Le heuchere in giardino sono cosi'.
due righe .18
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
John Keats Ode to a Nightingale
planted! / pagina seconda .17
Anemone x hybrida 'Honorine Jobert'
Clematis montana 'Grandiflora'
Dryopteris filix-mas
Epimedium x rubrum
Heuchera sanguinea 'Splendens'
Heuchera x brizoides 'Pruhoniciana'
Lonicera japonica 'Halliana'
Malus x domestica 'Crimson Crisp'
Pyrus communis 'Abate Fetel'
Thalictrum aquilegifolium 'Thundercloud'
Wisteria brachybotrys 'Schiro Kapitan Fuji'
cosi' rinasce il mio giardino.
In altri tempi, ero bambino, in questo giardino c'erano l'insalata ed i lamponi. L'ombra di un abete di Natale e di una sofora portata dal vento hanno trasformato l'orto in un perfetto posto perche', un giorno di questo Aprile, un giardino boschivo potesse nascere tra quelle tavelle di antico pavimento di cotto e ciottoli di strada rivelati alle mani di mia madre appena arrivati in questa casa. Insomma e' Primavera.
Penso che un po' d'erba non ci starebbe male, ma poi mi viene voglia di piantare le perenni della prateria e immagino il fiume che se le porta con se' e con se' il giardino e correre, correre fino al mare... come si fa?! Come si fa ad accettare che la bellezza di un giardino boschivo, uno shady garden non possa diventare anche una prateria?! Come si fa ad avere due bellezze?! Cocteau ci insegna, allora, a dire al soldat della Histoire: "Un bonheur est tout le bonheur. Deux, c'est comme s'ils n'existaient plus." Cosi' in Italiano Cocteau direbbe: "Una felicita' e' tutta la felicita'. Due e' come se non esistessero piu'."
Mind the garden! .16
Sono andato a fare visita al lascito Pizzetti presso la Biblioteca della Fondazione Benetton per il Paesaggio, a Treviso. Una piccola sala di consultazione, quasi fosse una stanza di casa privata: una finestra, il canale, l'Epimedium x versicolor immaginato dal professore.
Mangiando un gelato con il mio amico Federico ed il professore, un giorno, abbiamo parlato delle ragazze ed eravamo tutti e tre d'accordo. Forse per questo allora l'occhio si sofferma su un libro, splendido: "Gli insegnamenti della pittura del giardino grande come un granello di senape". E' una raccolta a scopo didattico dei tratti costitutivi delle maniere di dipingere il paesaggio presso le varie scuole cinesi conosciute nel corso dei secoli fino alla seconda meta' del XVII secolo. Splendido e trait d'union con Silvia, che ogni volta vorrebbe restituirmelo e io le dico che prima o poi lo riavro'; cosi', dal 2003, restiamo in contatto. Evviva i libri!
Piu' in basso, un altro libro. Nel 1902, il Rev. Henry N. Ellacombe, vicar of Bitton, Gloucestershire, scrive un libro dal titolo: "In my vicarage garden and elsewhere". Immagino le sue basette folte ed un bicchiere di birra calda e capito al Chapter XV: "Railway Garden". Mind the Garden! vicar of Bitton, next Spring, Earl's Court subway station, London.
Sol .15
Michel Petrucciani in un'intervista dice che la nota Sol e' verde.
Caro Petrucciani
Chissa' Ravel e Jobim...
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"garden me" / A writing about a wished frontier for the natural gardening
Ecological Planting Design
Ecological Planting Design
Drifts / Fillers (Matrix) / Natural Dispersion / Intermingling with accents/ Successional Planting / Self seedingWhat do these words mean? Some principles of ecological planting design. (from the book: "A New Naturalism" by C. Heatherington, J. Sargeant, Packard Publishing, Chichester)
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.