Colour In The Garden

Does And Don't On Designing with Colour

Drive through any town or suburb and you will see many plantings that apparently aim to include every possible colour imaginable, all crammed together, with no thought at all for harmony,  balance or indeed the colours and forms of the adjacent or surrounding buildings. 

You wouldn't buy a carpet in such a riot of colours, but colour sense often literally flies out of the window when it comes to exterior colour schemes.

As a very general rule, the more bland the architectural backdrop the bolder your colour scheme can be and vice versa. If , for example the building is a shade of grey, bright colours will work in your scheme. 

New red brick is a difficult foil for successful planting because the strong colour of  the brickwork dominates whatever is close to it – and in a small garden that includes everything.  Your course will teach colour theory,  but even without that knowledge  you should be able to recognise that purples and vivid reds simply do not work against brick, even when if it is aged and weathered. 

Softer colours – pale yellows, cream, grey-greens and  light blues look much better. Why? Because they are cooler and complement  the brickwork rather than fighting it. Light peach, pink and apricot also work against red brick, being watered down versions of the brick colour itself. However these colours are more tricky to carry through into a broader planting scheme.

Even small changes of colour in your client's garden can make a positive difference. Paint a plain garden shed , garden office or summer house in an exact match or tone of one of the colours you will be using in your planting plan. 

It will immediately integrate into the overall scheme and look cool and sophisticated. Likewise any timber structures such as fences, timber seats and  arbors will last longer and act as a much more pleasing backdrop to planting if they are painted in soft earthy colours such as a clay grey, slate blue or sage green.   

For ideas try studying Farrow & Ball or Fired Earth colour cards, both of which contain colour ranges that are ideal for use in the soft light of the United Kingdom and other northern countries. The vivid colours that work so well in the bright light of  the Mediterranean or California are less successful further north, with the exception of  some ultra modern inner city gardens.

Colours can be mixed and matched in a variety of finishes such as exterior eggshell. There are several commercial wood stains and paints available but be careful –  unless you are seeking a bold and vibrant effect some are still not subtle enough for use over large areas and may need to be mixed or thinned.  

Avoid gloss paint, it gives too sharp and shiny a finish  - and don't use a spray gun as it may dribble through to the neighbouring side of the fence and cause a dispute for which you don't want to be blamed!

More thoughts on colour in the garden will follow in future blogs. In the mean time tell us what colours you like and dislike in the garden.


Article by Sue Hook

Garden Designer Interview: Duncan Heather

Thursday, October 24, 2013 at 10:18
In our series of interviews with garden designers that have a plethora of knowledge and talent, we at Notcutts were lucky enough to have caught up with one of Europe’s most successful garden designers, Duncan Heather.
Duncan Heather When reading Duncan Heather’s biography you can’t help but be impressed. He is one of Europe’s most successful garden designers, winning five gold, one silver and one bronze medal along with three best show awards for his work. Duncan trained under and worked for John Brookes – one of the most influential garden designers of the 20^thCentury. In 1991 while working for Mr Brookes who is known for the world famous Denmans garden in West Sussex, Duncan was offered a directorship, something he declined in favour of concentrating on his own design practice in Henley-on-Thames.
Duncan splits his professional time working on a variety of garden design projects with lecturing at the Oxford College of Garden Design. He is the Founder and Principle of the college, since its inception in 1992, Duncan now offers a diploma course which can be obtained via online lectures, tutorials and video lectures.
We were lucky enough to catch up with Duncan to discover what it was like to train under and work with John Brookes, and what he believes is the key ingredient to a well thought-out and executed garden design.
What was it like to train under and work with John Brookes?
I rate John as one of the top designers of the 20^th Century and he will go down in history as such. I was very privileged to be his design assistant and one of a handful of people to work with him. Working with him gave me a deeper insight into how his design philosophy (called Pattern Analysis) works, although he has written numerous books about design. It was this insight that helped me to set up Oxford College of Garden Design and reach the goals I wanted to achieve.
John developed ‘Pattern Analysis’, which is the polar opposite of the ‘SAD’ technique most garden designers are taught, allowing designers to create modern art within the garden.  The boundaries of the garden, act as a picture frame.  With the house always being the most important element of the design. An imaginary grid is setup, which is unique to the site and is created using the proportion of the house. As a result all the patterns created within the picture frame, relates back to the house in scale. The spaces within the design, can represent water, paving, lawn or planting and the lines dictate where a hedge set of steps or wall can be placed.

