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I believe that a really good way to understand a culture is through its gardens. | 0:00:02 | 0:00:07 | |
This is an extraordinary journey to visit 80 inspiring gardens from all over the world. | 0:00:07 | 0:00:12 | |
Some are very well known - the Taj Mahal, the Alhambra. | 0:00:12 | 0:00:17 | |
And I'm also challenging my idea of what a garden actually is. | 0:00:17 | 0:00:22 | |
So I'm visiting gardens that float on the Amazon, | 0:00:22 | 0:00:25 | |
a strange fantasy in the jungle, | 0:00:25 | 0:00:27 | |
as well as the private homes of great designers, | 0:00:27 | 0:00:30 | |
and the desert flowering in a garden. | 0:00:30 | 0:00:33 | |
And wherever I go I shall be meeting people that share my own passion for gardens | 0:00:33 | 0:00:37 | |
on my epic quest to see the world through 80 of its most fascinating and beautiful gardens. | 0:00:37 | 0:00:44 | |
If you set yourself to visit 80 gardens around the world, | 0:01:00 | 0:01:04 | |
then you have to come | 0:01:04 | 0:01:06 | |
to the richest and most powerful nation in the world. | 0:01:06 | 0:01:10 | |
America is a country that has been built on optimism, | 0:01:10 | 0:01:14 | |
amazingly diverse natural resources | 0:01:14 | 0:01:16 | |
and an enthusiasm that, in my experience, | 0:01:16 | 0:01:19 | |
empowers it to tackle anything with a real sense of creative purpose | 0:01:19 | 0:01:23 | |
that is incredibly invigorating. | 0:01:23 | 0:01:26 | |
And what I want to see on my journey around this vast country | 0:01:26 | 0:01:30 | |
is how America takes all that wealth, | 0:01:30 | 0:01:35 | |
all that incredible energy, and expresses it in the garden. | 0:01:35 | 0:01:40 | |
I'm starting my journey in New York, where garden guerrillas | 0:01:46 | 0:01:50 | |
are creating community gardens from derelict land. | 0:01:50 | 0:01:53 | |
Then I shall travel south, to Virginia, to visit a garden | 0:01:53 | 0:01:56 | |
that embodies the history and birth of the nation. | 0:01:56 | 0:02:00 | |
Finally, I shall go west | 0:02:00 | 0:02:02 | |
across to the other side of the continent to California, | 0:02:02 | 0:02:05 | |
to see gardens touched by the glamour and glitz of show business. | 0:02:05 | 0:02:09 | |
New York might be synonymous with the cityscape of Manhattan, | 0:02:18 | 0:02:22 | |
but most of the state is actually very rural, | 0:02:22 | 0:02:25 | |
and the upstate suburban towns have a very different feel | 0:02:25 | 0:02:29 | |
to the intense, edgy energy of the city. | 0:02:29 | 0:02:32 | |
My first garden of this trip is right down at the end of Long Island, in the Hamptons, | 0:02:44 | 0:02:50 | |
and it's the LongHouse which is the home and garden of the textile designer and weaver, Jack Larsen. | 0:02:50 | 0:02:56 | |
Now, he is hugely successful, | 0:02:56 | 0:02:58 | |
and what I want to see is how someone | 0:02:58 | 0:03:00 | |
who is very successful in one field applies it to their garden. | 0:03:00 | 0:03:04 | |
It's a garden that self consciously nurtures the other arts. | 0:03:04 | 0:03:07 | |
In fact, it's even a garden as a gallery. | 0:03:07 | 0:03:10 | |
Now, nothing could be more different from European gardens, | 0:03:10 | 0:03:14 | |
and that's why I've come here. | 0:03:14 | 0:03:16 | |
Larsen began the garden in the mid 1980s, | 0:03:17 | 0:03:20 | |
expressly as a place to display works of art | 0:03:20 | 0:03:22 | |
with an eclectic mix of cultures and styles, which, paradoxically, | 0:03:22 | 0:03:26 | |
seems to me to be a good way to try and pin down some kind of | 0:03:26 | 0:03:30 | |
American culture and style. | 0:03:30 | 0:03:32 | |
This is not what I'd expected at all. | 0:03:44 | 0:03:46 | |
The gardens house temporary and permanent installations from Larsen himself | 0:03:53 | 0:03:58 | |
and a variety of established artists, like Dale Chihuly, | 0:03:58 | 0:04:01 | |
who was responsible for this blown-glass sculpture. | 0:04:01 | 0:04:04 | |
Ooh art! | 0:04:05 | 0:04:06 | |
Dunno. | 0:04:10 | 0:04:12 | |
Dunno about that. | 0:04:12 | 0:04:14 | |
Oh! | 0:04:18 | 0:04:19 | |
I love this. | 0:04:22 | 0:04:23 | |
I didn't realise it was so self-consciously and up front a sort of display of artwork. | 0:04:27 | 0:04:33 | |
Most contemporary sculpture | 0:04:39 | 0:04:42 | |
is best in the garden. | 0:04:42 | 0:04:44 | |
It's best in the open air, where you get strong highlight and shadow. | 0:04:44 | 0:04:48 | |
The changing of different weathers and so forth, times of the day, | 0:04:48 | 0:04:55 | |
enlivens surfaces that you don't get | 0:04:55 | 0:04:58 | |
in a museum or gallery, | 0:04:58 | 0:05:00 | |
and that the organic textural backdrop is kind to these hard forms. | 0:05:00 | 0:05:07 | |
One thing that I find very attractive | 0:05:09 | 0:05:13 | |
is that one can be rather spontaneous in gardens. | 0:05:13 | 0:05:18 | |
I'm a fabric designer, and a design takes at least a year, | 0:05:18 | 0:05:24 | |
but gardening is much more direct. | 0:05:24 | 0:05:27 | |
It's like performing art, you get a feedback quickly. | 0:05:27 | 0:05:31 | |
I like that. | 0:05:31 | 0:05:33 | |
