garden water capture, cleansing and re-use system

House-garden water capture, cleansing and re-use schematic.

 
That might sound ridiculous in the face of such monumental problems but I don’t think so. If we all decided to make sure that in our personal lives, we were “carbon neutral” (or as close as possible) then energy demands and pollution from domestic use would drop considerably.  At a rough estimate, gardens in England and Wales occupy at least 80,000 hectares, mostly in urban and suburban areas. This makes them a precious resource and opportunity for change on a big scale.

The first thing we have to do is start looking at our environment as a living bio-system; in this case, the house and garden, with its connections to the wider world (air, earth, wind, rain, food, materials, waste, energy, communications). Think of it as one cell in a big organism. Almost all the elements this cell needs to survive are coming from outside, beyond its sphere of influence. Yet the way that cell is constructed, used and connected to its immediate surrounds (garden) could, if designed correctly, reduce its dependency on external (manmade) systems. To decrease those we must increase our connectivity with natural systems, namely the sun, wind (energy) and rain. To put it more directly, with have to reduce to a minimum the inputs and outputs of our homes.

A fedge (fence-hedge) uses biomass grown in the garden to create new boundaries.  good for wildlife

A fedge (fence-hedge) uses biomass grown in the garden to create new boundaries. Good for wildlife and resource conservation.

Those items which we cannot produce internally, need to be sourced from outside, as close to us as possible. Therefore neighbourhood and regional systems need strengthening to minimise production/transport costs. This is particularly true and desirable for food products, but also building materials etc. For that reason, even if we manage to live off-grid – the ultimate, but extreme, conclusion to this line of thought – we cannot do it all alone and live in splendid isolation, nor would most of us want to. Many bio-systems will only work efficiently when connected together to give sufficient inputs to allow them to function properly (for example, reed-bed sewerage systems). Local community-generated bio-systems are essential to a sustainable future.

The main areas which the outside garden spaces could deal with are:

  • Passive solar gain (microclimates)
  • Water saving and (grey water) cleansing
  • Waste recycling (composting)
  • Energy production/conservation
  • Increasing site biomass
  • Food production
  • Biophilic nurturing
  • Nature conservation/biodiversity

You may think this all sounds very philanthropic, but where is the incentive to expend all this time and money “greening up” our homes and gardens? Some of the incentive will be economic; for example metered water users already consume about 15% less water than unmetered and government will gradually introduce a number of Carrot and Stick measures. But as cost of pollution will have to be met by industry and so, by consumers, simple economics means that inevitably everything will get more expensive. For many people, I suspect that having a lifestyle that gives independence and doesn’t add to pollution will become increasingly desirable, as we all witness first or second-hand the effects of climate change.  Whilst we all see the horrors of hurricanes and droughts in distant lands, at home (for me, the UK) we see increasingly severe flooding etc. right on our own doorstep. Less dependency on outside systems will give increased sense of security in an uncertain world.

In all of this, beauty and relaxation will be paramount, so gardens will still fulfil this most traditional and personal of roles, giving us joy, relaxation and sanctuary. For example, looking at a beautiful water system of rills and planted gravel filterbeds is made all the more exciting by knowing it has a useful function and is saving resources.

A rain garden which captures roof-water and allows it to infiltrate the ground

A rain garden which captures roof-water and allows it to infiltrate the ground

For these principles to be taken up by the average garden-owner and made successful, we must resolve two conflicting issues: the subject needs to be driven by a sense of fun, adventure and positive aspiration to really make a difference; and yet we must also avoid the “dumbing-down” or over-simplification of a complex topic, something that can occur when it appears in magazines and TV shows.