It sounds as though you have been extremely influenced by John Brookes, even mentioning his Pattern Analysis as a way of teaching. How does the Oxford College of Garden Design differentiate with ‘John Brookes: An introduction to garden design’?
John is no longer teaching a face to face course, but does teach a four-week online course with my sister school, MyGardenSchool . The classes I teach with Oxford College of Garden Design are intended to teach those who are wishing to become professional  garden designers, whereas MyGardenSchool aims to teach horticultural classes to the general public.
Both John and I co-wrote the classes taught at MyGardenSchool, and John is available to answer any questions, help with any design elements people may have and mark their work. He is very much involved in teaching and has embraced new technology throughout his career. We are both very excited about online learning, and I really believe this is the future; within a decade I believe all universities will be teaching their lectures this way.

You and Elspeth Briscoe founded MyGardenSchool  the world’s first virtual gardening school and you’ve also launched MyPhotoSchool. When you’re not lecturing how do you spend your time? I’ve noticed your garden is quite large, have you found time to do all the garden chores yourself?
My wife Carol, does most of the gardening, but yes I do a little work here and there. I tend to use my time to build and run my businesses, blog, do a little SEO and teach online. I am very lucky when it comes to how I spend my time. I love gardening and this is my full time job and photography is a great hobby of mine and I’ve been able to incorporate this into my work load too.  MyPhotoSchool was founded after our Flower Photography course proved to be the most popular class we had to offer and since then we have been able to ask top photographers to teach at our online school.

Following your article ‘Would you be a better Landscape Designer if you were Dyslexic?’ and being dyslexic yourself, do you believe it has made you a better designer?
Those with dyslexia tend to see things more holistically. We’re more arty than analytical. Do I think it has made me a better designer? I think it has helped. I struggle less with visualising what I want to do. When I walk into a garden, within half an hour I have a clear plan of what I intend to do with that space.
What do you believe to be the key ingredient to a well thought out and executed garden design?
The house and site are the main factors for every garden design. What a lot of people believe is the most important aspect of garden design is the client, but what I want to create is a garden  with longevity. Although the client is important, after all they are paying the bill, you also need to ensure the next owners like the garden too. It has to work with the house and location. The style and location of the house needs to be put at the forefront of any design, whether it is a countryside setting or in a more urban environment. The architecture is the main focal point; it is the beginning and end of all design. The design then has to revolve around it.
What influenced your garden? Are there places you like to source inspiration from?
I have a two acre garden, which is located in a heavily woodland environment. One part of my garden is filled with beach woodland which makes it difficult to grow anything, not even brambles could grow under the trees due to the lack of light. So in the second part of my garden, I removed 60 of the trees and create two woodland glades. One is grass and the other is a natural duck pond.
What inspires me is light. When you walk into a church with beautifully painted stain glass windows and they catch the light it can be breathtaking, and often makes the hairs on your neck stand up. This is what I have created in my garden with mounded flower beds (two to three feet high); it’s wonderful to see plants with a natural back light. This height, or having the border westerly faced, ensures that you can create shafts of lights. When I walk through my garden, I will get a different feel at all times of the day. Playing with light quality inspires me and if a designer gets it right, you can create shadows that dance on the grass and take the art of design to another level.

Do you think Chelsea Flower Show is a good place to start pulling ideas for your garden if you’re a novice?
To me the Chelsea Flower Show is a complete waste of time. The RHS are not going to like what I say, but I feel it’s the same old designers, techniques and gardens just rehashed year upon year. It is dated and irrelevant.
I always suggest to my students that they go to the International Garden Festival at Chaumont-sur-Loire in France. Each year 30 gardens are built by architects, designers or anyone who is artist and not bogged down by planting. They create mind blowing art installations within hedged exteriors that are not large in scale, but gigantic in artistic flare. They use sound, light, water, reflectivity, shadow and mirroring to create something that pushes the boundaries in design.

Trees seem to take centre stage in your garden; what do you look for when buying a young tree?
I take a look at the roots to make sure it is healthy and prefer pot bound trees. I look out for a good, strong trunk that is damage free and has a good head of branches with two or three leaders, and often opt for trees with 8-12cm to 16-18cm girth. I prefer to plant young trees as they don’t need as much TLC as mature trees and tend to get away more quickly. 
What advice can you offer those wishing to build a magical garden from scratch?
Take your time; a garden isn’t like a house and you can complete the build over the course of many years; but do have a master plan to work with. If you don’t feel you have the qualifications to draw up a plan, bring someone in to help you and don’t be afraid to gain help in building your garden.
Although this is a cliché, the garden is an extension of the home, especially now as we can incorporate the outside sofas and art. I use photography in my garden to create an art installation; experiment with different ideas. Segregate parts of the garden with natural walls or use meshing with photographs for a modern twist; this is especially great for urban environments. Light control is also great to experiment with as you can create all sorts of atmospheres.

