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. As such, we come to 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 takes us on a journey of discovery and refreshment through a series of informal rooms, where we 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, our experience has been a memorable one.
In classic European ornamental design, paths became important elements in the geometrically balanced arrangement itself. In Far Eastern design, where the pattern is asymmetrical, we find path is more journey-oriented, immersing us in nature, and if the designer is successful, we barely notice it. Although it's entirely possible to landscape partially or entirely with natives in a European design, the interest of native plant enthusiasts tends toward creation of wild areas, to replicate nature. Restoring land to a natural or wilderness look 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.
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.
Common principles
But in all cases, we notice that several principles remain:
- 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.
- 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.
Curiously, parallels are found in manuals governing trail design for national parks, which assert at the beginning that the park is for a pleasurable and interesting experience for us, that it should accommodate the traveling skills of a wide range of visitors, and that it should comfortable lead us from point of interest to point of interest.
In park design, simply because of space, there are often side trails that step away from the main path to a small area where those points of interest can be observed. In garden design, 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.
Service paths are another matter altogether. Suffice it to say, then, that when laying out a native plant garden our first priority is the path itself and our goal is to use the terrain and space shewdly to suggest nature's hand and present our plants well. Our starting point is perhaps to take a walk and find 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.
Next we need to think in grand terms, organizing a path for beds not to be built for some time in the future, if only to give us incentives to evolve, but always considering a unified whole. Graph paper and plenty of sharp pencils allow us to doodle with line and shape, and plenty of tools from the rental center or even simple devices created from scraps can help us control grade and curves.
An important test for us will be "dry runs" with all the equipment we may bring to bear. After we lay out a path and mark it, we'll see how convenient it really is and make adjustments, especially in curves and the width of the path in the curve.
Construction follows, with excavated material being used according to our plan. Then, and only then, can we shape the final beds and visit the garden center.
Carefully done, a good path will give us great joy in working in the garden, and immense pleasure in visiting it, for many years to come.