Tag Archive: garden design


A bit of cheating again! My seventh object in this series about the essence of gardening is really at least two objects with a common name- compass or compasses. For me these two objects symbolise the importance of design in gardening- the conscious act of choosing and positioning what plants and other garden elements are used and where.

This can be as simple as thinking about where to place different plants or elements in the garden; by knowing where the prevailing weather patterns are coming from (wind and rain), as well as the direction and strength of light and heat from the sun. For this a magnetic compass is a very useful to back up to observation and wider knowledge.

Picture by Bios-commonswiki

Picture by Bios-commonswiki

And nature has it’s own ‘compasses’, too. The plant  Silphium laciniatum, has a common name of ‘Compass plant’  inspired by the “compass orientation” of its leaves. The large leaves are held vertically with the tips pointing north or south and the upper and lower surfaces of the blades facing east or west. A newly emerging leaf grows in a random direction, but within two or three weeks it twists on its petiole clockwise or counterclockwise into a vertical position. Studies indicate that the sun’s position in the early morning hours influences the twisting orientation. This orientation reduces the amount of solar radiation hitting the leaf surface. Vertical leaves facing east-west have higher water use efficiency than horizontal or north-south-facing blades. Early settlers on the Great Plains of the North America could make their way in the dark by feeling of the leaves.

Silphium laciniatum- 'Compass plant'

Silphium laciniatum- ‘Compass plant’

Equally, garden design can involve recording your current plot and devising new elements and patterns for your garden (borders, paths, specimen plants, hard landscaping features). For this, a pair of compasses is a vital tool in plotting key elements in your existing garden (through the technique of triangulation) and also in drawing circles or arcs in a new design (and then setting these out on the ground).

Dividers and compasses are drawing instruments that have been used since antiquity to measure distances, transfer lengths from one drawing to another, and draw circles. The Greek mathematician, Euclid, limited the constructions in his Elements of Geometry to those that could be done with an unmarked straight edge and rudimentary compass. Ancient Roman dividers survive in the collections of the British Museum. Before the 18th century, when one leg was modified to take a pen or pencil point, compasses had two sharp points, like dividers. The user scratched the writing surface in the shape of a circle and then inked the scratches.

compasses

 Old School Gardener

Sissinghurst - the Moat Walk

Sissinghurst – the Moat Walk

‘In the afternoon I moon about with Vita (Sackville-West) trying to convince her that planning is an element in gardening. I want to show her that the top of the moat-walk bank must be planted with forethought and design. She wishes just to jab in the things which has left over. The tragedy of the romantic temperament is that it dislikes form so much that it ignores the effect of masses. She wants to put in stuff which ‘will give alovely red colour in the autumn’. I wish to put in stuff which will furnish shape to the perspective. In the end we part, not as friends.’

Harold Nicolson, 1946 (published 1966)

So, where do you stand? Can a focus on planning and form combine happily with a looser, romantic approach to gardening and garden design?

Old School Gardener

Gardening-Boots2Two new rounds of my courses on Garden Design and Grow Your Own Food for Beginners start soon, and I’m also offering a new, one day course on Wildlife Gardening. I ran the last Garden Design course earlier this year and had great feedback on it (I even had a thank you present from the students!). All the courses feature a lot of group discussion and some practical tasks as well as useful tips and tricks to help particpants apply what they learn to their own plots.

The Garden Design course takes students through a customised design process, prompting a fresh look at participants’ own gardens, giving them the opportunity to develop their own ideas in a systematic way and benefitting from ideas generated in the whole group. I support participants to draw up their own scale plan design for their garden and supply plenty of useful background information and links to helpful web sources as well as the opportunity to borrow from my own garden book library. The course can also feature a visit to a well known garden to look at design ideas in practice.

The ‘GYO’ course is aimed at food-growing beginners or novices and gets off to a flying start with making paper pots and sowing broad bean seeds. It also prompts students to look at what they want to eat/grow and how they might do this most effectively in their own plots – this can include growing in containers for those with little or no garden.The course includes a visit to Old School Garden to look at my own approach to food growing, and covers topics like soils and soil improvement, growing under glass, encouraging beneficial wildlife into your garden and how to effectively control pests and diseases.