What does the magic of gardening mean to you?
In the spring time I love to go outside, sit on my deck with a glass of wine and listen to the birds singing. There is nowhere else I’d rather be and my wife and I never chose to travel in April because of this.
The garden is the most magical retreat and if you get it right you can create a real oasis. In urban environments you can use the sound of water to mask on-going traffic or add screens to create privacy. When you sit in your garden the pace of life changes, your quality of life improves in this space you’ve created

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Looking for Design Inspiration in Nature

How do you create innovative creative design? Where do designers get inspiration from.  The true it that true design inspiration comes from everything around us.  In this video architect Barry Burkus take a screwed up piece of paper and talks us through how the shape can inspire you to design a building.

In landscape design, nature is our inspiration. Probably the most famous example of this is Thomas Church’s design for the swimming pool in the Donnell Garden (a quintessential example of  Thomas Church and mid century modern design) in Sonoma County

It was said that Church used the curve of the river in the valley below (centre top of the image) and copied it to form the shape of the pool.

For further reading on this subject I would recommend From Concept to Form in Landscape Design

Technorati Tags: Thomas Church,Donnell Garden,Sonoma County,Landscape Design,Design Inspiration,Creative design

Does Garden Design Have a Future in these Times of Austerity

Yesterday the UK officially entered a double dip recession. The first in nearly 50 years. Led by the building industry, it’s predicted that this sector will remain in negative grown for at least the rest of this year.

With house building at an all time low, and Europe and America in the worst recession since the 1930’s, what will happen to the middle classes, that up till now have been the life blood or our industry?

Garden design as an industry, has had 20 years of unparalleled growth. Prices in the housing market have risen across Europe (and more recently America) at a staggering and in hind-sight, unsustainable rate.

It goes without saying that the housing market and the landscape industry go hand in hand. There have been housing market slumps before and the garden design industry has always recovered.  But this time it could be different. 

Countries like Spain and Ireland have huge housing estates abandoned like ghost towns, and parts of the US have deserted subdivisions, reminiscent of 1930’s dust bowl America, where thousands of acres of farmland where abandoned.

With house price crashes in some countries in excess of 50%, it’s going to take more than a generation to put right these wrongs and as a result, the middle classes are going to be squeezed very hard, for a very long time.

So what effect for the garden design industry?  I believe it’s inevitable that the industry will contract.  More people will be fighting for the smaller bread and butter jobs while the upper end will remain strong. 

Those designers who are properly qualified, stand the best change of making a living.  Charging professional frees and offering a professional service. 

Fewer people will enter the professions; and those that do, will need to do their homework very carefully.  Too many courses cater for the “ladies who lunch brigade”. They focus on the froth, rather than teaching their students the professional practice side of the industry. 

The Oxford College of Garden Design took the decision last year to only offer our on-line course for the foreseeable future. Thus allowing our students to continue to work and earn a living, while they study.

“What most course don’t tell you is that it will take another 2-3 years after you graduate, before you will earn a living”

By pre-recording all our lectures and offering them as downloadable video tutorials student can continue to train while still bringing in a salary.

Too may student graduate, only to then drop out after 12 –18 months because they can’t afford to live.

If you want to thrive in the 21st century you need to think smart, plan ahead and have the best training you can afford.

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How to Avoid Your Contractor Going Bankrupt!

Whether a designer or client, in these hard economic times, you can’t have failed to notice more and more small businesses going to the wall. 

Whether they are nurseries, landscaping or building firms, it’s hard to make a living right now, jobs are scarce and margins tight.

A worst case scenario, is for the contractor to go under, halfway through a job, potentially costing the client $1000’s as well as designer a monumental headache, trying to find another firm to finish the work.

A designer may even be held partly liable, swept up in any legal action. So you need to be doubly careful when selecting contractors to tender and don’t skimp on the due diligence.

Taking a contractor’s word, that they are financially solvent is no longer adequate. Before signing the contract, bank references should be taken up and the client should be advised in writing to to do a credit check with a firm such as Dun & Bradstreet.

However even this may not be enough.  On larger jobs, lasting several months, the contractor could still run into difficulties. Either through poor management, or if one of  their suppliers goes bankrupt and takes them down in the process.

There is little you can do about the latter, but the designer can help manage the contract and at the same time protect the client from paying too much up front before work is completed and materials are on site.

The first and most important document you should insist on, before work starts on site is a daily work schedule. This is a day by day breakdown of what work will be carried out, to include in what order the jobs are to be completed and the number of man days involved.

Small contractors are sometimes reluctant to provide these, as they involve hours of preparation, but I make this a contractual requirement and won’t let a project start before the client and I have both received a copy.

This document allows all parties to monitor the progress of the job.  The designer and client can see at a glance, that the work is on schedule and the contractor can also plan when materials and plant should be ordered, so the work is not delayed due to material hold ups.

In fact, once the contactors see the benefits of this document they will continue to prepare one for each and every job they do.  Not only will this help protect your clients by keeping the job on schedule it will also likely improve the contractors profitability.