Isn't that beautiful? | 0:05:44 | 0:05:47 | |
Isn't that wonderful? | 0:05:47 | 0:05:49 | |
LongHouse covers nearly 16 acres of East Hampton Great North Woods. | 0:05:55 | 0:05:59 | |
Since he acquired the land in 1975, | 0:05:59 | 0:06:02 | |
Larsen has laid out major spaces as settings for plant collections, | 0:06:02 | 0:06:06 | |
ornamental borders and sculpture. | 0:06:06 | 0:06:09 | |
Just like a gallery, the artwork comes and goes. | 0:06:09 | 0:06:12 | |
That's good. | 0:06:17 | 0:06:20 | |
The rams' heads with the white birch next to it. | 0:06:20 | 0:06:25 | |
How beautiful is that? | 0:06:30 | 0:06:32 | |
Well, of course, you get that effect by letting a tree grow and then | 0:06:35 | 0:06:39 | |
just cutting it off at the base, and it resprouts with multi stems. | 0:06:39 | 0:06:46 | |
But this has done it so beautifully. | 0:06:46 | 0:06:50 | |
The great thing about having artwork of any sort in a garden | 0:06:51 | 0:06:57 | |
is you start to look at planting. | 0:06:57 | 0:06:59 | |
You start to look at plants as works of art. | 0:06:59 | 0:07:01 | |
I mean, one wonders which came first - the sculpture or the planting. | 0:07:11 | 0:07:16 | |
They look like fastigiate hornbeams to me. | 0:07:16 | 0:07:20 | |
As a gardener, I think the fact these are in pots is really significant. | 0:07:29 | 0:07:33 | |
It means you can create avenues like this overnight, if you've got the money. | 0:07:33 | 0:07:39 | |
So, the garden becomes a sort of stage set. | 0:07:39 | 0:07:42 | |
One of the permanent installations is the red garden, | 0:07:45 | 0:07:48 | |
which was designed by Larsen himself. | 0:07:48 | 0:07:50 | |
Now, I like that very much indeed. | 0:07:53 | 0:07:55 | |
I like that a lot. | 0:07:55 | 0:07:57 | |
I think it works instantly, partly because it's so simple. | 0:07:57 | 0:08:01 | |
Brilliant red forms and the clipped azaleas. | 0:08:01 | 0:08:04 | |
What you don't see from here is the posts, diminished right down, | 0:08:05 | 0:08:09 | |
to give you the sense of perspective. | 0:08:09 | 0:08:12 | |
I love the elephant balancing on his trunk. | 0:08:16 | 0:08:19 | |
The inspiration for the design of the house | 0:08:36 | 0:08:39 | |
is taken from the seventh-century Shinto shrine at Ise in Japan, | 0:08:39 | 0:08:43 | |
which is one of Larsen's favourite buildings, | 0:08:43 | 0:08:47 | |
and the planting around the house is very sculptural and architectural. | 0:08:47 | 0:08:53 | |
I love looking underneath buildings. | 0:08:53 | 0:08:55 | |
There's more garden on the other side. | 0:08:57 | 0:09:00 | |
See, that's great. That's a really, really nice view. | 0:09:02 | 0:09:07 | |
This has been a fascinating beginning to this journey. | 0:09:12 | 0:09:17 | |
The mixture and the abundance of everything is quite difficult to absorb. | 0:09:17 | 0:09:24 | |
But it does seem that what you have here | 0:09:24 | 0:09:26 | |
is an extraordinary breadth and confidence of vision. | 0:09:26 | 0:09:33 | |
But Jack Larsen has a large canvas to work with, | 0:09:36 | 0:09:39 | |
here in the bucolic setting of the New York State countryside. | 0:09:39 | 0:09:43 | |
Now I want to go to Manhattan and see how gardens are shaping INSIDE the big city. | 0:09:45 | 0:09:51 | |
New York City is a uniquely dynamic metropolis, | 0:09:58 | 0:10:01 | |
with eight million inhabitants. | 0:10:01 | 0:10:03 | |
Manhattan, the central island, is one of the most densely-populated places in the world. | 0:10:03 | 0:10:08 | |
Any green space is valuable in every sense of the word, | 0:10:08 | 0:10:12 | |
so any available land that might possibly become real estate | 0:10:12 | 0:10:15 | |
rarely gets made into private gardens. | 0:10:15 | 0:10:18 | |
This means for many New Yorkers, Central Park is the only green space they have access to. | 0:10:18 | 0:10:24 | |
It's a huge rectangle, two and a half miles long by half a mile wide, | 0:10:24 | 0:10:29 | |
right in the centre of Manhattan, | 0:10:29 | 0:10:31 | |
and the most widely-visited park in the whole United States. | 0:10:31 | 0:10:34 | |
It was designed in 1857 by Frederick Olmsted. | 0:10:34 | 0:10:38 | |
Although it looks very naturalistic, | 0:10:38 | 0:10:40 | |
it is, in fact, entirely man-made and landscaped. | 0:10:40 | 0:10:43 | |
This part of Central Park has real meaning for me. | 0:10:51 | 0:10:54 | |
It's Strawberry Fields, which is the memorial garden to John Lennon, | 0:10:54 | 0:10:58 | |
who lived in the Dakota Building just across the road. | 0:10:58 | 0:11:01 | |
Now, John Lennon was a huge hero of mine. | 0:11:01 | 0:11:03 | |
He influenced me when I was growing up more than anybody else, | 0:11:03 | 0:11:06 | |
so that his death, and the resulting garden, had great impact, | 0:11:06 | 0:11:12 | |
and Central Park then becomes personal. | 0:11:12 | 0:11:15 | |
I guess that's the way people work in vast parks. | 0:11:15 | 0:11:18 | |
The whole thing is too big, it's too big an idea, | 0:11:18 | 0:11:20 | |
too big geography to be any kind of garden. | 0:11:20 | 0:11:23 | |
But people come and take little bits of it, | 0:11:23 | 0:11:27 | |
and I think that's the way it works in a big city. | 0:11:27 | 0:11:29 | |
