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Monumental: the Telegraph garden (top) draws on inuences such as Carlo Scarpa’s Brion Cemetery, near Treviso, and the writing of David Hicks I rst saw these penstemons while visiting a grower two years ago. Their rich, vibrant colours really struck me and I’ve been looking out for themsince. Penstemons are generally not particularly hardy, although the Riding Hood Series is noted for being hardier than most other varieties. They also have a compact, low-branching habit and a profusion of bell-shaped owers, which clothe the slender stems from early summer to mid-autumn. These varieties look good individually or create a dramatic display together. Their colourful and long-lasting owers make them valuable for pots – they make a dazzling summer spectacle on the patio – as well as towards the front of a sunny border. Originating from a wide range of habitats, from prairies to alpine areas in North and Central America, penstemons ower best in sun, but are tolerant of a little light shade. Prepare the soil well before planting, and remove faded owers regularly to encourage more to form. In areas that are prone to hard frosts, the Riding Hood Series will benet from a dry winter mulch to protect their roots. Cut back in spring when new shoots appear low down on the stem. Lift and divide congested clumps in spring. All grow to 2ft (60cm) tall. ‘Blue Riding Hood’ Striking, metallic blue owers, each with a white throat, create a vibrant and prolonged display. Winner of Best New Perennial at the National Plant Show in2013. ‘Hot Pink Riding Hood’ Bright pink owers with aring, lobed lips provide strong colour towards the front of the herbaceous border. Undemanding and drought tolerant when established. ‘Red Riding Hood’ A striking cultivar, with bright red blooms often appearing from June to October. If deadheaded regularly, these vivid owers look splendid when planted in borders with a hot colour theme. ‘Purple Riding Hood’ Elegant spires rise from among the neat clumps of evergreen foliage, bearing outward- facing to nodding rich purple- pink owers with prominent whitestamens. ‘Delfts Blue Riding Hood’ Ideal when planted in drifts in a cottage-garden setting where their delicately veined, softer- blue colouring blends easily with claret, pinks and purples, as well as plants that have silvery foliage. How to buy BuyJohn’scollectionofve penstemons,oneofeachvariety above,foronly£19.99.Or,buy twocollectionsfor£29.98and save£10.Allpricesplusp & pof £4.99.Suppliedin9cmpotsand deliveredwithin21days.Order atgardenshop.telegraph.co.uk/ ridinghoodorcall08448730789 (24hours,sevendaysa week). Softness: ‘Delfts Blue Riding Hood’ suits a cottage-garden setting Call08448730789orvisit gardenshop.telegraph.co.uk/offers ALA MY was 15. He trained as an artist and sculptor and was later asked by Florence Knoll to design furniture for the company she had set up with her husband. The delicately industrial Bertoia side chairs used in the garden take the form of a welded wire grid moulded to suit the human form. Bertoia said, “If you look at these chairs, they are mainly made of air, like sculpture. Space passes right through them.” “A perfect fusion of art and function,” is how Paul describes them. “These chairshave a timelessness that isvery inspiring.” Courances One of the Baroque masterpieces of André Le Nôtre (the designer of Versailles), Tommaso says he loves this example of his work because it is not beset by the atmosphere of sterility that can sometimes afict formal gardens. “Courances proves how a formal, structured layout does not necessarily result in a rigid, sterile garden,” he says. “This is one of the most romantic gardens I have ever seen.” Tommaso points out that Courances is one of the smallest gardens Le Nôtre created. “It is a bit of a revelation… For example, the hedges have been allowed to grow up into different shapes, the stonework is mossy and slightly falling apart, and the statues are covered in greenery and lichen. You forget that the garden is arranged around a formal layout – it is charming and very gentle. It reminds you that layout is important but is not everything.” For Tommaso a formal design – whether it’s baroque or modernist – can also be imbued with a strong intimate tone, which is something he and Paul are aiming to create atChelsea. Paley Park, New York The most celebrated “pocket park” in the world, Paley Park was designed by Zion & Breen in 1967 in a vacant lot in the heart of Manhattan. “I was born and educated in New York,” Paul says, “and Paley Park featured heavily in my studies of landscape architecture. The thing that is particularly striking about the space is