Rooms and journeys

The difference between a simple garden room and a garden journey, even in precisely the same space, is the path itself. Small-area gardens - which can be more challenging than vast spaces - can easily be either a room or a journey and the choice is a matter of personal preference. There is no "correct" option.

A garden room is, of course, an open area surrounded by landscape features that often screen undesired views. The open area is frequently a space such as a patio, deck or small area of lawn. This is the domain of border plants and, in native plant parlance, the soft boundary between meadow and forest or thicket. There are literally hundreds of species of plants in this habitat.

A garden journey is a series of rooms, which can be quite small, perhaps with places to pause and relax - a bench or chair or if room permits more than one chair and possibly a little table. The goal, however, is to wind through a thicket of landscape materials that block out vistas, rather like the difference between a forest and a meadow. For native plant enthusiasts, this presents many options because there are so many different kinds of woodlands, each with its own ecology and sense of balance.

Doorway alternatives

On the other hand, a garden journey tours a series of rooms. The entry and exit points of a room, which can be as simple as a visually widened area along the path, become gates or doorways.

One approach, mystery-and-reward, employs visual obstructions near these points designers create a sense of mystery: what's beyond the next portal? The answer can be shrouded by barriers such as large plants or shrubs, that either close in tight on the path or form curves. In either event, uncertainty and perhaps even a bit of anxiety is the desired psychological effect; we are in a maze and before us is an unknown. The path invites exploration and courage, but the portal itself is the most dramatic when it heightens anxiety. The greater the anxiety, the more important a substantial reward becomes on the opposite side; we a quite literally rewarded for our bravery with a stunning discovery. A well designed garden path builds the experience by raising the stakes as we go, ultimately delivering us to an area of triumph.

An alternate is pause-and-reflection, which is replaces adventure with ever-increasing contemplation and mediation, a spiritual journey toward a higher state of consciousness. This is the foundation of Zen gardens in Asian cultures. In Japanese stroll garden design, a technique called mie-gakure has our path meander through various scenes, hiding and revealing them as we go. This allows the visitor to take a very broad intellectual excursion within the limits of what can be a very small garden.

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Paths and trails: backbone of design

An interesting metaphor in landscaping is that if the beds of plants are the flesh of the garden, then the paths are the skeleton. It follows that with a sturdy, well-ordered skeleton, the body of the garden takes good form. A reasonable conclusion that proper attention to path layout and construction rewards us with the framework for garden splendor

Many consider a path as the way to get from one place to another, but the shrewd landscaper creates a journey of discovery and refreshment through a series of informal rooms in which to linger and enjoy a visual treat. The presentation may be a combination of plants, a pattern of light, dramatic features such as hardscape or water, perhaps a vista. The path connects these in a sequence, each room building on the previous in drama or enlightenment. At the conclusion of the journey, the experience has been memorable.

In classic European ornamental design, paths became important elements in the geometrically balanced arrangement itself. In Far Eastern design, where the pattern is asymmetrical, paths are more journey-oriented, immersing the visitor in nature. If the designer is successful, the path is barely noticed, even though it is a major part of the experience.

garden path

While landscaping partially or entirely with natives in a European design is possible, the interest of native plant enthusiasts tends toward creation of wild areas, replicating nature.

Restoring land to a natural or wilderness look but with a subtle, balanced and pleasing design is not as easy as simply turning species loose to fend for themselves and construct a "natural" arrangement.

Ecosystems evolve over time and considerable space, are predicated on precise growing opportunities and can become chaotic. While this may form an objective for the purist native plant enthusiast or, more likely, someone involved in restoration and conservation, it does not necessarily lend itself to the sort of order we home gardeners prefer. Thus, Far Eastern design theory tends to be more helpful, if only for landscape management and a well groomed, but somewhat natural, style.

Few have taken asymmetrical landscape design to a higher, if not subtle, level than masters of Japanese stroll gardens. Originating in the private enclaves of feudal lords and used to commemorate their adventures in the field, stroll gardens today are imaginative and extraordinarily creative displays.

