Chris Young. Garden Design

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First American Edition, 2009

First published in United States in 2009

by DK Publishing, 375 Hudson Street, New York, New York 10014

RD106 March 2009

2 4 6 8 10 9 7 5 3 1

Without limiting the rights under copyright reserved above, no part of this publication may be

reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means

(electronic, mechanical, photocopying, recording, or otherwise), without the prior written permission of

both the copyright owner and the above publisher of this book.

Published in Great Britain by Dorling Kindersley Limited.

A CIP catalogue record for this book is available from the British Library

ISBN 9780 7566 42747

DK books are available at special discounts when purchased in bulk for sales promotions, premiums,

fund-raising, or educational use. For details, contact: DK Publishing Special Markets, 375 Hudson Street,

New York, New York 10014 or SpecialSales@dk.com.

Printed and bound by SNP Leefung Ltd, China

IMPORTANT NOTICE

The author and the publishers can accept no liability for any harm, damage, or illness

arising from the use or misuse of the plants described in this book.

Discover more at www.dk.com

LONDON, NEW YORK, MUNICH, MELBOURNE, DELHI

EDITOR-IN-CHIEF

CONTRIBUTORS

SENIOR EDITOR

SENIOR ART EDITOR

EDITORS

US EDITOR

DESIGNERS

DESIGN ASSISTANT

AIREDALE PUBLISHING

PHOTOGRAPHERS

ILLUSTRATORS

PLAN VISUALIZERS

JACKET DESIGN

PICTURE RESEARCH

PRODUCTION EDITOR

PRODUCTION CONTROLLER

MANAGING EDITOR

MANAGING ART EDITOR

PUBLISHER

ASSOCIATE PUBLISHER

ART DIRECTOR

Chris Young

Zia Allaway, Andi Clevely, Christine Dyer,

Jenny Hendy, Richard Sneesby, Fiona Wild,

Vicky Willan, Paul Williams, Andrew Wilson

Zia Allaway

Joanne Doran

Christine Dyer, Diana Galligan, Caroline Reed,

Sarah Ruddick, Fiona Wild, Vicky Willan

Rebecca Warren

Vanessa Hamilton, Vicky Read,

Alison Shackleton, Pamela Shiels

Francesca Gormley

Ruth Prentice, David Murphy, Murdo Culver

Peter Anderson, Brian North

Peter Bull Associates, Richard Lee, Peter Thomas

Joanne Doran, Vicky Read

Mark Cavanagh, Alison Donovan

Lucy Claxton, Mel Watson

Maria Elia

Mandy Inness

Anna Kruger

Alison Donovan

Jonathan Metcalf

Liz Wheeler

Bryn Walls

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Contents

Plant guide 270

Index 342

Suppliers 358

Materials guide 330

Acknowledgements 352

Designers’ details 360

6 FOREWORD

Chris Young, Editor-in-Chief

First principles 20

Designing with plants 72

Creating a plan 100

Garden styles explained 128

Cottage gardens 140

Modernist gardens 156

Foliage gardens 172

Productive gardens 188

Sustainable gardens 204

Country gardens 220

Choosing materials 52

Assessing your garden 90

Design case study 118

Formal gardens 132

Mediterranean gardens 148

Japanese gardens 164

Fusion gardens 180

Family gardens 196

Urban gardens 212

Concept gardens 228

Building garden structures 238 Planting techniques 256

10 HOW TO DESIGN

A comprehensive guide to the principles of garden design,

and how you can apply them to create a design of your own.

126 CHOOSING A STYLE

From formal and foliage to Modernist and Mediterranean,

explore the history and key ingredients of these major

design styles and ﬁnd inspiration for your own garden.

234 MAKING A GARDEN

All the practical information and step-by-step guides

you need to bring your garden designs to life.

268 PLANT AND MATERIALS GUIDE

Expert advice to help you choose the perfect plant for

any situation, and the right materials for your design.