Narrow beds in the Kitchen Garden at Old School GardenNarrow beds in the Kitchen Garden at Old School Garden

The one day Wildlife Gardening course, taking place at Gressenhall Farm and Workhouse Museum, makes use of the Wildlife Garden at the Museum and includes some practical work to help develop the wildlife -friendly features there as well as helping participants to focus on their own gardens and gardening practices. The aim is for them to develop  their own action plans for the future.

The Wild life Garden at Gressenhall Farm and Museum

The Wild life Garden at Gressenhall Farm and Museum

The courses are fast filling up but there are some places still available if you’re quick!

They are running as follows:

Garden Design–  6 Monday evenings, 7pm-9pm at Reepham High School & College, commencing on 12th May.

Grow Your Own Food for Beginners – 6 Wednesday evenings, 7pm-9pm at Reepham High School and College, commencing 14th May.

Get more details and how to enrol at www.reephamlearningcommunity.co.uk

Wildlife Gardening- Sunday 18th May, 10am-4pm at Gressenhall Farm and Workhouse Museum, near Dereham.

For more information on this and other short courses at the Museum see www.museums.norfolk.gov.uk

Old School Gardener

Bright_green_tree_-_WaikatoAs trees tend to be the largest and longest lived plants in the garden, they should be one of, if not THE first item to consider when designing or redesigning your garden.They rank alongside some of the hard landscaping elements (seats, arches, pergolas, arbours etc.) in helping to provide the ‘bones’ or structural framework of a garden i.e. the structure by which we navigate ourselves around the plot both visually and in terms of guiding our movement. Shrubs (especially evergreens), provide a similar service and should be thought about in conjunction with whether, where and what sorts of trees to include in a design or redesign.

Trees also offer a range of other potential sources of interest in a garden apart from their overall shape or form; leaf size shape and colour (which may vary from season to season), bark (colour, texture or special effects such as peeling or patterned), flowers and fruit (catkins, conkers, apples and so on).

In visual terms the planting of a tree or trees can have a dramatic effect on the layout (or form) and perspectives around the garden. They can be used as a focal point to draw the eye. This includes those planted as a ‘specimen’. Those planted in the foreground or middle distance help to increase the sense of depth or perspective in a garden, while those planted further away help to give a sense of scale to the overall space. So, in a small garden a large tree in the foreground and a small tree at the end will make the garden seem longer.

Leaf size and texture is another important consideration. If you want a strong shape to provide a key structural element all year round in the garden, then go for small leaved, evergreen varieties with distinctive shapes or which can be pruned (topiarised) into these- e.g. Box.

Horse Chestnut flower about to burst
Horse Chestnut flower about to burst

Why not take a look at your garden and ask if you have one or more trees that aren’t in the right place- are they are too tall, too broad, drying out the soil or causing shade where you don’t want it? Perhaps removal or pruning is the answer. Could you introduce a tree or two and help to strengthen what your garden has to offer- providing food or a home for birds, for example or adding a brilliant show of flowers or autumn leaf colour?

Traditionally we seem to have used trees in gardens as stand alone ‘specimens’, often in an island in the middle of a lawn for example. Today, with the wide range of trees available and with characteristics that suit almost any situation, its possible to be a bit freer with how we use them- in groups or among other planting in borders.

If you are using a tree as a specimen think about its positioning carefully- if it’s planted by itself without any surrounding planting to soften its impact, it will be a focal point from the start, and as it grows bigger this impact will become even more pronounced.

If planting several trees together, including adding one or two to an existing group, think about their ultimate height and spread. As in nature, some trees grow well together; eg. Betula pendula, or ‘Silver Birch’- see my recent article in the A-Z of Trees series. The wild cherry (Prunus avium), is another example. So as with any other tree planting think carefully about their ultimate height and spread and allow room for them to grow. If you want to give a denser appearance in the time it takes the trees to mature, try growing them closer together, but expect to remove some as they mature to allow the remaining ones to grow to full size.

When planting more than one tree together in an area of grass, the relationship of one to another will determine the effect and this can change depending on where you are in the garden. A good idea is to use large posts or bamboo canes to mark their positions. Try out different positions to see what effect you like the best. Look at the positioning from different places, including from inside the house. and remember to think about their ultimate height and width and what they might obscure or hide.

Chracterisitcs of the White Fir
Chracterisitcs of the White Fir

We tend to think short term when it comes to gardens- we want immediate impact or effect.