Secondly the designer can protect the client by ‘Project Administering’ the contract. Note the word ‘Administer’ NOT ‘Manage’ Most designers are not qualified to ‘Project Manage’ a site, as this implies quality control and would require the designer to be onsite throughout the build.

At the Oxford College of Garden Design  our students are taught to project administrate jobs. ‘Project Administering’ a contract, involves weekly site meetings to assess the works progress.  The designer can remind the contractor to order materials in good time to avoid delays and is also in charge of signing off the weekly/monthly invoicing.

This involves making sure that the contractor only invoices for work completed and for materials on site. An agreed % is then held back (usually 5%) until the penultimate invoice when only 2.5% is withheld until the final certificate of completion is issued (usually after a defects liability period of 6 months)

By going through this process the designer is ensuring that the client never overpays before work is completed onsite.  In the event that the contractor does go bankrupt, then the client should still have enough funds to bring in a second contractor to finish the job.

Some professional bodies guarantee their members, so it would be worth looking carefully at these and maybe choosing contractor.  Organisations like SPATA (Swimming Pool and Allied Trade Association) in the UK guarantee that if one of their members goes under part way through a job another member will finish the work for the outstanding agreed contract cost.

Finally a last piece of advice is to split large contracts down into smaller ones. Consider different contractors for different parts of the job to spread the risk.

Ground workers for excavation, drainage and contouring; Pool contractors for swimming pools; pond and lake specialists for water features; Stone and masonry specialists for hard landscape features such as paving and walls; Turf/Sod contractors for lawns; Irrigation engineers and lighting technicians; and finally soft landscape specialist. 

I have always preferred women contractors to do my planting, as I consider them more conscientious and careful with young plants.

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New Book by Luciano Giubbilei: Nature and Human Intervention

Nature and Human Intervention is Luciano Giubbilei’s second book. The book details the process behind the 2011 Laurent-Perrier Chelsea Flower Show gold-medal garden,a collaboration between three acclaimed artists-garden designer Luciano Giubbilei, architect Kengo Kuma,and sculptor Peter Randall-Page.

Captured in 250 colour photographs by Steve Wooster and Allan Pollock-Morris and essays by garden historian Kathryn Aalto,the book shows how artists, craftsmen, and suppliers worked together to expose, highlight, and craft beauty from Nature. “We return time and again to the comfortable vocabularies, images, sounds, memories, thoughts and feelings that constitute the boundaries of our experience and expression,”says Luciano  Giubbilei.“Yet every now and then, we encounter a breakthrough moment– a rare instant when the daunting constraints of possibility melt away and when we gain the courage to focus through new lenses.

”The book is published as a limited edition of 1000 numbered copies, of which only 500 copies are to be released to the general public. Retailing at £35.00 to purchase a copy please visit www.lucianogiubbilei.com.

Technorati Tags: Luciano Giubbilei,Chelsea Flower Show,2011,Garden Design Courses,Oxford College of Garden Design,Laurent-Perrier,Kengo Kuma,Peter ranall-Page,Nature and Human Intervention,Book

6 Must See Garden Festivals for your 2012 Diary

Chaumont-sur-Loire - Garden Festival (April 22 to 16th October) This French show is probably one of the most exciting and query of all the festivals

Chelsea Flower Show (May 22-26) Relatively small but oh-so-smart, has now spawned its own Chelsea Fringe

Singapore Garden Festival (July 7-15) A biennial blockbuster majoring on spectacular orchids and top international designers.

Floriade (April 5-October 7) Held every 10 years in Venlo, Holland. An improving mix of environmental message and traditional commercial horticulture.

Philadelphia International Flower Show (March 4-11) Next year’s theme is Hawaii, the scale is vast and outstanding horticulturists flock here from all over the United States

Landesgartenschau Nagold (April 27-October 7) The Germans take gardening very seriously and this event is a must-see for anyone interested in new ideas about environmental design

 

Technorati Tags: Garden Festivals,2012,Flower shows,Chelsea,Fringe,Show,Landscape Design,Design,Garden,Chaumont-sur-Loire,Garden Festival,Landesgartenschau Nagold,Floriade

5 Golden Landscape Design Rules

 

Rule 1: The House is the Most Important Part of Any Garden.

You can’t ignore it! It’s almost always the largest, most dominant structure in the garden. Your journey starts and ends with the house and therefore any garden plan, should always start from the building and work outwards.

Rule 2: The Designers Main Objective is to Link Building with Site.

Probably the most important rule of all and yet the one that is least understood. This rule applies to any landscape scheme, whether residential or commercial. If the design is to be successful, then it must blend the building seamlessly into its environment. To achieve this, the designer needs to be able to combine symmetry with biology, i.e. architecture with landscape. Because most buildings are made from geometric shapes and the garden is essentially a biological environment, great care is needed to join these two opposing forms together. Try linking them too quickly and they will clash, creating a meaningless amorphous squiggle where the house looks like it’s just landed from space.