You take bits of public space and you start to possess them, | 0:11:29 | 0:11:32 | |
even though you don't literally own them, | 0:11:32 | 0:11:35 | |
and what I'm really interested in doing here in Manhattan | 0:11:35 | 0:11:38 | |
is seeing how public space can become personal, | 0:11:38 | 0:11:44 | |
connected to an area and, therefore, be properly called a garden. | 0:11:44 | 0:11:48 | |
I've come across the East River from Manhattan to Queens, to Gantry Plaza, | 0:12:05 | 0:12:10 | |
which is a public space designed by the landscape architect Thomas Balsley. | 0:12:10 | 0:12:15 | |
And I want to meet and talk to him to explore the possibility | 0:12:15 | 0:12:19 | |
of creating public spaces that have sufficient meaning, | 0:12:19 | 0:12:23 | |
that they then become, by default, gardens. | 0:12:23 | 0:12:27 | |
The gantries that give this two-acre park its name | 0:12:29 | 0:12:32 | |
were used until the 1970s to load railway cars and cargo onto river barges. | 0:12:32 | 0:12:38 | |
Thomas Balsley is one of America's leading public landscape architects | 0:12:38 | 0:12:41 | |
and feels his design for Gantry Plaza, | 0:12:41 | 0:12:43 | |
with its strong links to its history and surroundings, | 0:12:43 | 0:12:46 | |
transform it into a legitimate garden space for the local community | 0:12:46 | 0:12:51 | |
in this dense urban landscape. | 0:12:51 | 0:12:52 | |
I'm really interested in the way that | 0:12:56 | 0:12:59 | |
a space, a green space, moves from being a park to a garden, | 0:12:59 | 0:13:04 | |
and, of course, gardens is what I'm interested in. | 0:13:04 | 0:13:08 | |
What, for you, defines a public garden? | 0:13:08 | 0:13:12 | |
A garden, when you put that word together with public, | 0:13:12 | 0:13:15 | |
in my mind, doesn't have to have horticulture at all. | 0:13:15 | 0:13:18 | |
It's that place where we can all escape our lives, | 0:13:18 | 0:13:22 | |
our apartments, the places we live, or work, or the streets we walk down, | 0:13:22 | 0:13:26 | |
and it's that place where we can transport ourselves into another realm. | 0:13:26 | 0:13:30 | |
If we've done a good job, it's that we have created this common ground | 0:13:30 | 0:13:34 | |
for people to find themselves and each other and to build social connections. | 0:13:34 | 0:13:40 | |
I'm really interested how you've created the garden, or the park, | 0:13:40 | 0:13:45 | |
using the iconography of the place. | 0:13:45 | 0:13:49 | |
The space must have a meaning. That meaning can be translated in different settings. | 0:13:49 | 0:13:53 | |
We all wanted to celebrate the heritage of this place. | 0:13:53 | 0:13:58 | |
The decision to really bring the gantries out front and centre | 0:13:58 | 0:14:03 | |
came from this need of ours for there to be real icons of this railroad history of this place. | 0:14:03 | 0:14:09 | |
The more and more we thought about the gantries, | 0:14:09 | 0:14:11 | |
the gantries are the icon of this place, | 0:14:11 | 0:14:14 | |
and it didn't require lots of little historical motifs | 0:14:14 | 0:14:17 | |
to be scattered around to tell the story. | 0:14:17 | 0:14:20 | |
They tell the story in such a compelling way | 0:14:20 | 0:14:22 | |
that there was very little more that we could do. | 0:14:22 | 0:14:24 | |
This is an amazing sight, with that incredible skyline, | 0:14:33 | 0:14:36 | |
and there are elements here that anybody would recognise as a garden. | 0:14:36 | 0:14:40 | |
But I feel this is a process, | 0:14:40 | 0:14:42 | |
and it's one that is very difficult to pin down, | 0:14:42 | 0:14:45 | |
it's when a garden is not a garden, | 0:14:45 | 0:14:48 | |
or when it's just an interesting public space. | 0:14:48 | 0:14:51 | |
That may not matter. I suspect in the scheme of things it's not important. | 0:14:51 | 0:14:55 | |
If it works and it's enjoyable, so be it. | 0:14:55 | 0:14:59 | |
But I think I want to take this one step further. | 0:14:59 | 0:15:01 | |
But is there a way that people can actually possess it from day to day, | 0:15:01 | 0:15:05 | |
where they can manipulate the change? | 0:15:05 | 0:15:08 | |
That seems to me the really interesting thing. | 0:15:08 | 0:15:10 | |
Down on the Lower East Side is the Liz Christy Garden, | 0:15:22 | 0:15:25 | |
the first community garden to be made in the city. | 0:15:25 | 0:15:28 | |
Tell me, how did this garden begin? | 0:15:41 | 0:15:43 | |
What's the history behind it? | 0:15:43 | 0:15:45 | |
The Liz Christy Garden is the first of the community gardens | 0:15:45 | 0:15:48 | |
in Manhattan and the five boroughs. | 0:15:48 | 0:15:50 | |
-Right. -It was begun by a woman named Liz Christy. | 0:15:50 | 0:15:53 | |
She and her friends lived in the neighbourhood. | 0:15:53 | 0:15:55 | |
She was a painter, and I believe she did some kind of social work. | 0:15:55 | 0:15:59 | |
-When was this? -1973. | 0:15:59 | 0:16:01 | |
-Right, '73. -And she and her friends would make seed bombs and throw them into vacant lots. -Right. | 0:16:01 | 0:16:08 | |
And that was one way to reclaim abandoned areas. | 0:16:08 | 0:16:12 | |
This was owned by the city, and when the Liz Christy Garden began, | 0:16:12 | 0:16:16 | |