The danger here is that you’ll end up with something that outgrows its space and gives you problems- a classic example is the Monkey Puzzle tree (Araucaria araucana) that was planted in the front garden of a Victorian terrace house or villa and is now way too large and tottering precariously above and perhaps towards the house! So the speed of growth is also a consideration; very slow growing trees may take  30 years to have a significant impact, so if you want an impact over a shorter period than this, then that’s perhaps a good choice.

If you have a relatively small garden, don’t think that you can’t have any trees. Smaller varieities of many different types are often available, and by choosing trees that have a more conical or upward habit you can achieve an impact without having a major loss of garden space .

Planting trees too near to buildings is another common problem. Some have relatively compact root systems ; e.g. Birch (Betula), Sorbus, Hornbeam and Magnolia are good examples and rarely cause problems. However trees like Willow will seek out water and their roots are liable to invade drains if planted close by.

If an existing tree is of concern seek the advice of a qualified tree surgeon. and if you think a tree may be subject to a Tree Preservation Order, make sure you consult your local authority before doing anything to affect it. And always consider your neighbours- trees planted close to boundaries may look good from your side of the fence, but think about what impact the tree is going to have on your neighbour’s garden and house. The inconsiderate planting of hedges of Leylandii conifers is the most familiar example of the wrong species being chosen to achieve rapid but usually unattractive results. Left to its own device this tree will grow to well over 100′ high and it looks superb, so don’t expect it to enjoy continually being hacked back!

Old School Gardener

Vertical gardens or ‘green walls’ seem to be increasingly popular, from the humble vertical planters made out of recycled materials like pallets, to the enormous ‘frescoes’ seen on new buildings around the world.

This is a testament to their value in both a domestic setting- where they are one way of adding height and so ‘structure’ to a garden as well as providing either a splash of colour or a source of food – and to their role in helping to ‘green’ our cities and other built up areas, managing air temperatures and providing an attractive texture to what might otherwise be a boring facade.

I’ve gathered together a few pictures here of some examples that might inspire you!

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Old School Gardener

Dried flowers and stems of Miscanthus sinensis 'Morning Light' providing interest at RHS Garden Hyde Hall in March

Dried flowers and stems of Miscanthus sinensis ‘Morning Light’ providing March  interest at RHS Garden Hyde Hall

My previous post set out the background to the growth in popularity of grasses as border plants. I’ve come to appreciate their simple beauty and the way they can add a different dimension to the traditional herbaceous and mixed border and at the moment some of them are looking great in Old school Garden, especially as the low autumn sun catches their golden stems and heads.

So what are the ways you can use grasses to best effect in your garden?

They contribute in a number of ways – texture, light, colour and as structural elements in your overall garden framework (and some sound lovely as the breeze finds its way through them or their seed heads are rattled like mini maracas). Here are some thoughts gleaned (no pun intended) from the very useful book, ‘Grasses’ by Roger Grounds.

Texture

Most grass stems and leaves provide strong vertical or curved lines and are best used in contrast:

  • With other perennial broad – leaved plants (often most effective if seen from a distance),

  • With strong vertical lines like clipped Yew or the corners of buildings (where the grass has a curved or arching stem),

  • More subtle, unusual combinations (e.g. with Ferns),

  • Contrasting the ‘fuzzy’ flower heads of many grasses with those plants that have a more linear or defined form e.g. Digitalis, Lythrum, Achillea, Phlomis russelliana, Echinops and Allium giganteum

  • With other grasses that have different leaf form; e.g. the narrow leaves of Miscanthus sinensis ‘Gracillimus’ with the broad bold leaves of Arundo donax, or the wide, short leaves of Panicum alopecuroides.

  • At the front of borders to act as ‘veils’ through which other plants or a more distant landscape can be revealed.

Annual  grasses- complete their growth cycle in one growing season. Hardy varieties can withstand frost and most can be sown in autumn to over winter in the ground and germinate in spring. Tender grasses need to be sown once all risk of frost has passed. Many of these are perennial in frost-free climates.

Light

  • Position grasses to catch the sun, preferably against a dark backdrop to ‘light up’ the wider garden.

  • Use grasses to take advantage of the different tonal values of light as it changes from season to season and at different times of the day – especially the more mellow light of autumn and also early and late in the day as these are the times when the richest colours are revealed. I’ve positioned some Stipa gigantea (‘Golden Oat Grass’) to catch the low sun of late summer and autumn, and close to the house where we can see the full

  • Associate grasses with seasonal changes in perennials and foliage; e.g. in spring the foliage of grasses is more prominent so think about using bold coloured grass leaves as foils for spring flower colour- the yellow of Bowle’s Golden Grass with the blues of Bluebells for instance.