Rule 3 All shape close to the house should be Symmetrical.

This follows on from rule 2. Because the building is predominantly made up of straight lines based on squares and rectangles, the area around the building should copy these geometric, mathematical shapes to help link the house with the garden. The terraces, paths, formal pond and planting beds should be designed using straight lines.

If you don’t believe me, I will try to convince you by using an interior design analogy. “You would not put an amoebic shaped rug into a rectangular shaped room. Instead you would use a geometrical rug/carpet.” The same rules of interior design are just a relevant for outside design. The lawn is the carpet of the garden and the worst thing you can do, is to put a wiggly edged lawn into a rectangular shaped garden. Creating wiggles and squiggles won’t make your garden look natural. Nature makes it natural! As soon as you add planting to a straight edged border the plants grow and spill over and soften all the hard lines.

Rule 4 Use a Grid to help you Design.

Because you want your garden to link back to the house, it make sense to use shapes and pattern on your plan, that relate back to the scale and proportion of the building. “The Scale of the Grid is derived from the Mass of the Property”. Every grid is unique to site. This may in reality appear subliminal, but using a grid which is derived from the proportions and scale of the building means that all the patterns you use for the garden plan, relate directly back to the house and the grid also acts as a guide for the designer so they can quickly check size and scale of different features.

Rule 5 There are No Rules.

This isn’t strictly true because I have just given you a small sample of some. However you first need to understand the rules of geometry and design before you can break them. If we all stuck rigidly to rules, we would end up with some very dull design, but conversely, few universities and colleges give any clear guidance to design teaching, so that students graduate without a clear design philosophy.

At the Oxford College of Garden Design we run a professional On-line postgraduate level course and together with our sister site MyGardenSchool we also offer 4 week On-line short courses in all aspects of gardening. One of the main reasons our students have been so successful, is that we do teach a design philosophy by verbalising and explaining why something works and why something doesn’t.

5 Applications to Help you Design Your Own Garden

 

This article, I admit to writing with a massive pinch of salt, because most people understand that the computer is only as creative as the person using it.

At The Oxford College of Garden Design we teach VectorWorks Landmark, but this is  expensive and more complex than most homeowners need. For those wishing to have a go them selves, we have several 4 week online courses at MyGardenSchool on both planting and landscape design. The following list of software I hope may be of interest to those wishing to have a go themselves.

SmartDraw 2010
SmartDraw is a drawing application to design floor plans business graphics, diagrams and charts of all kinds. The program improves communication, organization, management and planning by drawing any processes. If you know Microsoft’s Visio, this program will be familiar to you. The application also has tutorials to help.

DeltaCad
DeltaCad is more than just a paint program, because you can edit, scale, move, rotate, copy, etc. individual objects, not just paint pixels. DeltaCad allows you to zoom in to draw fine details or zoom out to see the whole drawing.

 

Showoff Home Design
The program features many in-built tools and options. The user needs Internet connection to work with the application. It features a category list with an option to choose annuals. The catalogue tab helps to choose from landscape plants, home improvements, furnishings and décor, or other items that cover a broad range of home improvements.

Realtime Landscaping Architect
New landscape design software for creating professional plans and presentations. Design houses, decks, fencing, yards, gardens, swimming pools, water features, and much more with easy-to-use tools. Give your plans a hand-drawn look using a wide variety of plant symbols and colour washes. Add plant labels automatically using the wizard, and add a plant legend with just a few mouse clicks.

Home Designer Landscape and Deck
With Home Designer Landscape & Deck by Chief Architect Software you can plan and design your perfect outdoor living space! Landscape & Deck makes it easy to quickly design the virtual look and feel of your backyard, deck, patio, pool or other outdoor project. Just point-and-click to add pre-arranged landscaping beds and any of over 4,000 Library items and over 3,600 realistic plants to your design.

Is This Good Design?……..or Meaningless Scribbles!

It’s great that so many universities are jumping onto the garden design band-wagon because it not only spreads the word, but helps create interest in the subject.

The problem arises when what is being taught, amounts to little more than ‘meaningless scribbles’. I appreciate what I am saying is controversial but this Video to me, represents everything bad about garden design teaching.

This is not supposed to be a personal attack on Dr. Ann Marie VanDerZanden, but why did she choose such a dreadful design example?  What she is passing off as a ‘typical residential design’, shows a fundamental lack of design appreciation.

The pattern is anything but simple, looking more like an angry jelly fish attacking a building.  Rhythm and line remain unexplained and she then goes on to say that proportion can’t be seen in a plan view….may be not in this design, but it should be there!
Balance was tackled next and asymmetry and symmetry introduced, but to suggest that this ‘amoeba’ is a symmetrical design makes me wonder if we are looking at the same drawing, as there is nothing formal about this plan.