they rented it for about a dollar month, so 12 a year. | 0:16:16 | 0:16:21 | |
And we, the gardeners, I became a gardener in '85, | 0:16:21 | 0:16:24 | |
maintained it as a community garden | 0:16:24 | 0:16:26 | |
before it became officially part of the New York City Parks Department. | 0:16:26 | 0:16:31 | |
So these gardens went from being vacant lots with seed bombs | 0:16:31 | 0:16:35 | |
to something that people were prepared to campaign to preserve | 0:16:35 | 0:16:39 | |
-and spend money to preserve. -Yeah, right. | 0:16:39 | 0:16:43 | |
What's their function? What are they for? | 0:16:43 | 0:16:45 | |
To provide an outlet for our very fundamental human desire | 0:16:45 | 0:16:50 | |
to dig the dirt and to work with plants. | 0:16:50 | 0:16:53 | |
And the will to keep them is strong. | 0:16:53 | 0:16:57 | |
-Didn't Giuliani want to sell them all off? -Oh, sure he did, exactly. | 0:16:57 | 0:17:00 | |
There's been always a struggle between developers | 0:17:00 | 0:17:03 | |
and the interests of developers for housing, | 0:17:03 | 0:17:05 | |
and I've always said that it's not housing or gardens, | 0:17:05 | 0:17:08 | |
it's housing AND gardens that people need. | 0:17:08 | 0:17:11 | |
And housing and noise! | 0:17:11 | 0:17:12 | |
The soundtrack in this garden is always completely opposite of what you see. | 0:17:12 | 0:17:18 | |
Well, I like everything about this garden. | 0:17:33 | 0:17:36 | |
I like the way it looks, I like what they've done to it, | 0:17:36 | 0:17:39 | |
but above all I like the fact that it exists. | 0:17:39 | 0:17:42 | |
I even like the traffic hammering behind it because that's what it is. | 0:17:42 | 0:17:48 | |
It's reclaimed space in the middle of downtown Manhattan, | 0:17:48 | 0:17:52 | |
and it's a very noisy, busy place. | 0:17:52 | 0:17:55 | |
It's part of the identity of the gardens. | 0:17:55 | 0:17:58 | |
But now I'm leaving all that noise and business | 0:18:00 | 0:18:03 | |
and going south to Maryland, | 0:18:03 | 0:18:05 | |
to visit one of America's foremost garden designers, | 0:18:05 | 0:18:07 | |
who is creating gardens that are new and very American. | 0:18:07 | 0:18:11 | |
This is part of Chesapeake Bay, | 0:18:20 | 0:18:23 | |
which is the largest estuary in America, | 0:18:23 | 0:18:26 | |
where the rich and the successful politicians | 0:18:26 | 0:18:31 | |
come to spend their weekends and their holidays. | 0:18:31 | 0:18:34 | |
The big Atlantic skies, with its wide horizons and the natural flora, | 0:18:37 | 0:18:42 | |
drew James van Sweden to this coast, | 0:18:42 | 0:18:45 | |
about an hour away from his Washington base, | 0:18:45 | 0:18:47 | |
because it reminded him of the Michigan meadows where he grew up. | 0:18:47 | 0:18:51 | |
Well, here I am. | 0:18:53 | 0:18:54 | |
This is James van Sweden's weekend holiday home. | 0:18:54 | 0:18:58 | |
James van Sweden is one of America's leading landscape designers, | 0:19:09 | 0:19:13 | |
and has created gardens for Oprah Winfrey and other celebrities. | 0:19:13 | 0:19:16 | |
His gardens are always natural, free spirited, | 0:19:16 | 0:19:19 | |
and are designed for low maintenance and high sustainability. | 0:19:19 | 0:19:23 | |
His work pays homage to the natural grasslands of North America, | 0:19:23 | 0:19:27 | |
but it's also a reaction against the tightly-mown lawns | 0:19:27 | 0:19:31 | |
that still dominate the American suburban garden. | 0:19:31 | 0:19:34 | |
This garden inverts the relationship between houses and gardens | 0:19:36 | 0:19:42 | |
that I've seen endlessly on the road here, | 0:19:42 | 0:19:45 | |
where you have mown grass going up to the front door | 0:19:45 | 0:19:48 | |
and you keep looking for the garden to begin. | 0:19:48 | 0:19:51 | |
Whereas here, you keep looking for the garden to end. | 0:19:51 | 0:19:55 | |
But it doesn't, it just dissolves out into the landscape. | 0:19:55 | 0:20:00 | |
Where you have a garden that merges so completely with the surrounding landscape, | 0:20:03 | 0:20:08 | |
there can be a bit of confusion about what's garden and what's not garden, | 0:20:08 | 0:20:12 | |
and just by cutting this curving path through the grass | 0:20:12 | 0:20:16 | |
it brilliantly defines the space around it, it makes it into a garden. | 0:20:16 | 0:20:20 | |
It's not a lot, but it's enough. | 0:20:20 | 0:20:22 | |
When you came here, did you have in your mind what you wanted to do? | 0:20:45 | 0:20:50 | |
I did. When I bought this land it was empty and flat. | 0:20:50 | 0:20:54 | |
And what I wanted to do was build a house that floated over a meadow, | 0:20:54 | 0:20:58 | |
and I thought this was the perfect place to do it. | 0:20:58 | 0:21:01 | |
Now, for clients you often have to design a very gardenesque kind of garden, you know, pretty. | 0:21:01 | 0:21:06 | |
But I wanted a garden that was not pretty. | 0:21:06 | 0:21:09 | |
In fact, I said, "I want an ugly garden, | 0:21:09 | 0:21:11 | |
"I'm so sick of pretty, pretty." | 0:21:11 | 0:21:13 | |
And so I designed a garden that I thought was tough, was sustainable, | 0:21:13 | 0:21:19 | |
and I have no watering, I don't water anything here. | 0:21:19 | 0:21:23 | |