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HAVE YOU EVER SAT—just sat—in your garden, thinking, looking

around, taking in the view? Not really looking at anything in particular, but

thinking about anything and everything to do with your garden, asking

yourself, “what if I planted a tree there?”, or, “if I moved those slabs, what

would I put in their place?”. Whether you were aware of doing this or not is,

in a way, immaterial because what you have been doing is visually making this

piece of land your own, and coming up with thoughts and ideas for improving

your outside space. Welcome then—whether it be for the ﬁrst or ﬁftieth

time—to the world of garden design.

The concept of garden design is nothing new: when Man ﬁrst cultivated land,

and enclosed his arable crops and livestock, he was delineating usable space to

its best advantage. This may not be design as we understand it now (obviously,

aesthetics were of no practical value then), but he was making spatial

relationships based on need. He was designing his environment to suit his

individual daily, monthly, and yearly requirements.

Since that time, the process of creating a garden has evolved according to

style, fashion, prowess, skill, aptitude, wealth, travel, experimentation, and

history, but it can all be distilled down to that ﬁrst need. In essence, it is

all about a human being exerting some level of control over his or her own

surroundings. And, really, that is all garden design is today.

As is set out by my fellow authors in this book, creating a garden can be

an intricate and time-consuming process, but the fundamental starting point

is to remember that garden design is about creating an outside space that you

(or your client) want. Many discussions will ensue after that initial thought—

from what style you want, to working out how sustainable your garden might

be, but don’t let the detail bog you down too early in the process. Of course

detail is essential for a successful garden, but holding on to that vision, that

Foreword

WELCOME IN

Successful garden design

is about creating usable,

attractive, and well-made

spaces that suit the

owner’s personal needs.

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FOREWORD8

desire, is a key part of the process. This book will help you, not only with the

nuts and bolts of garden making, but also to focus the vision and, I hope, help

make it become a reality.

So why is there a need for such an encyclopedia? In truth, because designing

a garden can be something of a lonely experience. Even though we are

constantly bombarded with images, suggestions, and information (too much

choice, one might say), it is rare to be able to look in one place for everything

—from plant selection to gravel color, from fence posts to tree heights. The

very nature of having so much choice can render the designer/gardener/client

more than a little confused as to what they actually want from their garden.

The activity of making a garden can also be inﬂuenced from so many

quarters—from horticultural collections to urban material manufacturing—

that a designer needs a refuge of sorts, where questions are answered and

problems resolved. I hope this book will be that refuge in an ever-crowded,

information-obsessed world.

PERSONAL SPACE

Good design should reﬂect

the wishes, likes, and

dislikes of the garden

owner—regardless of the

country or climate.

PLAN YOUR PLAN

Putting your ideas onto

paper, or computer, is

an essential step when

designing your garden.

GOOD FORM

Successful designs use

ﬂower color, leaf shape,

and tree stems to create a

balance of color and form.

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FOREWORD

In many cases, deciding on what you want your garden to be like is initially

the hardest, but then the easiest part of the process. It is translating that vision

into a reality that takes the bulk of the time: working out how parts of a garden

can sit together, how planting interest throughout the year can be sustained,

deciding on hard landscaping materials that will work in all weather conditions,

and so on. These are the stimulating—and at times frustrating—aspects of the

process, but they make the difference between an unusable piece of land

adjoining your property and a beautifully designed garden.

The chapters in this book take you through these very stages of garden

design, helping to demystify the unknowns and clarify the unclear. I sincerely

hope you enjoy it and, as a result, make the best garden you possibly can.

CONSIDERED STYLE

Successful spaces are

created when planting

colors and combinations

complement the hard

landscaping materials.

URBAN JUNGLE

Using foliage plants of

different types and heights

can help to provide privacy

from neighboring views

and offers useful shelter.

SENSE OF SCALE

When creating a plan,

working to a scale allows

you to be sure that all

structures and details will

work well on the ground.

EYE OF THE BEHOLDER

Sometimes, beautiful

design expressions can

be created by mirroring

shapes, like this sculpture

and round-ﬂowered Allium.

CHRIS YOUNG

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