Client’s brief for the RHS

Posted by Tiggy Salt on May 6th, 2007

When landscape architects and designers are asked to design gardens for clients, the process often begins with a brief that emerges from discussions between the client and designer. To be as realistic as possible, all exhibitors at the RHS Chelsea Flower Show are required to complete a client’s brief. The information provided forms the basis of an assessment to be carried out by a panel of assessors prior to the garden judging. The brief also assists the deliberations of the full panel of judges.

1. Describe the purpose or theme of your garden, including its intended use (please include references to practicability and environmental responsibility as appropriate)

Inspired by Where The Wild Things Are, by Maurice Sendak. A horticultural interpretation, giving a third, living dimension to a two dimensional classic of children’s Literature; a fantasy made real.

A playful family garden; snoozing on the bed, playing in the Moon Boat or hiding amongst the exuberant foliage. The element of darkness and danger in the book is reflected in the design.

A garden to inspire children and introduce them to the imaginative possibilities of plants.

2. Indicate whether the garden has structures and what purpose they serve. Mention the boundaries of the garden and how they relate to any presumed surroundings

The bed, reclaimed by the forest and planted with soporific plants, suggests the dreamscape of the book.

The moon, often present in Sendak’s work, symbolises maternal love, and is combined with the boat, central to Max’s journey.

The mosaic path is the serpentine curl of a scaly monster’s tail and entices the viewer, through an enlarged keyhole of a door into the lair of the garden.

The lateral wall is the wall of Max’s bedroom, the rear is the night sky.

The woodland surroundings of Ranelagh Gardens enhance the garden. The narrative journey of the story takes us from bedroom, to forest and beyond:

“That night in Max’s room a forest grew and grew and grew until his ceiling hung with vines and the walls became the world all around.”

3. The type of soil, the aspect and the prevailing conditions of the garden will be important in respect of the type of plants you are going to use – please describe them

The soil has a neutral pH, is well drained and fertile, and moist around the pool, surrounded by fresh water loving plants. Although Max appears to sail away on the sea, we used fresh water in the pool so that the planting would work to recreate the feel of the book.

West facing, it has afternoon sun, also areas of dappled shade. The planting is eclectic, with sun and partial shade loving plants, placed according to their optimum conditions. Any plants such as digitalis and gunnera that might be toxic would never be recommended in an actual children’s garden, but are used here for their appropriateness to the theme.

4. Explain your choice of hard materials and the relevance of any special features eg sculpture, water features, rockery etc.

Max’s bed: carved from Quercus robur, from a renewable timber source, its four posters are of living trees. It is the focal point of the garden.

The Moon Boat: the boat of Max’s journey and the moon. A functional, weatherproof copper and steel garden seat, also a sculptural work of art, moored in a pool of water.

Mosaic path: intensely decorative, each tessera having been hand cut and set. Made from naturally occurring marble, it is durable and weatherproof. It anticipates the arrival of the Wild Things.

Walls: rendered and hung with sackcloth to mimic the cross hatching of the book. Rear wall painted to suggest the night sky.

5. Explain your choice of plants and how they relate to the theme of the garden. Mention any key structural plants

Strong verticals; Iris, matching the sword like leaves at the foot of the bed and mop headed, clear stemmed trees for the four posters.

Fleshy, tactile, muscular exuberant perennial planting suggest the fat tongues of the book’s flora and chubby proportions of its fauna.

Sleep-inducing plants: chamaemelum, lavandula and passiflora draped about the bed create the dreamscape of the story and emphasise the notion of garden as bedroom.

The planting suggests the playful yet menacing atmosphere of the book, replete with the exciting possibilities of light, shadow and hide and seek.

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