Not having chemicals and just a minimum of weeding... | 0:21:23 | 0:21:27 | |
I'm very flexible about weeds, | 0:21:27 | 0:21:30 | |
so that's why the whole garden looks quite a bit like a meadow. | 0:21:30 | 0:21:33 | |
One thing about having no lawn, it brings nature right up to the house. | 0:21:33 | 0:21:39 | |
Snakes, foxes, turkeys... | 0:21:39 | 0:21:42 | |
I have wild turkeys walking right by, ten feet from the windows. | 0:21:42 | 0:21:45 | |
I have deer coming up. It's fantastic, it's just wonderful. | 0:21:45 | 0:21:49 | |
But it terrifies Americans, I think, to some extent. | 0:21:49 | 0:21:52 | |
Driving along and seeing these very large houses often, | 0:21:54 | 0:21:59 | |
with no cultivated garden, there'll be lawn mown outside, | 0:21:59 | 0:22:03 | |
is a very strange experience for a European. | 0:22:03 | 0:22:06 | |
Why is it that you think the garden culture doesn't seem to express itself very freely here? | 0:22:06 | 0:22:11 | |
I don't think Americans necessarily want to be outside. | 0:22:11 | 0:22:14 | |
When they are outside they want to play golf and they want to swim and so on, and play. | 0:22:14 | 0:22:19 | |
But I don't think they really want to garden. I think it's too much work. | 0:22:19 | 0:22:23 | |
It's very hot so they don't want to be outside. | 0:22:23 | 0:22:25 | |
They're also afraid of a bug. | 0:22:25 | 0:22:27 | |
They're afraid they'll be cold or hot, whatever. | 0:22:27 | 0:22:30 | |
So it's not really a gardening country. | 0:22:30 | 0:22:33 | |
This garden is a synthesis | 0:22:55 | 0:22:58 | |
of the very modern and natural indigenous plants, | 0:22:58 | 0:23:04 | |
taking a garden with huge skill to make it look effortless | 0:23:04 | 0:23:10 | |
and carefree, and it's brilliant, I think. | 0:23:10 | 0:23:12 | |
It works wonderfully well and is a real model for the way gardens could go. | 0:23:12 | 0:23:17 | |
But now, from here, I'm going to go back in time. | 0:23:17 | 0:23:21 | |
I want to go back to the roots of modern America, | 0:23:21 | 0:23:24 | |
to perhaps the most famous American garden of all, | 0:23:24 | 0:23:27 | |
which is the garden of Thomas Jefferson, at Monticello. | 0:23:27 | 0:23:32 | |
Monticello is 100 miles | 0:23:36 | 0:23:38 | |
south-west of Washington, | 0:23:38 | 0:23:39 | |
in Charlottesville, Virginia, | 0:23:39 | 0:23:41 | |
and this grand neo-classical mansion | 0:23:41 | 0:23:44 | |
has become a symbol of nationhood and independence. | 0:23:44 | 0:23:48 | |
Monticello was one of those places | 0:24:00 | 0:24:03 | |
that I knew I absolutely must visit when I came here to the States. | 0:24:03 | 0:24:08 | |
It was created and lived in by Thomas Jefferson, who was an extraordinary man. | 0:24:08 | 0:24:13 | |
He was the third president of the United States, | 0:24:13 | 0:24:16 | |
and the author of the Declaration of Independence. | 0:24:16 | 0:24:19 | |
He was also a great gardener, a horticulturist, a landscaper and architect, | 0:24:19 | 0:24:24 | |
a man with furious curiosity and energy, | 0:24:24 | 0:24:28 | |
and he believed that plants had social significance. | 0:24:28 | 0:24:32 | |
So what we have here at Monticello is not just a garden | 0:24:32 | 0:24:35 | |
but also the founding of modern America. | 0:24:35 | 0:24:40 | |
His energy and curiosity were boundless, | 0:24:40 | 0:24:44 | |
and everything at Monticello is a testament to this. | 0:24:44 | 0:24:47 | |
Jefferson began the Palladian villa in 1767 and worked on it, | 0:24:47 | 0:24:53 | |
designing every quirky detail, for the next 40 years. | 0:24:53 | 0:24:57 | |
This was his home, a sanctuary away from the demands of public life, | 0:24:57 | 0:25:01 | |
but it was also always a place of almost manic work. | 0:25:01 | 0:25:05 | |
He was a polymath, spoke seven languages, | 0:25:05 | 0:25:08 | |
was versed in all the sciences and recorded everything he ever did. | 0:25:08 | 0:25:13 | |
And if that wasn't enough, he was also, like me, | 0:25:13 | 0:25:17 | |
passionate about growing vegetables. | 0:25:17 | 0:25:19 | |
It's been very, very dry, so the garden is quite empty, | 0:25:22 | 0:25:27 | |
but as a vegetable gardener that doesn't matter at all, | 0:25:27 | 0:25:30 | |
it's still fascinating. | 0:25:30 | 0:25:31 | |
It's actually quite wide. It's a hugely long space. | 0:25:31 | 0:25:35 | |
These 24 squares - each of them is about half an allotment. | 0:25:35 | 0:25:42 | |
And as well as this huge vegetable garden terrace, | 0:25:42 | 0:25:45 | |
there's an eight-acre fruit garden and a large floral garden, | 0:25:45 | 0:25:49 | |
which were all part of the original 5,000-acre plantation. | 0:25:49 | 0:25:52 | |
Peter Hatch is the director of gardens and has written several books about Jefferson. | 0:25:52 | 0:25:57 | |
Now, I think it's clear that this wasn't a fancy garden, | 0:25:57 | 0:26:02 | |
where an ex-president pottered out his waning years. | 0:26:02 | 0:26:05 | |
There was a much more serious purpose to it. | 0:26:05 | 0:26:07 | |
I think there was a real profound function | 0:26:07 | 0:26:09 | |
that Jefferson was experimenting in order to sort of transform | 0:26:09 | 0:26:13 | |