An example might be solar panels: it would be wonderful to run your garden pond pump, shed, or garden office from solar panels – no cables to the house to bury, a good eco-friendly solution. But you have to balance that ideal with the cost of initial installation (probably greater than laying electric cables from the house), the limitations of supply and the increased maintenance that may be involved. Having got your solar supply, you might be frustrated to find that you can’t charge your battery mower if you didn’t purchase a high enough generative capability. This is typical of a fragmented approach to sustainability – it’s a start but not really useful just thinking of the power to your pond and ignoring that used within the house, or your car.

 

So where are we? Standing on the threshold of an exciting new future, I would say. Technology and information is available as never before, and hooking up to the IoT (internet of things) is great fun and useful too. The brightness, however, is troubled by the looming stormclouds on the horizon and the knowledge that the societal cost of failure is high – and will be witnessed by ourselves but paid for by our children.

I do firmly believe that we can all make effective choices in what we do and in what we demand of the world, of business and our societies. We have to make rational choices and sometimes temper our own personal indulgence. Gas or electric patio heaters may be a nice luxury but the environmental damage is not justifiable. Maybe a log burning fire basket is, provided we do other things to counter the carbon emissions, such as growing more bio-mass. Extra woolly jumpers may simply be the best bet along with passive solar designed spaces! Most issues simply come down to us making informed decisions and balancing personal ease with environmental sanity.

Remember, what sounds “eco” or fringe today, is going to be tomorrow’s norm.  Get out there, explore ideas and enjoy being the change!

Posted in Adaptive Planting, Climate Change, Design, design principles, Ecosystem Services, Edible Planting, Environment, Garden Design, green roof, Landscape Futurism, Planting Design, rain gardens, Smart Cities, Sustainability Tagged with: , , , , , , , , , ,

Curvilinear form in the garden
October 28th, 2018 by Mark Laurence

This was first published in 2009 and is referred to in Wikipedia.

 

Curves are an integral element of design and especially of landscape, since they make a connection to nature, which does not use linear form. Curvilinear lines are notoriously difficult to achieve as they are invariably of a freeform nature (ignoring geometric curves which are formed by arcs) and are subject to interpretation “by eye” of the person setting out the design. A few centimetres either way can however, throw a curve out, disrupting its harmonic flow.

As someone who designs a lot with organic, freeform curves, I have seen horrendous attempts at setting out curves by contractors who are nonetheless competent in every other respect. It’s not about ability so much as a certain way of seeing things. Perhaps drawing curves that work is the ultimate test and definition of a good designer, whilst the successful setting out of curves on the ground or in three dimensional form separates the artist from the builder.

It’s easy for me to say there are good and bad curves, quite another to explain and illustrate the difference. I have been wanting to write this article for a number of years, but so far put it off because of the difficulty in describing something so abstract. However, understanding curvilinear form is crucial, so I will try to explain something that is for me instinctive, rather than intellectual.

Let’s take as a starting point the difference between intellectual and instinctive design. Intellectually, you might form a series of circles and form a connecting line whilst instinctively, you might just take a pencil and draw a flowing line. The former is precise, controlled, intellectual, inorganic, whilst the latter is instinctive, free-flowing, emotional, organic. This is illustrated at here: need I say which is which?

