Category Archives: Garden Design

Please visit the Jardin Plume before it becomes over copied


the Bassin Mirroir and Orchard at the Jardin Plume

the Bassin Mirroir and Orchard at the Jardin Plume

I vividly remember my sense of injustice and disappointment when a university tutor dismissed the French Romantic poetry I was raving about as ‘cliché’. I had only just met it, and I thought it was wonderful. Please then, go to see this wonderful garden before it becomes cribbed, copied, and eventually clichéd. It is so new and so original, yet the formula is old, because this garden takes the best principles of the past and applies them in a strikingly modern way.

Sylvie and Patrick Quibel are hortics who built the garden to promote their nursery. Now the nursery funds the garden, and the garden has been voted Garden of the Year by Those That Know.

It is on flat ground in the middle of farm land in Normandy, a climate similar to ours in England, so plenty of scope for copying. The Quibels based the design on the principles used at Vaux le Vicomte by Le Notre (a design so successful that the Sun King jealously imprisoned the owner, stole the chateau, and got the designer to do him Versailles). There are grand allées, formal hedging and tightly clipped parterres. The house is raised above the land, and extra land is ‘borrowed’ by carrying the eye seamlessly into countryside beyond. There is a potager as purely ornamental as Marie Antoinette’s, a pool to reflect the heavens, and secluded spots for indulgent reverie. So far so déjà vue, but what makes the garden modern is the way all this is done.

The raising of the house is by one sole brick step, and that is the only new hard landscaping to be seen. The allées are wide paths in an orchard, mown between geometric squares filled with tall grasses and colourful perennials. Thus French formality is wittily contrasted with the billowing grasses which play so well to the wind swept site .The Quibels saw them as undulating and continued the metaphor by clipping the formal hedges into waves.

The parterre in front of the house is filled with the Summer garden – a jumble of hot colours and tall shapes including over 8 different types of Helenium – on close inspection each bed of the parterre has a side missing, ‘to let in the air’. This looks out onto the orchard, and beneath an enormous apple tree, the reflection pool, which is a simple square cut in place of one of the grass cubes in the orchard.

There are traditional box balls in the Spring garden, but there are over twenty of them, of varying sizes and interplanted with mainly whites such as hellebore and solomon’s seal, astrantia and pulmonaria, all brought alive with the lightest scattering of Molinia ‘Fontane’ dancing above.

The Autumn garden is hidden behind hedges on the west side of the house, and Patrick describes how they built the arbour as this is the best spot to enjoy an evening aperitif. In front of the arbour an enormous ‘table’ of box separates the diners from the crowd of ‘vivaces’, a brightly coloured jostling jungle of perennials, with annuals and grasses, mostly over six foot tall. The Quibels site Dixter as an influence, and like Christopher Lloyd and Fergus Garrett they plant in associations. They will try out groupings in situ until they are happy with a combination, when they repeat it again and again, so that the result is harmonious, whilst looking natural. In the spring everything is cut to the ground, weeds removed and, like Dixter, self-seeders scrutinised and allowed tenancy where they enhance the original planting.

The arbour and box 'table' in the Autumn garden at Jardin Plume

The arbour and box 'table' in the Autumn garden at Jardin Plume

As nurserymen the Quibels were influenced by Priona in Holland, and they propagate a huge range of new perennial style plants such as Aster, Cimicifuga, Veronicastrum, Circium, Epilobium Sanguisorbas and Thalictrums and wonderful grasses including their own self seeded Miscanthus ‘saturnia’, a luminous white flowering possible love child of Miscanthus ‘Silver feather’ which is similar but heavier.

It is this mixture of formal and natural, control and laissée faire, old fashioned structure and twenty-first century planting that makes this garden special. It is a very sensual garden, crammed full of colours, scents and movement, and the French are very sensual about their plants. Nursery catalogues talk of finding the plants that have ‘seduced’ you in the gardens, and to overhear the eager replies to Patrick’s question ‘Do you want it?’ (vous le voulez?) in the nursery, you can see why.

The Quibels will be speaking at the Garden Museum on October 20th www.gardenmuseum.org.uk To visit the garden see www.lejardinplume.com

Patrick Quibel in le Jardin Plume

Patrick Quibel in le Jardin Plume





Saana Pavilion at the Serpentine Gallery

The Saana Pavilion would be EVEN more beautiful with water and bamboos, instead of white chippings and trad flower pots
The Saana Pavilion would be EVEN more beautiful with water and bamboos, instead of white chippings and trad flower pots

The Saana Pavilion is the most beautiful, so far, in the Serpentine Galleries series of Summer Pavilions, but it is a disappointment for no fault of the architects. Obviously, it should have been integrated with an equally brilliant  garden design.

The Online Etymology Dictionary has this for Pavilion: 1297, “large, stately tent,” from O.Fr. paveillun (12c.), from L. papilionem (nom. papilio) “tent,” lit. “butterfly,” on resemblance of wings. Of unknown origin. Meaning “open building in a park, etc., used for shelter or entertainment” is attested from 1687. Saana have done the butterfly idea to perfection and it integrates with the plane trees better than any of its predecessors. But it could have been so much beautiful if integrated with, for example, water and bamboos. I hear the pavilion has been sold, so perhaps I will visit a garden some day and find this has been done. I hope so.