the socio and economic culture of this new country he was working on. | 0:26:13 | 0:26:17 | |
I'll just stop you there for a moment because that is | 0:26:17 | 0:26:20 | |
A, an extraordinary statement, it's a really big idea. | 0:26:20 | 0:26:24 | |
Jefferson said the greatest service which can be rendered to any country | 0:26:24 | 0:26:29 | |
is to add a useful plant to its culture, | 0:26:29 | 0:26:31 | |
and a lot of these were kitchen vegetables that he planted | 0:26:31 | 0:26:35 | |
in this kitchen garden that's so remarkable at Monticello. | 0:26:35 | 0:26:38 | |
This was really a revolutionary garden in the way that it contained | 0:26:38 | 0:26:42 | |
330 varieties of 170 species of vegetables, | 0:26:42 | 0:26:47 | |
and he was growing really new things in this garden, | 0:26:47 | 0:26:51 | |
unusual plants that came, literally, from around the world. | 0:26:51 | 0:26:54 | |
330 different varieties of vegetable. That's not necessary. | 0:26:54 | 0:26:59 | |
That's interesting, but it's obsessive, isn't it? | 0:26:59 | 0:27:02 | |
Right. I think he grew 38 varieties of peach, | 0:27:02 | 0:27:05 | |
or 27 varieties of bean, and then would winnow out the inferior types. | 0:27:05 | 0:27:09 | |
-So this was an experimental laboratory. -Right. | 0:27:09 | 0:27:12 | |
Now, here in what one might call the floral part of the garden, | 0:27:14 | 0:27:20 | |
what was Jefferson's thinking and how did it evolve? | 0:27:20 | 0:27:25 | |
He planted all the flowerbeds first, | 0:27:25 | 0:27:27 | |
as he was about to retire from the presidency, | 0:27:27 | 0:27:30 | |
and there were 20 oval flowerbeds. | 0:27:30 | 0:27:32 | |
He planted them and went back to Washington. | 0:27:32 | 0:27:34 | |
His daughter wrote to him and said the bulbs had done splendidly | 0:27:34 | 0:27:38 | |
but none of the seeds had come up. | 0:27:38 | 0:27:40 | |
Despite that temporary setback he said, "I need more room for a greater variety of flowers." | 0:27:40 | 0:27:45 | |
He sketched a plan with a border alongside of it. | 0:27:45 | 0:27:47 | |
One garden writer said Jefferson was like all good gardeners, | 0:27:47 | 0:27:51 | |
when he couldn't successfully garden in a small space, | 0:27:51 | 0:27:54 | |
he just decided to make it three times larger. | 0:27:54 | 0:27:56 | |
It's exactly the truth! | 0:27:56 | 0:27:57 | |
In its day, Monticello was a frontier garden. | 0:28:03 | 0:28:06 | |
To its west lay largely undiscovered land for Europeans. | 0:28:06 | 0:28:11 | |
But for the man who wrote that, "All men are created equal", | 0:28:11 | 0:28:15 | |
Jefferson's Monticello enshrined the deepest of American dilemmas. | 0:28:15 | 0:28:19 | |
All the way along this mulberry avenue were buildings, | 0:28:20 | 0:28:23 | |
and in those buildings, all the needs of the estate were serviced, | 0:28:23 | 0:28:27 | |
from making nails to splitting wood, and also lived slaves. | 0:28:27 | 0:28:33 | |
Now, there were about 100 slaves working here at Monticello, | 0:28:33 | 0:28:38 | |
which, for the man who wrote the Declaration of Independence, | 0:28:38 | 0:28:43 | |
is confusing to the modern mind. | 0:28:43 | 0:28:46 | |
Slaves were a largely accepted element of 18th and 19th-century life in the American south, | 0:28:48 | 0:28:55 | |
and although Jefferson wrote and spoke against the evils of slavery, | 0:28:55 | 0:29:00 | |
the bald fact remains that Monticello depended upon slave labour | 0:29:00 | 0:29:05 | |
for its creation and maintenance. | 0:29:05 | 0:29:08 | |
This is a beautifully-restored and maintained late-18th century garden, | 0:29:10 | 0:29:17 | |
set in the glorious Virginia countryside and, as such, is worth a visit. | 0:29:17 | 0:29:21 | |
But what makes it really special is the extraordinary man that made it. | 0:29:21 | 0:29:27 | |
There's still something slightly austere about Jefferson, | 0:29:27 | 0:29:30 | |
something almost ruthless at the heart of it. | 0:29:30 | 0:29:33 | |
Again, I suspect that's to do with being a successful politician. | 0:29:33 | 0:29:38 | |
But what it did do in its age was to inspire people | 0:29:38 | 0:29:43 | |
to go out and conquer what they saw as wilderness, | 0:29:43 | 0:29:48 | |
and set up a series of settlements, increasingly further west. | 0:29:48 | 0:29:54 | |
So now I'm going in the footsteps of those early settlers, | 0:29:56 | 0:29:59 | |
as they struck out westwards into what is now called Kansas. | 0:29:59 | 0:30:03 | |
Kansas takes its name from the Kansa tribe, | 0:30:04 | 0:30:08 | |
who inhabited the area long before Europeans arrived, | 0:30:08 | 0:30:11 | |
and for thousands of years native Americans had lived in this stunning landscape. | 0:30:11 | 0:30:15 | |
However, as the emerging nation expanded into the prairies of the mid-west, | 0:30:15 | 0:30:20 | |
their way of life would be changed forever. | 0:30:20 | 0:30:23 | |
Jefferson encouraged and sponsored the exploration of the west, | 0:30:25 | 0:30:30 | |
and following this were settlers, | 0:30:30 | 0:30:33 | |
forever moving inexorably westward looking for more land, | 0:30:33 | 0:30:37 | |