The building looks like it has just landed from space and been 'plonked' onto the landscape.

The organic shapes used, show a total disregard for the geometry contained within the building and to my mind the house and garden quite simply clash.  

I think this design is Awful!!!!! ……….Yet this is the design style being taught to thousands of would-be garden designers around the world every year, by teachers who should stick to horticulture but  never venture near a drawing board!
I appreciate that design is subjective and I would love to talk to these people to understand where they are coming from, however, 70 years after Thomas Church and 40 years after John Brookes why is this mediocrity still being taught?

Technorati Tags: Garden Design,Bad Design

10 Garden Books That Changed My Life

As a teacher and Principal of the Oxford College of Garden Design I am always wary of encouraging students to  buy books rather than borrow them from a library, as fewer than 50% ever get read once purchased. But there are a few must-have books that no self respecting designer should be without, either as a source of inspiration or a vital source of knowledge. 

The following list, are the books that have most influenced my life as a garden designer. I hope they may prove of interest and may tempt some of you to read those that are unknown to you.

Gardens are for People
Thomas Church was the father of Contemporary design. This text contains the essence of Church's design philosophy, as well as practical advice. It is illustrated by site plans and photographs of some of the 2000 gardens that Church designed during his career. Called "the last great traditional designer and the first great modern designer", Church was one of the central figures in the development of the modern Californian garden. For the first time, West Coast designers based their work not on imitation of East Coast traditions, but on climatic, landscape and lifestyle characteristics unique to California and the West. Church viewed the garden as a logical extension of the house, with one extending naturally into the other.

Garden Design
If Church was the father of garden design, Sylvia Crowe was the mother and if you have ever read any of John Brookes’s books, read this; and you will understand where he got his design philosophy from.  Now unfortunately out of print, I hope one day someone will have the intelligence to realise the significance of this book and reprint it in its entirety. Beg borrow or steel a copy, but this is  a MUST READ BOOK

 Room Outside
The Book that kick started the garden design revolution back in 1970.This is a thoroughly revised and beautifully illustrated edition of the book that first made garden design accessible to everyone. In "Room Outside" John Brookes invented the highly practical concept of the garden, however large or small, as a usable extension of the home. That was nearly forty years ago and, while the range of products and materials has increased dramatically, the role the garden can play has not changed at all. Indeed, as a retreat from the hectic world of work and as an overflow to family life, our outdoor space has become incredibly important and "Room Outside" is even more relevant to 21st century living. 

A Place in the country
John Brookes’s A Place in the Country another book sadly out of print, takes us away from small urban spaces and describes in detail how to organise, sort and design large rural spaces.  However it goes much further than any of his subsequent books, almost into the realm of landscape architecture for the residential site.  This book is packed with information otherwise difficult to find else- ware.  How to encourage game, woodlands and shelter belts, grazing your land, outbuilding, glass houses and conservatories and so the list goes on.  If you can find a second hand copy of this book buy it! Its a gold mine of information and one I never tire of dipping in and out of.

Bold Romantic Gardens
Another life enhancing book, which I was first introduced to, while still working for John Bookes as his design assistant back in the late 80’ early 90’s
Sadly out of print and very much a collectors item now, it was a ‘show piece’ of two American landscape Architects, Wolfgang Oehme and James Van Sweden who pioneered the use of native plants and the use of grasses for the the first time. 

Residential Landscape Architecture is an introductory text that covers the process and techniques for designing the single family residential site. It is intended for individuals who will be or are currently designing residential landscapes as a professional career. The book features a thorough, how-to explanation of each of the steps of the design process from initial contact with the client to a completed master plan.

 

Landscape Graphics The new revised edition of the classic industry reference! "Landscape Graphics" is the architect's ultimate guide to all the basic graphics techniques used in landscape design and landscape architecture. Progressing from the basics into more sophisticated techniques, this guide offers clear instruction on graphic language and the design process, the basics of drafting, lettering, freehand drawing and conceptual diagramming, perspective drawing, section elevations and more.

From Concept to Form in Landscape Design, Second Edition presents the landscape transformation process in a highly visual manner, creating both a vivid learning experience for students and a useful toolbox for working designers. Replete with compelling, valuable, and accessible insights for designing outdoor spaces, Reid′s book is an ideal blend of inspiration and application.

Planting Design
Frankly any of Ouldof’s books could be here, but this is one of my favourites.  Home gardeners with a keen interest in design, as well as professional landscape designers, will find invaluable advice in this new approach. The book focuses on the general principles behind creating successful and beautiful plant combinations in both time and space working with perennials in the context of trees, shrubs, and the surrounding landscape. The authors suggest looking across, into, and through the landscape. They ask the reader to consider the rhythms and connections in their designs, through such elements as echoes, linkages, and repetitions.