The freeform line at top left shows two possibilities: the red line is smooth, flowing, but the green line flattens across the natural line of the curve. It is still a freeform line but it no longer feels fluid and loses its sense of movement. The variation from the red line might be only a matter of inches/centimetres but it is enough to disrupt the visual flow. To make matters more complicated, there is seldom just one exact freeform line that is perfect for the situation: in the drawing below left, all of the different lines will do the same job. What determines the correct one is likely to be the relationship of it to other nearby elements. Perhaps the most common mistake is to use too many tight reverse curves - to put in too many “squiggles”, in other words. On the whole, reverse freeform curves should not be too severe or exaggerated. real-life application Let's look at how a predefined space determined the use of curvilinear form. The example at right is (part of) a beach garden I designed a few years ago. The yellow area is the boundary wall - a massive concrete sea defense wall 700mm thick. The kinks and angles in this wall left a space that provided no internal parallels and could only be fully resolved using curvilinear form. The area adjoining this (not shown) was linear in format, as the space there invited. Running all the way along the inside of this boundary wall was a seat, again of massive concrete. This needed breaking up with the introduction of planting beds, leaving small sections of seat in between. The red line represents the nearest linear form that could have been used but you can see that what it describes is naturally curvilinear in nature (the green line). Don't forget that all curves are made up of straight lines (curvi-linear)! The design uses freeform lines to reflect the boundary wall and a spiral acts as a beginning, or end, at the point where most sitting out occurs. This is what I call a “still point”, whilst the main flow of the paving, leading to the adjacent garden, I call a “line of movement”. I do not believe that this area could have been resolved so well using linear means. The main point to note, however, it that the lines had to be freeform: geometrically derived curves would not have worked, although the contractor would have preferred them! I had to assist in the setting out, but once done, a superb job of construction was carried out. The walls were rendered with a specially textured cement based render, which was ideal for the tough coastal conditions.

c

The left hand curve would be preferred by any contractor setting out a garden: provided he gets the centre points in the right place, the rest is simple. the right hand curve requires personal judgment of eye; it is subjective and so much harder to translate from paper onto the ground.

The right hand curve is alive; it has rhythm, flow, it feels right. The other curve simply jars the eye, it is dead, with no movement.

It is true, however, that not every freeform curve is successful. In nature, animals (and Man) move in curved paths, plants follow curved movements, water flows in spiral vertical pathways. All these have a natural rhythm, and for our freeform line to succeed, it must do likewise.

A centred line running through the curves with offset measurements is the best way to translate this from paper but it is still easy to get this wrong, in the manner illustrated below.

 

Curvilinear form - right and wrong

Curvilinear form – right and wrong

curvilinear form - variations of line

curvilinear form – variations of line

The freeform line at top left shows two possibilities: the red line is smooth, flowing, but the green line flattens across the natural line of the curve. It is still a freeform line but it no longer feels fluid and loses its sense of movement. The variation from the red line might be only a matter of inches/centimetres but it is enough to disrupt the visual flow.

To make matters more complicated, there is seldom just one exact freeform line that is perfect for the situation: in the drawing below left, all of the different lines will do the same job. What determines the correct one is likely to be the relationship of it to other nearby elements. Perhaps the most common mistake is to use too many tight reverse curves – to put in too many “squiggles”, in other words. On the whole, reverse freeform curves should not be too severe or exaggerated.

real-life application

Plan showing a curvilinear setout

Plan showing a curvilinear setout

Let’s look at how a predefined space determined the use of curvilinear form.

The example at right is (part of) a beach garden I designed a some years ago. The yellow area is the boundary wall – a massive concrete sea defense wall 700mm thick. The kinks and angles in this wall left a space that provided no internal parallels and could only be fully resolved using curvilinear form. The area adjoining this (not shown) was linear in format, as the space there invited.

Running all the way along the inside of this boundary wall was a seat, again of massive concrete. This needed breaking up with the introduction of planting beds, leaving small sections of seat in between. The red line represents the nearest linear form that could have been used but you can see that what it describes is naturally curvilinear in nature (the green line). Don’t forget that all curves are made up of straight lines (curvi-linear)!

The design uses freeform lines to reflect the boundary wall and a spiral acts as a beginning, or end, at the point where most sitting out occurs. This is what I call a “still point”, whilst the main flow of the paving, leading to the adjacent garden, I call a “line of movement”.

I do not believe that this area could have been resolved so well using linear means. The main point to note, however, it that the lines had to be freeform: geometrically derived curves would not have worked, although the contractor would have preferred them! I had to assist in the setting out, but once done, a superb job of construction was carried out. The walls were rendered with a specially textured cement based render, which was ideal for the tough coastal conditions.

dealing with curvilinear form will always be more problematic than linear, or than curves set out using radii. The rewards are however, subtle and infinitely powerful if you get it right.

