GARDEN SECRETS
PHOTO: NICK BRADSHAW
SHOW
FEATURES AND ELEMENTS PROVIDE FOCUS AND INTEREST - JANE MCCORKELL GARDEN FOR SAVILLS WITH THE WELL POSITIONED SCULPTURE
STRONG STRUCTURAL ELEMENTS HAVE HIGH IMPACT KEVIN DENNIS' GARDEN AT BLOOM 2018
Kerrie Gardener, show garden organiser for Bloom in the Park shares her personal insights on how you can improve your chances of a gold medal at Bloom 2019
2019
will see my fourth outing as show garden manager for Bloom. Every year I watch between 20-25 show gardens evolve from seed to beautiful living installations and honestly, it’s a joy to behold. I am privileged to observe the development of the gardens from a unique perspective and thought it might be helpful to provide some insight into the process. I can’t offer a formula on how to win a gold medal, but I can share a few of my thoughts on how designers might make the most of their experience, maximise results, minimise stress and set themselves up for as smooth and enjoyable a journey as possible. Depending on who you speak to, success at Bloom can be defined in various ways: Public perception, the views of other designers or critique from one’s self; I guess the measure often held closest to the designers’ heart is the colour of the medal they are awarded on the opening day of the festival. Seeing as so many factors decided upon during the planning process influence the results of the judging I feel it makes sense to start at the beginning and to discuss different aspects in turn. It all starts with the designers’ decision to participate in Bloom. The significance of this step shouldn’t be underestimated! Taking a garden from conception to completion is a big commitment. Whether the applicant is a first time bloomer or a veteran show garden designer, more often than not the process can be stressful (at times) and challenging. The rewards however, in my opinion are tremendous! Once a designer has decided they want to bring a garden to Bloom, the application process provides an opportunity to lay the foundations for the project and set out goals for the months ahead.
GETTING THE BRIEF RIGHT Formulating a brief is an important part of the application process and needs to be considered carefully from the outset.
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Designers write their own brief against which their gardens are judged so it’s really important that the two match up. If a designer has a great idea for a garden, they shouldn’t be put off if they initially lack funding - The Bloom team will do their best to support them seeking sponsorship. However, in this situation the designer should be prepared to adapt their proposals (including their brief) to align with their sponsor’s requirements if necessary. On the other hand, if a sponsor is looking for something specific and the designer comes on board later, the designer needs to use their skills to create a specific brief that revolves around the sponsor’s message. Either way, it is crucial that the finished garden reflects the objectives set out in the final brief so the garden can be judged objectively. It is worth noting that garden briefs nearly always develop during the process. We understand that things change and that there are many factors that might cause a brief to evolve. For example, last year the season was late due to the long winter, so many designers needed to adapt their planting schemes (and in turn their briefs) to reflect this.
CLARITY OF INTENTION When it comes to design, the brief should always be at the forefront of the designers’ thoughts. If there is a message to convey, the design should act as an efficient vehicle for delivery. Be it abstract or literal, the public should be able to understand what the garden is about. As well as getting the point across, applicants should think through the many practical aspects of designing a well conceived show garden. Aside from the fundamentals of spatial planning, proportion, refinement, materiality and detailing, designers should give consideration to the aspects particularly important and unique to show gardens: How will the public view the garden? How will the judges, guests and media circulate the space? Which viewpoints might press shots be taken from? How are all of the various boundaries treated? These are just a few examples. The message is, that designers should give proper consideration to the various anomalies that make a show
HORTICULTURECONNECTED / www.horticultureconnected.ie / Autumn/Winter 2018
PHOTO: CHRIS BELLEW/ FENNELL PHOTOGRAPHY
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