ENGLISH ARTS AND CRAFTS GARDENS AND HOW THEY CAN BE MODERNISED IN SWEDEN Kristina Nygren Master thesis at the Landscape Architect Programme Department of Urban and Rural Development Swedish University of Agricultural Sciences, Uppsala 2012 Swedish University of Agricultural Science Faculty of Natural Resources and Agricultural Sciences, Department of Urban and Rural Development Master thesis at the Landscape Architect Programme 2012 EX504 Independent Project/Master thesis in Landscape Architecture, 30 HEC Level: Advanced E © Kristina Nygren, e-mail [email protected] Title in English: English Arts and Crafts gardens and how they can be modernised in Sweden Titel på Svenska: Engelska Arts and Crafts-trädgårdar och hur de kan moderniseras i Sverige Supervisor: Maria Ignatieva Professor in Landscape Architecture, Department of Urban and Rural development, Uppsala Examiner: Roger Elg and Åsa Wilke Place of publication: Uppsala Key words in English: Arts and Crafts movement, Sustainable garden, Hidcote Manor, Sissinghurst Castle, Ulla Molin, Ulf Nordfjell, Garden Design, Modernisation Nyckelord på svenska: Arts and Crafts, Hållbar trädgård, Hidcote Manor, Sissinghurst Castle, Ulla Molin, Ulf Nordfjell, trädgårdsgestaltning, modernisering Original format: A3 Online publication of this work: http://epsilon.slu.se FOREWORD Writing this thesis has been an exciting and a great learning experience. It started during the summer of 2011 when I lived in London and is now, in March 2012, finally finished. This journey has, however, also been a tuff, filled with frustration and disbelief. in those moments I have been grate- ful for the support by Kalle Dexner who put up with me during stressful times. I would also like to thank my supervisor Maria Ignatieva who supported me and gave me guidance during the process. Special thanks are also given to Mike Beaston and Ulf Nordfjell, who both have shared their experiences in interviews. In addition, I want to acknowledge the photographers; Alan Buckingham and Nigel Burkitt for allowing me to use their photos of Ulf Nordfjell’s garden at Chelsea Flower Show 2009. SUMMARY The aim with this thesis was to investigate what characterises an English battle between architects and horticulturists. It was not until Gertrude most famous Arts and Crafts gardens, even though it is one of the latest Arts and Crafts garden how they could be modernised in Sweden. My Jekyll (1843-1932) combined both of these thoughts when the Arts and since it was not started until 1930. It does, however, comprise the main research was limited to 20 weeks of full-time writing and worth 30 ECTS. Crafts gardens begun to form its characteristics. Gertrude Jekyll also ingredients of a typical Arts and Crafts garden with its long axes, formal Through literature studies, interviews and site visits I could analyse my started a ground-breaking collaboration with the architect Edvin Lutyens hedges, intimate garden rooms and naturalistic planting schemes. What findings which resulted in a concrete garden design project. which made a clear stand against the current fight between “architects” differs Sissinghurst from Hidcote is that its axes actually are connected and “gardeners”, as they found more benefits from working together. to the house. The planting schemes are also more simplified which could The Arts and Crafts was a movement that started in England during the Their first project together was Munstead Wood, which was to become be explained by being created during the modernism in the 1950’s. The 1880’s and evolved as a reaction towards the industrialisation. The influ- Jekyll’s own home. In their collaboration Lutyens became responsible influence from Jekyll is also very clear. Just like Hidcote, Sissinghurst also ence came from the writings and practices of John Ruskin (1819-1900) for the architecture of the house and Jekyll designed the naturalistic demands high maintenance such as trimming hedges, growing annuals, and William Morris (1834-1896) who advocated the importance of crafts- plant arrangements in the garden. The structure and division into garden deadheading and replacing borders. manship. The Arts and Crafts movement also became a “recipe for life” rooms was, however, designed by both of them together. The garden at and was associated with a healthy and morally pure way of living. The Munstead Wood demanded a skilled plants-woman since the garden had The Swedish private garden of Ulla Molin (1909-1997) which she created movement also influenced the view on the garden design and the previ- a poor and well-drained soil and was, as the name implies, located in the during the 60’s was also examined since she used the English Arts and ous “Gardenesque” gardens were rejected. One of the main philosophies woods. Jekyll was well-educated and also used plants as colours to paint a Crafts as a source of inspiration, among