Cool season grasses- these start into growth in autumn, grow through the winter and flower in spring or early summer. Best planted among winter or spring- flowering perennials. Plants grown for their foliage, or among spring and early summer bulbs. Most then become dormant/semi dormant and so can be planted where summer flowers or other grasses can grow up to conceal their faded foliage. They can be divided or transplanted in spring or autumn.

Colour

  • Use the ‘washed out’ or subtle colours of grasses as a counterpoint to the richer colours in surrounding plants.

  • Grasses with coloured leaves can be used to reinforce a particular colour theme- reds with reds, blues with blues etc. As they last longer than many of the flowers around them, grasses help to maintain continuity in colour themed borders. Blues from grasses such as the varieties of Panicum virgatum, reds from Imperata cylindrica ‘Rubra’ (Japanese Blood Grass) and the yellow of Hakone grass (Hakonechloa macra ‘Aureola’). Yellow is the dominant colour of many grasses’ flower panicles, especially as they fade and the seed heads ripen to shades of amber, straw and gold.

Massing, grouping and markers

  • Grasses look best when grown in groups of three or more- though few gardens have the scope for mass planting. They can also be effective as specimens. Grasses planted as masses or groups should be spaced closer together than in smaller groups.

  • Many low growing grasses make excellent ground cover, and this can be an effective way of massing them in smaller gardens.

  • Taller grasses, or those with strong colouring can act as successful specimens or ‘markers’ in a garden, either planted by themselves or as accents in a border. Clumps of grasses can have a similar impact if planted to contrast with other surrounding grasses or plants.

  • More subtle ways of creating a focus include using grasses with distinctive flower or foliage forms; e.g. Calamagrostis brachytrica with its elongated ovoid flower panicles.

  • A repetition of specimen grasses in a strict rhythm along a border – especially if placed towards the middle of front of it – will impel the eye along its full length. A similar effect, but with less impact, can be achieved with taller grasses placed at the back of the border; e.g. Stipa gigantea.

Warm season grasses- these do not start into growth until late spring or early summer, so they are best planted among other perennials or shrubs that flower from midsummer to autumn. They can be left standing through winter to provide interest- especially when they are covered with raindrops, dew or frost. They should be transplanted or divided in early spring, once they have started into growth.

Seasons and sitings

  • Think about the ‘plant partners’ to go with your grasses, and use the key features of both to complement each other at different times of the year. For example combine a range of strong flower forms which use the structure of grasses to greatest effect; Umbellifers like Anthriscus; Spires like Veronicastrum virginicum; Ball-like or pincushion flowers like Echinops  and Knautia macedonica; loosely structured heads like Astilbe; daisy-like flowers such as Rudbeckia. If possible go for those with the longest flowering period.

  • Use grasses in special sites; e.g. as part of a meadow; as a larger scale ‘prairie’ planting or border; in woodland or shade; at the water’s edge.

Sedges, Rushes and Cat tails – though they generally look like grasses, these plants have taken a different evolutionary path and so vary in leaf and flower details, and also their growing needs. Sedges are large family of diverse plants, mostly from the cool temperate regions, enjoying cooler and damper conditions than most of the true grasses. Rushes are a smaller family with few garden-worthy plants though the woodrushes are often decorative as well as useful, for example as ground cover. Cat tails (or reedmaces or bullrushes)are a single genus family with aquatic or marginal plants that have conspicuous flower heads.

Source: ‘Grasses’ by Roger Grounds (RHS and Quadrille Publishing)

Linked article: Design my Garden: Grasses- first the background…

Further information: Garden design with grasses

Old School Gardener

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934746_10151676747891970_1023613447_n“A different point of view”- tools to help you assess and get more from your garden.

13 October 2013, 10.00 – 4.00

Gressenhall Farm and Workhouse, Norfolk

Is your garden in need of a revamp or complete makeover, but you don’t know where or how to start? This workshop will help you assess your garden and what you want from it, grasp some of the basics of garden design and how to apply these to your own space.