how small it is but yet perfectly formed. It is the distillation of a larger landscape – nature perfectly encapsulated in the middle of a concrete jungle. I particularly like the simplicity of the spatial arrangement – a grid of honey locust trees forming a light and feathery canopy, ivy-clad ank walls that are like vertical lawns and an uncompromising wall of water at the back that drowns out the noise of the city around you. You hear the water before you even see the park.” Paul says there is a direct link between Paley Park and the Chelsea garden in that the water wall idea has inspired a similar feature. “It’s not meant exactly to drown out the noise of Chelsea,” Paul explains. “But it can be quite loud there – and this garden is going to be peaceful.” Carlo Scarpa The great Italian modernist architect and designer, nearly all of whose work is in Italy (especially around Venice and the Veneto), is best known for his exciting reworkings of historic buildings and their associated landscapes. “Scarpa was a master at handling materials, some of which are not necessarily associated with each other,” Tommaso says. “The Fondazione Querini- Stampalia [in Venice] is a beautiful example of how he used stone, metal, brick, glass and wood. It’s a very careful study, a masterclass in how to put them together with delicacy. And it somehow looks effortless.” The museum is also a good example of the way Scarpa habitually conceived of building and landscape as one, making no discrimination between them in terms of his approach to design and materials. Scarpa’s best-known landscape work is the Brion Cemetery, a family tomb set on the edge of a village near Treviso. “I nd this project inspirational for the use of materials, including water,” Tommaso says. “Iadmire Scarpa most for his expert handling of materials and for his ability to borrow from history and tradition to create something new and modern. This has been an inspiration for our own work.” English Edwardian gardens “Twenty ve years ago I came to England for a short stay – and I never left,” Paul says. “When I rst arrived I spent almost every weekend visiting gardens. I know it sounds clichéd, but Hidcote and Sissinghurst were a revelation. And I loved the topiary and hedge structure at gardens like Athelhampton. “I love the way these gardens combine a strong evergreen and architectural structure with a much softer, frothy layer of colour and textures,” he says. “These Edwardian gardens are a great reference and starting point for so much of what has happened since – including our own work.” “I am particularly fond of the use of luxurious materials such as the travertine and green marble and polished steel that adorn the spaces without the need for any other decoration,” Paul explains. “It really feels like a garden pavilion. In our Chelsea garden we have tried to create a sense of it by means of the roof-trained lime trees, which will create a sensation of this roof – it will be a bit like a green version.” David Hicks “There has been a huge David Hicks revival in recent years, his Seventies interiors having suddenly been rediscovered and appreciated,” Tommaso says. “I do like the interiors – the use of colour and strong graphic patterns – but his book My Kind of Garden has been very inuential and I regularly return to it.” Hicks was a designer who might be described as “quintessentially British”, but Tommaso appreciates the way he blended English wit and romanticism with a sure feel for spatial design. “At Hicks’s own garden in Oxfordshire, I love the way he combined a strong architectural structure with a layer of much softer plantings, and also alternated light and shade. There is a link here with our Chelsea garden, where we are trying to build in similar contrasts. In a garden it is important to create spaces which are restful, slick and peaceful, as well as those which are full of texture and colour, which will grab the attention.” Knoll Harry Bertoia outdoor furniture (1952) Paul says: “In the outdoor sculpture garden at the university art museum where Istudied landscape architecture, was a bronze sound sculpture that would emit haunting pings and bongs depending on the speed and direction of the wind. Ifound it delightful how nature could be harnessed to create music. “This sculpture was created by Harry Bertoia, who also designed the Knoll furniture that we are using in our Chelsea garden.” Bertoia was born in Italy and emigrated to America when he ForourcompleteguidetoChelsea2014, includingwhattosee,wheretoeatand howtogetthere,visit telegraph.co.uk/ gardening/chelseaowershow G3 TELEGRAPH GARDENING | Saturday, May 10, 2014
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