others. In Molin’s early career was to create the garden in partnership with nature and the gardens are picture. As a previous painter, she also introduced a new way of colour- she was influenced by the ideology of the functionalism and its aesthetics characterised by naturalistic planting schemes within a formal structure. themed planting schemes which were based on rules about complemen- but later realised its negative effects for example lacking intimate space The garden was created into a series of garden rooms and connected by tary colours accenting each other. and places for rest. Her answer was to create smaller garden rooms within axes and vistas. These rooms created drama and mystery as the entire the garden and her inspiration came from the garden at Sissinghurst Cas- garden could only be experience by walking through them. Focus was also In order to analyse the characteristics of an Arts and Crafts garden I tle. The garden was divided into eight different rooms despite the garden on the connection between house and garden as well as to use traditional visited Hidcote Manor which is one of the most famous Arts and Crafts only being 800 square meters. Molin, however, took the philosophy of the plants and local materials. The inspiration came from Tudor and British gardens. The garden includes Hidcote has many of the typical Arts and garden being connected with the house one step further when she created medieval gardens which were intimate gardens with strong architectural Crafts element, for instance having a sequence of 28 garden rooms, a the part of the garden called the Bird bath which could be viewed from structure that created rooms while also standing for timeless English qual- formal structure and a naturalistic planting scheme. The layout is based large windows in the living room. She arranged the plants as to form a ity. on a T-shape where the two main vistas are running along these two axes scene where rounded yew created scenery flats, grey-foliaged groundcov- but none of them are connected to the house. The planting schemes are ers as a floor and a birdbath where the birds became actors when drinking The inspiration to the Arts and Crafts gardens also came from William mixed with large shrubs, climbers, perennials but often offer too many and bathing. To further connect house and garden she also planted climb- Robinson (1838-1935) in 1870 with his revolutionary book called The impressions. Some garden rooms are, however, planted with a specific ers, trees and other plants close to the house to create a smooth transi- Wild Garden where he promoted the use of hardy plants that were suit- colour scheme in mind. The most famous example of this is the Red tion. Molin also advocated low maintenance, in contrast to the labour- able for the environment it would be planted in. By doing so it would also Border which, despite its bright colour spectrum of red, expresses a intensive gardens at Hidcote and Sissinghurst and found her inspiration decrease maintenance. Although Robinson’s ideas of a wild garden were longing for simplicity. The garden also included more naturalistic areas from nature. She replaced the time-consuming lawn for a planting scheme very successful, he was heavily criticised by architects who did not agree as a contrast to the otherwise common geometrical layout. Simple green inspired by the plants thriving on the nearby beach which suited her sandy on that the garden should be designed as “natural”. In 1892, the archi- rooms were also included and differed from the rest of the garden. These soil. In comparison to The Arts and Crafts, Molin’s planting scheme is tect, Reginald Blomfield (1856-1942) released his controversial book The gardens, however, demand extremely high maintenance with a staff of much simpler and she used large carpets of groundcovers within a more Formal Garden, which started an overall discussion whether the garden gardeners caring for the almost 5.4 hectares and seven kilometres of muted colour scheme. The division into garden rooms is also different to should be considered in relation to the house or not. He thought the hedges in addition to caring for annuals, deadheading and trimming the the Arts and Crafts since her rooms are not as clearly defined or con- garden should be inspired by the order and formality of the house and lawn. nected with axes or vistas as the English examples. also be laid out by the architect. The debate between Blomfield’s formal gardening and Robinson’s wild gardening was intense since it was also a A site visit at Sissinghurts was also conducted since it is also one of the The Swedish gardens were not influenced by Molin’s ground-breaking philosophy at the time but instead followed the ideals of functionalism. when creating gardens, I got the chance to interview him. In terms of includes plants like Sedum, Salvia and Nepeta.