and there was, seemingly, a limitless amount of it. | 0:30:37 | 0:30:40 | |
And they came to the prairies, | 0:30:40 | 0:30:43 | |
thousands of square miles of rolling grass. | 0:30:43 | 0:30:47 | |
These vast grasslands once stretched unbroken for hundreds of miles across the continent's interior, | 0:30:48 | 0:30:54 | |
and when this landscape was first seen by the French explorers, | 0:30:54 | 0:30:58 | |
they called the sea of grass "prairie", the French term for "meadow". | 0:30:58 | 0:31:03 | |
Seeing this trail wind through the grasses, | 0:31:04 | 0:31:08 | |
you see exactly the inspiration | 0:31:08 | 0:31:10 | |
that James van Sweden has taken and used in his garden. | 0:31:10 | 0:31:15 | |
Native Americans lived harmoniously with this landscape, | 0:31:18 | 0:31:22 | |
and the ecosystem was sustained by a cycle of natural fires | 0:31:22 | 0:31:26 | |
and the grazing by tens of thousands of wild buffalo. | 0:31:26 | 0:31:29 | |
Today, the buffalo and the indigenous people have all but gone, | 0:31:29 | 0:31:32 | |
as well as most of the prairie, | 0:31:32 | 0:31:35 | |
but what remains still has to be sensitively managed. | 0:31:35 | 0:31:39 | |
Only 2% of the 19th-century grasslands remain, and two thirds of that is being preserved here, | 0:31:39 | 0:31:44 | |
the Tallgrass Prairie National Preserve. | 0:31:44 | 0:31:48 | |
Ron Clark is one of the park rangers. | 0:31:48 | 0:31:52 | |
The prairie can contain about 60 different types of grasses. | 0:31:52 | 0:31:55 | |
We have approximately 40 that we've identified, | 0:31:55 | 0:31:59 | |
but we have four that we consider our signature grasses, | 0:31:59 | 0:32:02 | |
and those, of course, are the two blue stems, big and little, Indian and switchgrass. | 0:32:02 | 0:32:07 | |
The blue grass has these very deep roots, I understand. | 0:32:07 | 0:32:11 | |
Exactly. Most of these grasses root down at least eight feet. | 0:32:11 | 0:32:15 | |
Some of them can go down to 15 or 16 feet. | 0:32:15 | 0:32:18 | |
80% of the plant is actually under your feet. | 0:32:18 | 0:32:22 | |
And the grasses are extraordinarily subtle and beautiful. | 0:32:22 | 0:32:27 | |
They repay you steady, don't they? | 0:32:27 | 0:32:30 | |
I think this is the prettiest time of the year here. | 0:32:30 | 0:32:32 | |
They're just so majestic. | 0:32:33 | 0:32:35 | |
Standing here, the grasses are taller than us. | 0:32:41 | 0:32:44 | |
Yes. The one right behind you is just about your height. | 0:32:44 | 0:32:47 | |
One at the back, that's old big blue stem. | 0:32:47 | 0:32:49 | |
-Right. -And this time of year you really don't see that blue stem colour, mid summer. | 0:32:49 | 0:32:55 | |
This stock has a kind of blueish-green colour to it. | 0:32:55 | 0:32:58 | |
Now, this grass is called turkeyfoot. | 0:32:58 | 0:33:00 | |
It's one of our big four, right here, a big blue stem. | 0:33:00 | 0:33:05 | |
Right in front of us here, I see some Indian grass, | 0:33:05 | 0:33:08 | |
which people who had a good imagination thought looked like the feather of an Indian. | 0:33:08 | 0:33:12 | |
The science community tells us that only the rainforest has a greater diversity than the prairie. | 0:33:12 | 0:33:19 | |
-Really? -That's something that people have a hard time understanding | 0:33:19 | 0:33:24 | |
or even contemplating, because they just see it as a grassland, | 0:33:24 | 0:33:28 | |
that's got a few steers out on it, and a coyote or two, | 0:33:28 | 0:33:32 | |
but, actually, if you spend any time here, every rock has life under it. | 0:33:32 | 0:33:37 | |
Yeah. Yeah. | 0:33:37 | 0:33:38 | |
OK, as we kind of walk down out of the prairie, | 0:33:39 | 0:33:42 | |
you begin to pick up the woody vegetation, trees to our left, | 0:33:42 | 0:33:45 | |
and this beautiful red-leafed plant called sumac. | 0:33:45 | 0:33:49 | |
It's an astonishing colour. | 0:33:49 | 0:33:51 | |
It's an interesting plant. It's very pretty, | 0:33:51 | 0:33:53 | |
-and we like to see it on the prairie. It belongs here. -Yeah. | 0:33:53 | 0:33:56 | |
I'm so glad that I came out here | 0:34:07 | 0:34:11 | |
to the Kansas prairies. | 0:34:11 | 0:34:14 | |
It puts everything into context and takes plants that you can see | 0:34:14 | 0:34:18 | |
and admire in a garden and gives them another dimension. | 0:34:18 | 0:34:22 | |
But the thing that changed this prairie, | 0:34:22 | 0:34:26 | |
it probably changed this country, actually, | 0:34:26 | 0:34:28 | |
more than anything else as it developed, | 0:34:28 | 0:34:32 | |
was the railroad. | 0:34:32 | 0:34:33 | |
The final leg of my journey is on to the west coast and California. | 0:34:36 | 0:34:40 | |
Modern transport is dominated by the aeroplane and the motor car, | 0:34:44 | 0:34:48 | |
but in the pioneer days it was the railroad that truly opened up the west. | 0:34:48 | 0:34:52 | |
Henry Huntingdon was a railroad magnate, | 0:34:55 | 0:34:58 | |
and he used the vast wealth that he accrued | 0:34:58 | 0:35:01 | |
to finance his collections of manuscripts, paintings, rare books and plants. | 0:35:01 | 0:35:06 | |
In 1904, he met a talented gardener named William Hertrich, | 0:35:07 | 0:35:11 | |