Posted in Design, design principles, Garden Design, landscapes, Urban Landscapes Tagged with: , , , , ,

July 10th, 2016 by Mark Laurence

This review first appeared in Thinking Gardens in February 2016.


This book represents a new wave of thinking about “natural” planting that has been emerging in recent years; actually it has been developing for the last thirty or more years but like all new things, they tend to follow an exponential growth curve. I’d say that right now we’re near the base of the steep upward bit with this one. Left unchecked, exponential growth tends to end in collapse but this idea deserves to stay the course. To do that it has to translate from a style into a design language and that’s what this book is really about.

This is a very US-centric book, unsurprising since Thomas Rainer is from Alabama and Claudia West, though of East German origin, lives in the US. I would have liked her influence to have given the book a more European feel; it would have been richer for it and more globally relevant.

The book has already been reviewed on TG by James Golden but although I’ve read this I’m not referring to it, save for one point. Needless to say, that review is also very US-centric; my purpose is to give a more UK/European viewpoint.

The thinking in this book is very design-led, in which the authors refer to landscape archetypes, which I think is very useful. However, they only select three – grasslands, wood and shrubland and forest. Given the vastness and variety of American climate types (which has just about everything), I’m surprised they didn’t mention desert landscapes, arid-mountainous or Mediterranean (as in Californian coastal regions); I suspect they have simply not worked with these climates, yet to omit them from a listing of archetypes is limiting. It is clear too, that their interest lies mostly in the grassland or prairie archetype.

Desert Archetype

There are many archetypes other than the three mentioned in this book. Desert near Dubai, UAE.

Referring back to the JG review, he wanted to add another archetype, Edges. I would argue that the wood and shrubland archetype is an edge, or rather a transition. Only in farmer’s fields do we have an edge as such. I would think of these archetypes as parts of a sine wave, one transitioning into another as climate and topography dictate. This sine wave also rolls around the globe over time, one archetype superseding another in any given place. Remember that the Sahara desert was woodland just 10,000 years ago, when we emerged from the last ice-age. This fits with the theory that there is no such thing as an ecological climax.

Another interesting thing to come out of this book is the idea of “designed plant communities”. You could say that any grouping of plants together is a designed community but the context they use of grouping plants by habitat-type rather than just their visual look is refreshing. This makes good sense, provided that such a designed grouping is appropriate within its wider environmental context. Taken to its logical extreme, however, you end up with native plants only.

What may be harder to work out is how much of this philosophy fits into a garden. Even the largest garden can’t fit in a whole wood, let alone a prairie, so of course, we must work by inference. This aspect of things is not really discussed in the book and most of the pictures are of large gardens in amazing settings; domains of the lucky few who we landscape designers occasionally get to work for. Yet for the majority of small garden owners, instruction for the adaptation of these principles is missing.

Millenium Park, chicago

The Lurie Garden, Millennium Park, Chicago by Piet Oudolf exemplifies modern Naturalistic planting. This is large ribbons or drifts of plants rather than the species intermingling favoured in this book

Millennium Park, Chichgo

The same garden in November; form is held in the stems and shapes of the seedheads but use of some woody plants might add more winter form?

I feel that the book only really looks at one archetype, that of New Perennial/Prairie style gardens and there is a big focus on this at the moment. I might compare this book with Oudolf & Kingsburys “Planting, a New Perspective”. That book, whilst not getting down to the archetypal design level, is more European in focus, so possibly a good companion read. Yet it too, mostly deals with perennial-based planting, as you would expect from these gents. The work of Nigel Dunnett and James Hitchmough comes to mind too. The fast-changing essence of many of the plant species used means that these perennial plantings are subject to rapid change, even degradation, over time as some of the most desirable and favourite species are so short-lived (Achillea and Echinacea for example).