An education of a Gardener
An now for something completely different!

First published in 1962, when Page was already a well established European designer. Reading this book is one of those rare occasions when a marvellous professional such as Page, generously lets you in to share his life. Page's accounts merge the personal with the professional, and encompass a wide spectrum indeed. It is, therefore, a book to read by the small bedroom lamp, as well as in the study room, while working. It has by now become a legendary novel, a rare breed that set a precedent, although rarely followed. It is analogous to a good old-fashioned radio show - romantic, endearing and memorable.

 For our student reading list please visit out web site here

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Buying Wholesale Plants: Tips & Tricks

One of the hardest things to source as a newly qualified garden/landscape designer is a good supplier of trade plants.  I never buy from Garden Centres as I consider them too expensive (Plants  can have a 200% mark-up on them) 

So here are my top ten tips, I tell my students for sourcing and buying plants from trade nurseries.



1. To buy from trade nurseries you must be a trade customer. While some nurseries offer both retail and wholesale, most trade nurseries do not accept orders from the public, so be prepared to provide proof of your trade status when you first make contact.

2. Always visit a nursery in person before ordering from them for the first time.  Many trade nurseries would want you to make an appointment to visit them rather than you just turning up on spec. Check to see how clean and tidy the nursery is, as this is often a good indication as to how good their plants are.  If the nursery is untidy or has weeds growing in the pots or in the display aisles, this is not a good sign and indicates a certain level of neglect.

3. You often have to order a minimum number of each plant, usually that’s 10 or more of the same variety.

4. In the industry we have 2 levels of plant quality, landscape and garden centre quality. For private gardens you must use garden centre quality plants and I would always stress at the time of order, that I will only accept the very best and will reject anything that is not us to scratch. With some nurseries I would prefer to hand pick my plants in order to guarantee the standard, and suggest until you know and trust your nursery you do the same.

5. Don’t be afraid to reject substandard plants, but this does mean you have to be present when the order is delivered, so they are returned on the same lorry as they arrive. The nurseries will very quickly realise that you can’t be fobbed-off with poor quality stock.

6. Herbaceous perennial plants grow and mature very quickly so order P9 size plants where possible (small square pots) rather than 1-2 litre pot size.  This means you will need to order them in good time and collect your plants in early spring before the nurseries start potting up.  If you don’t, you could end up with a plant costing twice as much and all you get for your money is a larger pot and more soil.

7. Buy plants at the right time of year.  I personally don’t like planting herbaceous plants in autumn as they don’t have long enough to get established before they go dormant for the winter.  This may result in a much higher mortality rate.  Instead I prefer to plant in spring, when I can see the young plants actively growing and they have a whole season to get established.

8. Some plants are only available at certain times of the year.  Grasses have traditionally been most abundant in nurseries from August through to October, and are much harder to get in the spring as most of the stock will have been sold the previous year and new stock takes time to grow.

9. Plants that take longer to mature i.e.shrubs and trees should always be purchased as large as possible.  I prefer to buy semi mature shrubs to give my borders an instant sense of maturity.  The money I save on buying small herbaceous plants can be spent on larger shrubs.  Semi mature trees are cheap!  You can buy an 8m Beach or Oak for between £250-£400  Don’t buy garden centre size trees as it may be decades before your garden looks like the way you intend it to look.

10. Use plants you know you can get hold of!  It’s no good specifying a rare plant that only one nursery in the world grows and then, only propagates 10 a year, because the chances are they won’t be available when you need them.  I use my nursery catalogues to choose the plants that I want and I try to order as early in the season as possible to ensure they have not run out of stock.  If they have, then I always choose the substitutes.  Most nurseries will offer substitutes, but a good designer will always go back to the drawing board and redo the plan with available stock.

    To see a list of trade nurseries I use in the UK click here

    
    Technorati Tags: Trade nursery,Trade plants,Buying plants,Nurseries,herbaceous,perennials,shrubs,trees,growing,nursery,landscape,design

Announcing the World’s First Professional Online Garden Design Course

Online Garden Design Courses.

There's a lot misconception regarding the word online. Our new course is not a correspondence course you download from the web; it truly is online.

All lectures will be watched as on-line video tutorials. There will be interactive online exercises and students will talk to their tutors using web chat and classes will be given via webinars.

This is the closest you can get to being in the classroom attending the lectures in person!

Unlike other colleges, we have refused to offer a correspondence course in garden design as we didn’t believe you could teach art through the post.

Statistically only 3% of people who start a traditional correspondence course, finish them and most courses are little more than very expensive books with telephone support.

Our whole design program has been specially rewritten to make the best use of this new technology and consequently you benefit from a 50% increase in course content.

You will be allocated your own tutor and will follow the course timetable along side the other full time students, participating via the forum, online gallery, monthly webinars and with 1-2-1 tutor feedback.