I’ll be leading the workshop, which will be a mix of presentation, practical exercises and group discussion. Examples and case studies, together with the gardens at Gressenhall Farm and Workhouse, will be used to illustrate key points and inspire you to develop ideas for your garden.“A different point of view”- tools to help you assess and get more from your garden. 13 October 2013 10am - 4pm<br />

£32 per person / £28.50 for Museums Pass holders (including tea and coffee)

For more information and a booking form go to Gressenhall Adult Learning

Old School Gardener

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Want to improve the attractiveness and functioning of your garden? Then read on...

Want to improve the attractiveness and functioning of your garden? Then read on…

The Reepham Learning Community, here in Norfolk, offers a range of courses in the evenings and during the day in a wide range of topics. I’m hoping to run my second course on Garden Design, commencing next Monday, 23rd September, 7pm – 9pm at Reepham High School & College.

It’s a six session programme using a mixture of discussion, presentation and surgery – type advice to individuals who want to apply some design thinking  to their own gardens. The course will help you:

  • think about what you want from your garden
  • use different ways of appraising and surveying your current plot
  • with an introduction to different garden styles
  • understand what is meant by strong garden structure and appropriate, attractive planting, and
  • how to put this all together in a scale drawing of your future plans.

It also features a garden visit to see some of the principles of garden design in practice and encourage a critical approach to assessing gardens.

The first course involved 9 participants, a good-sized group allowing for a healthy level of discussion and individual attention. I know those that took part felt better equipped to tackle their own garden development after sharing issues and ideas, seeing examples of well designed gardens and picking up some key skills and tips along the way.

The next course is close to achieving a viable number of participants, so if you or someone you know is interested in getting some help in designing their own garden then please see more information at www.reephamlearningcommunity.co.uk or call Sandie Athow on 01603 308133.

Oh, and by the way, later in the coming week I’ll be starting a new series of articles focusing on design  tips to improve your garden. The series-  called’ Design my Garden’ –  will start with a few thoughts about designing a garden for someone who has some sort of disability.

Old School Gardener

The Maze at Longleat House, England

The Maze at Longleat House, England

I must admit I’m a bit of a fan of labyrinths and mazes.

As a play landscape designer I’ve tried to find ways of incorporating them in my designs as they are especially attractive to children. Usually they are one of the first design ideas to be dropped, generally on grounds of maintenance requirements. I’ve tried to suggest simple materials like grasses to mark out a pattern, rather like the one in the Cambridge Botanic Garden, but again they do take some looking after. The best I’ve managed is a wooden stepping stone and daffodil spiral. One day I’ll find a client with the imagination and deep(ish) pockets to give a bigger one a real go.

Labyrinths and mazes – what’s the difference between them?

Well, the answer is  ‘it rather depends…’.  There is one school of thought that sees labyrinths as different to mazes and another that sees labyrinths as one type of maze. Labyrinths have just one route– so there’s no danger of getting lost – whereas mazes are rather more cunning in that they have dead ends, twists and turns which are set out to puzzle and confuse. Sir Walter Scott’s ‘O, what a tangled web we weave, when first we practise to deceive!’ comes to mind.

Labyrinths (remember the single route or ‘unicursal’ one) are found in many cultures, some as old as 3,500 years. They all have an entrance or mouth, one route to follow and a central destination, sometimes marked with some sort of stone/statue/ feature. A further detail is how many concentric circuits or paths they contain and they can vary from the small to the huge – several hundred feet across. They have traditionally been seen as spiritually symbolic, meditative paths as well as just entertaining and can be found in many religious buildings such as Chartres and Ely cathedrals.

The Labyrinth pattern in Chartres Cathedral

The Labyrinth pattern in Chartres Cathedral

Humankind has been fascinated by patterns in the land for millennia and some of the earliest were forms of spiral (some multiple spirals). These later developed into the sorts of maze-like patterns we’re more familiar with, including the Cretan maze (or labyrinth as its usually called!). Of course the famous one was that in classical mythology where Theseus found his way to the centre and killed the Minotaur to ensure he freed his fellow Athenians. He used a length of thread to trace his way in and so find his way out. Which rather suggests that this ‘labyrinth was in  fact a more complicated maze as it would have been easy to retrace his steps in a one-route labyrinth! This all goes to support the case that the words labyrinth and maze are interchangeable, and certainly common usage suggests this- e.g the turf ‘mazes’ in some English gardens are in fact labyrinths (i.e. one routers).