I think the Wood and Shrubland archetype is the most likely to resonate with those seeking to create a garden, yet the ones of great importance to me, in a European and specifically coastal Southern England context, is that of the unmentioned Mediterranean or Arid-Mountainous archetypes. Whilst some areas of the Mediterranean clearly fit the Wood & Shrubland archetype (ie broadleaf and evergreen woodlands and Maquis), others such as Garigue, Salt Marshes and Rocky Shorelines, do not. I think this range and essence adds up to its own unique archetype. Arid-Mountainous too is quite distinct (although again with areas that fall into the realm of other archetypes), yet gives us wonderful, tough plants like Perovskia. The Dutch biologist Brian Kabbes has done much to inspire and educate us with his exploration of plants in Kyrgyzstan.

Perovskia arbrotanoides

Perovskia arbrotanoides growing wild in the mountains of Kyrgyzstan. Photo by Brian Kabbes

 

To me, one of the biggest drivers in creating naturalistic planting communities has always been about resilience. To my mind, planting should survive without irrigation, so low water-use plants are attractive. I can’t think of a single garden in the UK that couldn’t survive without irrigation, the desire to use pop-up sprinklers is ridiculous and surely industry-driven. Climate is changing now beyond speeds that Nature can shift plants and ecologies around the globe, so it is something we humans must do if we want a future landscape of any description (oh, and for our own survival). So we have to transmigrate landscapes from one continent to another to keep pace; yes, with all the risks that entails when introducing new species (and it would not be just plants we’d have to relocate). So learning about plant communities and how to build them is a vital skill which this book begins to explore, yet could have gone much further in instructing us on.

Mediterranean Archetype

This coastal garden I designed in Southern UK loosely mimics the Mediterranean archetype, and uses a full range of grasses, perennials, sub-shrubs, herbs, shrubs and trees.

 

In the European context then, archetypes other than grassland/prairie might be more useful and translatable into a garden context. That this book has not covered these is not really surprising but it is a mistake to think that the new language of resilient/natural/sustainable landscapes is dominated by perennials and grasses. This aspect is possibly a trend within the underlying drive for a natural interpretation.

A European version of this book is needed, which could perhaps take it to the next level of design language development. In this respect, inspiration can be drawn from another book, “A Pattern Language” by Christopher Alexander, which although about architecture and space, is also about soul, spirit, context and community, realised through the use of a language of patterns. In a very real way, “Planting in a Post-Wild World” attempts to create an archetype-based design language and is a valuable contribution to that. We just need the language to be global, or to see this book as a regionalised attempt to cross boundaries and develop new thinking.

This is an important book and I recommend it; for all its limitations it shows the way to develop landscapes that are truly new and profound.

Posted in Book Review, Design, Environment, landscapes, Natural Landscapes, Regenerative Planting Tagged with: , , , , , , , ,

hazel pruning methods
January 9th, 2016 by Mark Laurence

In my previous post I talked about a regenerative planting methodology for urban landscapes, in which I suggested you would manage, rather than maintain your planting areas. So how exactly do you you do this? Both involve work and the difference is a subtle but important one, in both attitude and application. Think urban forester rather than garden pruner. The picture above illustrates this perfectly, so let me explain.

It shows two hazels in my garden, both planted as young bare-root trees in the winter of 07/08. The one on the left was coppiced down to the ground in the winter of 12/13, the other has been pruned to keep a structure of older wood, with all suckering growth removed annually. What is the difference? The coppiced hazel has been less work overall and has not been touched since it was coppiced, the pruned tree has been pruned annually, which was not great amount of work but this is just one tree. If there were a hundred, it would be a different matter. The main difference is that the pruned tree has catkins, the coppiced tree does not, but I think this is a difference of genetics, rather than pruning technique, as they have always been like that. The shape of the pruned tree is also wider in its spread and will become gnarled as it gets older.