Our interactive online garden design course is also available to existing classroom taught students, allowing them to revisit lecturers online all the time, as well as overseas students, or those unable to travel, giving them the next best thing to live studio lectures via interactive video tutorials delivered via the internet.

You will be able as listen to your lectures as many times as you wish so as to maximise your learning potential, and you will even be able to listen to the lectures on your iPod/phone/MP3 player while out and about or in the car.

Lectures will be time released to co-inside with the classroom taught program, so both online and face to face students will learn together.

You need to consider your online garden design course as a full time course, requiring a minimum of 25 hours of study a week.

Hand-in dates are strictly enforced. Student who fail to submit work on time are subject to the same rules and regulations as the full time students. (see terms and conditions)

All online material including tutored support is available to students for a period of 24 months from the course start date, after which students have the option a paying an annual subscription if you wish to maintain access to updated course content.

Next Course Start date
30^th September 2010
Click here for further information

LiveJournal Tags: Online Garden Design Courses,Correspondent,Study,course,interactive,landscape,architecture,Horticulture,Planting,Gardens,Gardening,Landscaping,Gardener

Are You An Environmentally Responsible Designer?

I was recently involved in a discussion on LinkedIn regarding the specification of non locally sourced materials.

Is it just me? or does it strikes you as odd,  that some of us are specifying materials which have to be transported 1000’s miles across the globe,  just to satisfy a whim!

Ignoring the aesthetic argument of genius loci (spirit of place) for a moment, aren’t we as landscape architects, supposed to care about our environment and make responsible choices?

With oil prices again, heading towards the $100 a barrel and the kick starting of the global economy likely to drive prices to $200 within a few years, shouldn’t we setting an example?

Getting Started in Landscape Design

One of the first things students should be doing after graduating, is contact their local Architects.

They are a ready made source of work and because of new planning regulations, many applications now require a planting plan as part of the planning conditions.

As qualified designers, you should be able to offer architects:

1. A full planting service to include specification and 5 year maintenance schedule.
2. A Arboriculture method statement
3. A Tree survey to BS5837 (2005)
4. A RPA plan and APN12 recommendations

In addition to this you can also offer a full 3D perspective and rendering service if you CAD skills are up to scratch

All of the above should be laid out in a letter to the architect having first found out his/her name so you can address it to them personally.

You then follow up this letter with a call a few days later enquiring if they received the information and if you can be of any further help.

Think about it!  If a homeowner builds an extension they will change the footprint of the garden.  As a result the garden will need re-planning.  By offering to assist the architect they can provide a cheep and very lucrative source of work.

Technorati Tags: How to,garden design,Oxford College of Garden Design,Architects,Landscape,Design,Trees,Arbouriculture,APN12,BS5837

How Art, the Devil and Gardens go Hand in Hand.

Once a year I take my students to the Tate Modern gallery in London. As part of their course they have to complete a pictorial timeline, comparing art , architecture, gardens, & Socio-economic influences, using thumbnail pictures to create visual links between each category.

This isn’t just another academic exercise. It has real world use for students, enabling them to understand what has gone on in the past and so allowing them to move into the future.

We teach contemporary design at the Oxford College of Garden Design, but it could be argued that a designer should be able to turn their hand to any style, in any period of history, provided they understand the principles of 3 dimensional special design.

Pergola or Sculpture or Both?

Yes, this exercise helps students put into context how each of the four categories influences the other, but it does more than this. It introduces us (some for the first time) to the concept of art as a major influencing factor in all aspects of our lives.

Initially, I get the students to attend under the pretext of seeing the art, not just as a photo in a book, but as it was supposed to be seen, in context, life size and in the flesh.

I get them to sketch, not to improve their drawing skills, but to improve their ability to see.

This week is the students last critique before they present their Project 1to the clients. It’s no accident that the Tate visit co-insides with this.

Having fulfilled the client brief, this is their last chance to turn the ordinary into the extraordinary. This is where an average design can become a gold medal winning garden.

I mentions USP’s in an earlier blog but can’t stress enough how important detail is to successful design. It’s at this point in the course that I start to hammer in the mantra ‘the devils in the detail’

The drawings made at the Tate, now become the next design exercise. Weather they become garden floor plans like John Brookes penguin book garden, or landscape drawing or garden sculpture or even bespoke furniture . It doesn’t really matter what they do, so long as they start to think outside of the box. Even if they don’t all get it immediately, some way down the road I hope they all become free thinking, conceptual designers, able to see the potential in the mundane and the extraordinary in the ordinary.

The reason the Oxford College of Garden Design produces the UK’s top design students is because we see garden design, not as a horticultural subject but as art and I believe art and life go hand in hand.

Technorati Tags: Oxford College of Garden Design,garden Design,Landscape,Art,John Brookes,USP