A key element in these charming endeavors is to use natural materials to suggest and evoke images of famous scenes familiar to almost anyone in Japan. As we stroll it is our task to discover them. The path guides us from view to view and as it widens, narrows and turns, the skill of the designer becomes evident. Wider areas, especially on curves, slows our pace. The path narrows through subtle gates, compelling us to move along. Curves widen toward the outside and views on opposite sides are presented.

Even the texture and sounds of footsteps on the path are critical elements toward an important goal: the path itself controls pacing, discoveries and psychological effect.

No two gardens are alike, each must adapt to the available space -- which may be acres or just a few square feet -- and each is a genuine work of art.

But in all cases of great landscape design, several principles appear to be common.

The path is level from side to side, firm under foot, and requires little attention from us, who, after all, are there to see the plants and not be concerned about the safety of the path.

It is sufficiently wide to permit equipment to navigate to areas being maintained. While this may appear obvious, many garden paths cannot accommodate a turning wheelbarrow or cart, much less a garden tractor and especially a garden tractor to which a leaf shredder has been attached.

It is usually constructed of a simple material to care for, most often fine gravel but sometimes grass or mulch. Gravels are the easiest to maintain, but may adhere to shoes when wet and are the most expensive to install. Grasses involve all the usual lawn care requirements. Mulches must be renewed on a periodic basis as they decompose. Because of cost, rarely are paths paved.

It does not intersect with itself, but rather winds in a serpentine way from view to view, encouraging a complete garden experience rather than shortcuts. Natural barriers, particularly berms and combinations of plants that create "obstructions," lead to winding paths that create mystery and anticipation.

garden path

It creates as much length as possible, with beds on either side. In such spaces as this, an extraordinarily complex garden can be built within a relative small area. The Japanese stroll garden at the National Arboretum in Washington, D.C., for example, is only 55 x 60 feet but includes 136 feet of path; that translates into 272 feet of garden views and most visitors would agree that were it theirs, they could immerse themselves in it for many years and never tire of the experience.

It follows the contour of the surface in a harmonious way, with no abrupt changes in grade, and certainly no steep grades that would require the visitor to focus concentration on the safety of taking steps rather than the pleasure of observing the garden.

Manuals governing trail design for national parks assert at the beginning that the park is for a pleasurable and interesting experience for visitors, that it should accommodate the traveling skills of a wide range of people, and that it should comfortable lead the visitor from one point of interest to another.

Small side trails that briefly digress from the main trail lead the visitor to small spaces of particular interest - quite literally, a treat "off the beaten path." It represents an idea for larger beds in which the main path may wrap around, but occasionally present mysterious little invitations to something inside the larger display. This same technique can be used to permit the owner access to difficult-to-reach spots. Because maintenance equipment is only a few steps away, they need only to be suitable for the passage of the owner.

When laying out a native plant garden a helpful priority is the path itself and shrewd use of the terrain and space to suggest nature's hand while presenting the landscape collection. It can begin by simply taking walks to gradually settle upon a comfortable route, to imagine views, and to accentuate the landscape. For example, a gentle slope can be built up on one side and reduced on the other as the bed for the path is formed. Drama can be created with stone harvested from the site itself. Visual barriers can be built on low berms to create towering points. Even small ponds can be installed.

While resources may limit the landscape to humble beginnings, It is also helpful to think in larger terms, to organize a path for future beds that can be developed as opportunity presents itself. Paper and pencil create grand visions - and incentive.

With a plan in mind, the next step is to lay out the path with markers, such as tall construction stakes and at least twine between them, to begin final considerations. These are useful, but if one has access to (especially discarded) plastic well pipe, it's possible to use this slightly flexible material and stakes on either side to actually define path edges.

Next comes practice travel on the path. Dry runs with any garden equipment (such as lawn tractors pulling carts or chipper vacs) will help ensure the path is sufficiently wide and the curves sufficiently gentle for comfortable and safe travel.

These markers should be most helpful when construction of the path commences and, at the end of the project when beds are developed, stored for the next project.