So in terms of management, if you go the coppice route you do nothing much to the trees except coppice them every 4-5 years. I would suggest that 50% of the trees are coppiced so that not all structure is removed at once. Notice that the growth of the coppiced hazel is straighter, making for a productive yield of canes and poles that can be used in the local community. Other trees that can be coppiced include sweet chestnut, lime, alder, ash, willow and hornbeam. Birch and oak will coppice, but from young trees only. Willows and dogwoods grown as bushes for their winter colour can be coppiced or “copparded” (inbetween coppice and pollard) to around 300-600mm every two years to keep the winter stem colours strong.

Salix elaeagnos

Salix elaeagnos (foreground)

By adopting such techniques in our larger masses of urban street planting and parks, we would deliver a more biodiverse, beautiful and biophilic interaction for all concerned. It would also cost less both to establish and possibly to maintain, than traditional planting. The above willow is beautiful and graceful, yet I have seen it all too often used in municipal car-parks and reduced to a-n-other shrub that is caressed all to frequently with the indifference of a hedgetrimmer.

Time to re-wild our inner selves, and our urban landscapes. We can do so much better than the average landscape we see in our towns and cities.

Posted in Arboriculture, Design, Ecosystem Services, Environment, landscapes, My Garden, Regenerative Planting, Trees Tagged with: , , , , , , , , , , , ,

regenerative tree planting methodology
December 29th, 2015 by Mark Laurence

Almost all urban landscapes are contrived and designed, due to their artificial nature and short timescales of development and use.  We see increasing use of mature rootballed trees and extensive hard landscape and this is normal for intense inner urban areas; I do get concerned that the increasing complexity of urban planting systems divorce trees particularly from their natural functions and prevent the occurrence of the biological interactions/communities that go to make up an ecosystem.  For example, I have seen trees planted whose surface levels are around a metre below the surrounding paving level.  No matter how well designed, this seems fundamentally wrong to me.

So I’m thinking that there must be a way of dealing with the majority of less intense landscape zones (especially where there isn’t the financial budget that a high-end development attracts) to provide urban regeneration, ecological restoration and biophilic connection, all on a modest budget.  This would create a new method to allow for wide-spread adoption in urban and suburban zones.  I think the solution comes from Nature’s own process of natural regeneration and a developed philosophy of minimal (but specific) preparation.

silver birch regeneration

silver birch are pioneering species for natural regeneration

Starting from the observation that Nature is very efficient at regenerating itself, what can we do?  Too often, I have seen unnecessary interference in this process.  I still recall that a few years after the great storm of 1987, I walked through some nearby National Trust woodland of pines and birch.  A great deal of damage had been done with many trees blown over.  Birch had however, regrown abundantly from dormant seed and was already three or four foot tall.  The NT then sent in the bulldozers to clear out the fallen wood so the area could be – replanted.  I watched them tracking over all the natural regeneration.  Why didn’t they just leave well alone?  The restoration of the woodland was only slowed down by such clumsy interference and this was not even a productive forest.

If we simply broke up paving in our urban centres and loosened up the sub-base, what would happen?  Nature would soon find a footing and things would start to grow; however, that process would be too slow and unpredictable for human sensibilities.  So what if we did a little more, adding a small amount of topsoil to the rubble, planting small (1+1 year transplants) bare root trees and shrubs,  with plugs of understory forbs, ferns and grasses. Starting so young, we’d generate a successful community in no time.  These could be designed as narrow ribbons – two to four metres wide, inserted into suitable wider areas of paving.

An urban area suitable for natural regeneration

An urban area suitable for natural regeneration

The above area was one I thought would be suitable for such an approach; there are many such areas throughout all urban spaces.  They cry out for regeneration, yet seldom can this be done for lack of adequate finance.  Below is a quick sketch showing how it might look.

