And the view from the UK by Mark Laurence

February 25, 2016

in Book Reviews, Reviews

I think that ‘Planting’ is an important book, but I was also struck when I read James’ review  that this was one of those times when the differences between the UK and America was quite significant. So I was very pleased when Mark Laurence offered thinkingardens a UK focused review of the book. And here it is.

Anne Wareham, editor

Anne Wareham Portrait, copyright John Kingdon

A review of Planting in a Post-Wild World, by Thomas Rainer and Claudia West from a UK/European Perspective – by

Mark Laurence.

Planting in a Post-Wild World COVER 3D

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

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

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

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

Desert_archetype_Dubai Copyright Mark laurence

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

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

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

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

Millenium_Park_Chicago-May-1 Copyright Mark Laurence

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

Millenium_Park_Chicago-Nov-1 Copyright Mark Laurence

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

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

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

Arid_Kyrgyztan_Perovskia_arbrotanoides Copyright Brian Kabbes

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

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

Med_Architype-1 Copyright Mark Laurence

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

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

In a very real way, “Planting in a Post-Wild World” attempts to create an archetype-based design language and is a valuable contribution to that task.  But we need the language to be global, or alternatively to see this book as a regionalized attempt to cross boundaries and develop new thinking.

A European version of this book is needed, which could perhaps take it to the next level of design language development.  In this respect, inspiration could be drawn from another book, “A Pattern Language” by Christopher Alexander which, although about architecture and space, is also about soul, spirit, context and community, realised through the use of a language of patterns.

This is an important book and I recommend it. For all its limitations it shows ways to develop landscapes that are truly new and profound.

Mark Laurence

Mark_Laurence-5 Portrait


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