A-maz-ing Gardens

Mazes as multi – choice routes really developed in gardens out of the parterre and knot gardens which used lines of plants (usually Box) to create patterns within which other plants, gravel, grass or sometimes coloured powders created a contrast in colour and level. You can wander around these hedges in some gardens and it isn’t difficult to imagine how (either deliberately or perhaps through lack of maintenance!) these hedges grew taller. This both made it difficult to grow anything successfully within them and also added a touch of mystery to the experience of walking round the garden. A book by Daniel Loris –  ‘Le Thresor des Parterres de l’univers‘ – written in 1629, seems to capture the developing fashion for such mazes (though most of it is concerned with the traditional parterre).

Hampton Court Maze, England

Hampton Court Maze, England

Britain’s oldest surviving hedge maze is at Hampton Court – created by George London and Henry Wise in 1690 and also thought to be the oldest hedge maze in the world in continuous use. Originally planted with Hornbeam and having two trees at the centre the hedging is now Yew, the hedging used in many traditional hedge mazes.

Labyrinth of Horta, Barcelona

Labyrinth of Horta, Barcelona

The Labyrinth Park of Horta in Barcelona, Spain, was created around 1794 as part of a neoclassical ‘makeover’ of the garden by its Marquis owner. In recent years the garden and maze have been restored and I have had the good fortune to almost stumble across it.

A simple bulb labyrinth at Cornell University, USA

A simple bulb labyrinth at Cornell University, USA

Today there are many different types of maze to be found in gardens, parks and estates around the world, some using hedges or walls (for your truly ‘puzzling maze’), others using turf, other grasses, low-growing plants or materials to mark out the (usually labyrinthine) route. In Britain temporary  ‘Maize mazes’ created in agricultural fields have become a popular summer visitor attraction.

There is something magical about these labyrinth and maze ‘puzzles on the land’ and I hope that one day I can create one in a park or garden…maybe you have scope for one in your garden?

Sources and further information:

Garden Mazes

Mazes and labyrinths

Design your own maze

History

Wikipedia- labyrinths

Wikipedia- mazes

Labyrynthos- resource centre

Labyrinth.org

Maze photos

Quizzicals (thanks to Les Palmer for these):

answers to the last two-

  • Has had too much already Sycamore
  • A country full of automobiles – Carnation

and a couple of gardening ditties

Big in Japonica’

‘You picked a fine time to leave me lucerne’

Old School Gardener

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ImageGarden Design Course in Norfolk

Following the successful pilot of ‘Your Garden- by Design’ last autumn, I’m pleased that Reepham Learning Community have agreed to run an extended version of this course beginning at the end of the month. 8 two-hour sessions (including one garden visit) will use a variety of methods and materials to help those who want to improve their own gardens through design.

Based at Reepham College in central Norfolk, the course is a step-by-step walk through the design process, showing how to apply this to your own garden (big or small) from basic surveying and appraisal techniques, forming ideas about what the garden is for and how it might look, to outline plans and 3-D visions of  different ideas as well as the important things needed to ensure successful delivery of attractive, practical plans.

Group review and discussion of the evolving designs will enable participants to develop a critical and creative approach to garden design and a large number of reference books will be on hand as well as links to other sources of information. Case studies and in-class exercises will help participants to develop their skills.

Green (and its many shades) is one of the most important colours in garden design (arguably it’s a more important feature than the ‘white’ in Vita Sackville-West’s garden at Sissinghurst). Gardens which feature plants with bold, contrasting foliage can be really effective and the Course will introduce colour, texture and form as three key ideas in planting design. The contribution that ‘hard’ landscaping (paths, walls, furniture and built structures) makes to successful garden design will also be covered.

Participants don’t need to have any particular skills- the course and associated support should lead to practical ideas which can be put into action. The eight sessions will cover:

  • Starting out- what do I want from my garden?IMG_4931
  • Surveying and appraising your garden and functional layouts
  • Garden Styles and Forms
  • Structure in your Garden- the third dimension
  • Planting- the fourth dimension
  • Garden visit (day time)
  • Final designs
  • Delivering your Design

Check out the link to the Reepham Learning Community for more information- I’m looking forward to meeting a new group of enthusiastic garden makers!

Quizzicals- answers to the last two:

  • Morrisey’s mother’s mother- Granny Smith
  • Someone who is out get you – Anemone

A couple of gardening ditties for you:

‘Livin’ Dill’

‘Juke Box Chive’

(note to self= must move away from herbs and spices for a while…)

Old School Gardener

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