luna .112

La luna muove i mari e quando si parla della luna si diventa sottili. Muove la linfa nei ramoscelli quando e' crescente ed invece favorisce il fruttificare quando l'energia non va alla crescita del legno bensi' dei frutti, a luna calante, quando si puo' procedere alla potatura... O cosi' mi sembra di aver capito sfogliando oggi un manuale in libreria. Ci credo, perche' e' bello.

   Fondamentalmente pero' non mi importa quasi nulla che sia vero oppure no: gli alberi da frutta crescono e diventano bellissimi e li' la mia curiosita' viene sedotta fin dall'inizio a tal punto che ogni ragionamento e' per me come mettersi a ragionare sulla struttura lignea di un violoncello mentre questo suona. Tanto piu' che frutti bellissimi crescono sugli alberelli dei giardini abbandonati.

   La luna porta nello spazio silenzioso della nostra testa, nella immensa sfera nella quale dimorano fin dal primo sguardo la luna, i mari e i cieli, nella quale il rumore ed i suoni tutti diventano il sibilo sottile al quale comincia la prima sinfonia di Mahler, quando, o forse dove comincia il suono... il suono che comincia nella testa, quel suono simile ad un sibilo, che nel silenzio non ci lascia e ci fa piu' aerei, piu' simili a cio' che di piu' leggero c'e' nello Spazio.

   Nel mio rapporto con un albero, che importanza ha che la Luna muova le maree o la linfa, quando la conoscenza di questa influenza fissa un campo di esistenza per il mio rapporto con quella pianta che non ha nulla a che vedere con la gioia di guardarla ed immaginare, immaginare qualsiasi cosa?! La materia del suono e' aria ed allora mi fermo ad ascoltare, mi fermo alla domanda e mi piace restarci e l'albero forse e' il primo cui non importa granche' di una risposta.

   Se fosse stato per me la conoscenza non sarebbe andata molto oltre la magia (me ne vergono un poco) e scopro di essere lontano da quel fascino analitico che ha portato, porta e sempre portera' gli scienziati a rendere giustizia alla vocazione umana alla liberta'. Se non sono uno scienziato posso pero' piantare un albero di mele per fare ombra ad uno di essi.

1 commento:

  1. "Con cuore felice, per nulla impaurito dalla sua libertà,
    mi guardo intorno - e fosse la guida scelta nulla di più sicuro di una nuvola vagante -
    non mancherò la strada." Wordsworth
    :)

    RispondiElimina

"garden me" / A writing about a wished frontier for the natural gardening

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Ecological Planting Design

Ecological Planting Design

Drifts / Fillers (Matrix) / Natural Dispersion / Intermingling with accents/ Successional Planting / Self seeding
What do these words mean? Some principles of ecological planting design. (from the book: "A New Naturalism" by C. Heatherington, J. Sargeant, Packard Publishing, Chichester)
Selection of the right plants for the specific site.
Real structural plants marked down into the Planting Plan. The other plants put randomly into the matrix: No. of plants per msq of the grid, randomly intermingling (even tall plants). Succession through the year.
Complete perennial weed control.
High planting density. Close planting allows the plants to quickly form a covering to shade out weeds.
Use perennials and grasses creating planting specifications that can be placed almost randomly.
Matrix: layers (successional planting for seasonal interest) of vegetation that make up un intermingling (random-scattering) planting scheme: below the surface, the mat forming plants happy in semi-shade, and the layer of sun-loving perennials.
Plants are placed completely randomly: planting individual plants, groups of two, or grouping plants to give the impression of their having dispersed naturally. Even more with the use of individual emergent plants (singletons) that do not self-seed, dispersed through the planting.
An intricate matrix of small plants underscores simple combinations of larger perennials placed randomly in twos or threes giving the illusion of having seeded from a larger group.
The dispersion effect is maintained and enhanced by the natural rhythm of the grasses that give consistency to the design. They flow round the garden while the taller perennials form visual anchors.
Allow self-seeding (dynamism) using a competitive static plant to prevent self-seeders from taking over: Aruncus to control self-seeding Angelica.
Sustainable plant communities based on selection (plants chosen for their suitability to the soil conditions and matched for their competitiveness) and proportions (balance ephemeral plants with static forms and combinations such as clumpforming perennials that do not need dividing: 20% ephemeral, self-seeding plants, 80% static plants) of the different species, dependent on their flowering season (a smaller numbers of early-flowering perennials, from woodland edges, which will emerge to give a carpet of green in the spring and will be happy in semi-shade later in the year, followed by a larger proportion of the taller-growing perennials which keep their form and seed-heads into the autumn and the winter).
Year-round interest and a naturalistic intermingling of plant forms.
Ecological compatibility in terms of plants suitability to the site and plants competitive ability to mach each other.
Working with seed mixes and randomly planted mixtures.
Perennials laid out in clumps and Stipa tenuissima dotted in the gaps. Over the time the grass forms drifts around the more static perennials and shrublike planting while the verbascum and kniphofia disperse naturally throughout the steppe.
Accents: Select strong, long lasting vertical forms with a good winter seed-heads. Select plants that will not self-seed, unless a natural dispersion model is required.
Planes: if designing a monoculture or with a limited palette, more competitive plants may be selected to prevent seeding of other plants into the group.
Drifts: to create drifts of naturalistic planting that are static in their shape over time use not-naturalizing, not self-seeding, not running plants.
Create naturalistic blocks for the seeding plants to drift around. For the static forms select plants that do not allow the ephemerals to seed into them.
Blocks: use not-naturalizing species, in high densities, in large groups.
Select compatible plants of similar competitiveness to allow for high-density planting (to enable planting at high density in small gardens).
Achieve rhythm by repeating colours and forms over a large-scale planting.