My suggestion to the Director and Trustees of the Serpentine Gallery is that they move heaven and earth, in their customary style, to raise additional funding for a combined pavillion+garden and then invite entries from integrated professional teams. This would:

  1. easily outdoo the best designs at the Chelsea Flower Show, which are often architecturally disappointing (see design reviews of Chelsea Flower Shows and Haruko Seki’s 2008 Silver Moonlight Garden)
  2. attract many extra visitors and far more media coverage, because gardens get far more media attention than buildings
  3. match the etymology of ‘pavilion’ as a building integrated with its setting
  4. achieve the wondrous goal of encouraging indoor and outdoor designers to work together on every possible occasion
  5. in all probability, make a series of contributions to the cause of sustainable green design

The Serpentine Gallery has a better opportunity to promote garden and landscape design than any other gallery in London: the Serpentine itself was once a leading-edge design. I think it is one of those occasions when an opportunity becomes a duty.

Niwt symbol: ancient Egyptian city determinative hieroglyph

First draft: niwt determinative heiroglyph logo

First draft: niwt determinative heiroglyph logo

Second draft: stylized niwt determinative heiroglyph logo

Second draft: stylized niwt determinative heiroglyph logo

From virtually thousands of emails, I know that many of our readers are throbbing with curiosity about the significance, if any, of the Gardenvisit.com logo. There being no reason for secrecy, and the explanation will now be given. The symbol was inspired by the Egyptian hieroglyph niwt (pronounced ‘nee-oot’). Niwt is used as a determinitive so that, for example, if written with a pictogram of a falcon (Horus) the combination of symbols  means ‘the city of Horus’ (which the Greeks called Hierakonpolis).

Most heiroglyphs began as pictograms and many people think that this must be true of the niwt symbol. It is read as a protective wall round a settlement with crossing roads within. But it is also known that niwt was used for small towns before it was used for large towns, and it could therefore have meant a house-and-garden before it meant a town. My own reading of the symbol is that it reflects two very ancient and fundamental truths about dwelling places:

  • they must provide safety and security
  • they must be connected to the world outside the dwelling place

IF this is correct, then the niwt hieroglyph can be read is the world’s most ancient ‘plan’ of a dwelling place, representing a linkage between indoor and outdoor space – as the great majority of historical gardens have done. We therefore judged it a most appropriate logo for a website dealing with ‘design on the land’ by landscape architects, garden designers and others. We hope you like it. Logo design is an interesting craft.

The Egyptian settlement which most obviously reflects the ‘niwt’ plan is the worker’s village of Dier el Medina.

Robbie Williams and the Compton Bassett garden design

Robbie Williams bought this garden, with the adjacent house, for £8.5m in 2009

Robbie Williams bought this garden, with the adjacent house, for £8.5m in 2009

As a solo artist Robbie Williams has  “sold more albums in the UK than any other British solo artist in history and has won more BRIT Awards than any other artist to date”. But I don’t think much of his taste in gardens or architecture. Compton Bassett once belonged to Lord Norman Foster of Thames Bank and was re-worked by the architect Michael Phillips, who specializes in chic hotels. Maybe the interior is comfortable, but what on earth could one use the walled garden for? The landform is amphitheatre-ish but it is designed sort-of-like a renaissance parterre, without the hedges and with wonky geometry. Then one wonders why there is a penguin pool in the bottom left corner and a rotunda overlooking the tennis court. Its a mad world and, as usual, I advise anyone who wants a good garden design to employ a good garden designer. You might ask them to knock-up a quick scheme for the house but I doubt if this will work out very well.

Gardens being made today, for the likes of  Robbie Williams, will be open to the public one day and I would like to offer two words of assistance to those garden historians who will doubtless try to classify the styles in which they were  designed: “Good Luck”.

Useful info for Robbie Williams:

Creating a new gardening tradition

mawarra-nsw

Edna Walling grew up in Devonshire England, but was destined for renown as a landscape architect in a very different landscape and climate from her native home.

Her family migrated to New Zealand when she was fourteen and three years later to Australia.

Following the tradition of Gertrude Jekyll who was influenced by the design philosophies or the Arts and Crafts Movement, Walling sought to unify the garden with architecture.

Her design approach is said to be based a set of design ethics;

* Work with existing landscapes and existing features such as slopes, rocks and trees

* Begin by sculpting the surface of the land, preferably not levelling it

* Create a unity between the house and garden

* Use architectural principles to structure the garden and soften with dense planting

* Individually design for each house and garden and the needs of the client

* Keep garden maintenance to a minimum

To read more http://www.abc.net.au/walling/designer/default.htm

Source:  Garden at MAWARRA  http://www.geocities.com/harridan99/hols/edna-walling-mawarrapics.htm

Greening the garden sculpture

jeff-koons-bilbao-garden-sculptureHow about combining your garden and your sculpture investment and commissioning a piece of art (topiary) from Jeff Koons? The artist is responsible for this imaginative 43 foot high ‘vertical garden’ at the Guggenheim Museum in Bilbao in the mid-1990s. http://www.environmentalgraffiti.com/ecology/15-living-walls-vertical-gardens-sky-farms/1202/2

For fire, water, air and earth see also http://firefeatures.com/index.htm the environmental sculpture of Elena Columbo.