Sketch showing regenerative planting

Sketch showing regenerative planting

The benefits of such an approach would be huge.  It would cost far less than using a traditional approach to landscaping such an area, maybe half (I haven’t costed it!).  The care would move from maintenance to management, using a rotational coppice methodology, rather than trim and tidy (which always ruins a plants natural habit. Biodiversity would be hugely enhanced, air pollution mitigation would increase, wind buffering, urban heat island reduction, stormwater runoff (they would act as rain gardens) and of course, our biophilic needs, our connection to nature.

Someone needs to be bold and try it; talk to me…

Posted in Arboriculture, Biophilia, Climate Change, Design, Ecosystem Services, Environment, landscapes, Regenerative Planting, Trees Tagged with: , , , , , , , , , , , , , , , , , ,

January 23rd, 2013 by Mark Laurence

I was chatting to the local farm manager the other day, out on the snow-lined track.  “There’s nothing in the hedgerows for the birds” he told me.  It made me glad that there was in my garden, which borders the track and fields.  It also brought home such a startling truth:  the birds need us and we need to garden for them, and that means for the whole food-chain.

A Robin sits on one of our Wayfaring Trees - Guilder Rose, or Viburnum opulus.

A Robin sits on one of our Wayfaring Trees – Guelder Rose, or Viburnum opulus.

The picture shows a Robin; but they don’t eat the berries; Blackbirds and Thrushes do, at least around here.  I’ve been wondering why, since the berries were first produced in Autumn, they hadn’t been eaten; perhaps they were saving them for harder times, maybe it is not their favourite, but it is there, they are eating them and so surviving.  I’m so glad that a planting choice I have made has made a tangible difference to the birds.  Although native, Guelder Rose does not naturally grow on the south coast, so perhaps they simply hadn’t discovered the fruit – but they have now and the bushes are almost bare.  To me, this is the best reason to garden for wildlife; the simple rewards are better than almost anything I can think of…

Posted in Environment, landscapes, Sustainability Tagged with: , , , ,

January 16th, 2013 by Mark Laurence

I’ve been doing a lot of research since writing my blog post on trans-migrational landscapes, my theory on how we have to adapt our natural environments – or rather, help them adapt – to combat the rapidly increasing effects of climate change.  It’s not going to be easy; right now I’m not sure if we can do it without making a complete fudge of things, or if we would simply be making matters worse.  I’ve just read this article in the Telegraph, which would seem to agree with my idea, but as some of the comments after point out, it’s the insect and microbial ecologies that count; many of our native population just can’t live on non-native plants.

I’m also reading a book by ecologist Douglas Tallamy, called Bringing Nature Home; in which he talks eloquently about these problems, about the environmental collateral-damage caused by horticulture and agriculture.  That plants, insect and fungi go rogue is understood; that they might only do so after 80+ years of benign cultivation and growth in a new continent is astonishing.  Alien plants displace more fragile natives and they can rampage, simply because they are not subject to the checks and balances caused by a predatory ecology.  What we, as gardeners, admire about an introduced plant – that it doesn’t get eaten by “pests” – shows that it is ecologically barren, is not taking part in the local micro-ecology and so is not being transformed into higher trophic levels of being, ie. into the higher food chain of insects, birds and mammals.

So if, as Tony Russell suggests in his Telegraph article, we were to plant non-native woodlands, they would become ecologically less diverse as a result, even if the trees were better able to grow in an altered climate.  So should we then introduce all or some of the microbes and insects that naturally live in such trees?  That could be very dangerous, with results that are entirely unforeseeable. Of course, we might have to gamble as the climate gets more and more extreme and moving Mediterranean ecologies to Southern England might save them as they die out in the place where they have evolved to live in.

My fear is that we are not smart enough to understand and control (as if we ever could) such a process, my hope is that we could take the issue seriously enough to learn how to do this successfully.  We will need it, if we are to retain useful and beautiful ecologies on which we depend for our survival.  Nature doesn’t need it, because she won’t mind taking a long, LONG, time to rebuild things…

 

 

 

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