whom he charged to build the most beautiful garden in California. | 0:35:11 | 0:35:15 | |
The result is the Huntingdon Botanical Gardens. | 0:35:15 | 0:35:18 | |
The thing that has drawn me here, first of all in California, | 0:35:23 | 0:35:27 | |
is because it seems to me an extraordinary thing that Huntingdon, | 0:35:27 | 0:35:31 | |
who had so much power, who blazed a trail into California, | 0:35:31 | 0:35:36 | |
who loved California, decided to build a garden as his memorial. | 0:35:36 | 0:35:41 | |
He didn't just build any old garden, he built a garden on a grand scale, | 0:35:44 | 0:35:47 | |
bearing in mind California was only part of the US from 1850 onwards. | 0:35:47 | 0:35:51 | |
So it was an amazingly optimistic, grand gesture. | 0:35:51 | 0:35:57 | |
Huntingdon's Botanic Garden covers 127 acres, | 0:36:03 | 0:36:08 | |
with over 15,000 species of plants divided amongst 12 themed areas. | 0:36:08 | 0:36:12 | |
The desert garden is 100 years old, | 0:36:12 | 0:36:15 | |
and one of the oldest collections of cacti and succulents in the world. | 0:36:15 | 0:36:19 | |
Mmm. | 0:36:21 | 0:36:23 | |
Many of these cacti are night blooming. | 0:36:25 | 0:36:28 | |
So this wonderful, extraordinary flower is only open now | 0:36:28 | 0:36:33 | |
because it's rather a grey, chilly morning, | 0:36:33 | 0:36:36 | |
and, for once, I'm glad that the sun is slow to come out | 0:36:36 | 0:36:39 | |
because when it gets sunny, which it will do later on, | 0:36:39 | 0:36:42 | |
that will just close up. | 0:36:42 | 0:36:44 | |
But I confess that these are plants | 0:36:47 | 0:36:49 | |
as far from my own familiar botanical terms of reference | 0:36:49 | 0:36:52 | |
as anything found outside a coral reef | 0:36:52 | 0:36:54 | |
and to help me find out more about the garden and its plants, | 0:36:54 | 0:36:57 | |
I met up with Jim Folsam, | 0:36:57 | 0:36:59 | |
who's been director of gardens here for the past 23 years. | 0:36:59 | 0:37:02 | |
I'm intrigued that the place existed at all. | 0:37:04 | 0:37:08 | |
What did Huntingdon expect people to get out of this? | 0:37:08 | 0:37:12 | |
What was the purpose? | 0:37:12 | 0:37:13 | |
One of the things that we've lost, "we" in the broader sense, | 0:37:13 | 0:37:17 | |
is a feeling that an earlier generation had | 0:37:17 | 0:37:20 | |
that plants were important, | 0:37:20 | 0:37:22 | |
and that plants were almost important from an imperial sense, | 0:37:22 | 0:37:25 | |
and he felt that this was the new world, southern California. | 0:37:25 | 0:37:29 | |
If you could grow anything here, then you could be anybody, couldn't you? | 0:37:29 | 0:37:33 | |
The collections were an expression of what southern California can do. | 0:37:33 | 0:37:37 | |
You can grow all these plants, so you can do something wonderful, can't you? | 0:37:37 | 0:37:41 | |
It's partly, as you say, a sort of imperial statement. | 0:37:43 | 0:37:47 | |
It's partly an expression of sort of energetic optimism. | 0:37:47 | 0:37:52 | |
An understanding modern society has lost, | 0:37:52 | 0:37:54 | |
the understanding that plants are important. | 0:37:54 | 0:37:56 | |
Now, that looks, to me, terribly like a London plane, | 0:38:00 | 0:38:03 | |
and yet I can't imagine what you would want with a London plane tree in this environment. | 0:38:03 | 0:38:08 | |
Well, of course it's the more rugged, western cousin, of the hybrid regimented London plane, | 0:38:08 | 0:38:15 | |
and this is the way the tree looks in nature. | 0:38:15 | 0:38:17 | |
This is one of the few trees that was on the property when Huntingdon bought it. | 0:38:17 | 0:38:21 | |
It still looks incongruous to me, I have to say! | 0:38:21 | 0:38:24 | |
It looks perfectly natural here! | 0:38:24 | 0:38:26 | |
If you understand how your garden works, | 0:38:34 | 0:38:37 | |
you have gained a lot of understanding in science and culture | 0:38:37 | 0:38:41 | |
and a lot of understanding in just practical matters. | 0:38:41 | 0:38:44 | |
So, we hope that what we can do is we can cause people | 0:38:44 | 0:38:49 | |
to love to learn more about the world around them through their garden. | 0:38:49 | 0:38:53 | |
I confess that I'm feeling pretty shattered. | 0:39:03 | 0:39:06 | |
To try and take in ten acres of succulent plants that you're not very familiar with, | 0:39:06 | 0:39:13 | |
and that's less than one tenth of the whole Huntingdon estate, is exhausting. | 0:39:13 | 0:39:19 | |
But it's a great way to be introduced to California and its gardens. | 0:39:19 | 0:39:25 | |
It's a vast place, and the one message that comes through this | 0:39:25 | 0:39:29 | |
is the sense that the weather, and the land, and the general atmosphere, | 0:39:29 | 0:39:35 | |
the sense of possibilities here, are limitless. | 0:39:35 | 0:39:38 | |
And all that optimism, combined with the marvellous weather, | 0:39:38 | 0:39:44 | |
is really what drew the movie business here, | 0:39:44 | 0:39:46 | |
just after the First World War. | 0:39:46 | 0:39:48 | |
The next garden I want to go and see is one made by an entertainer. | 0:39:48 | 0:39:53 | |
The 1920s and '30s were the golden age of cinema in California. | 0:39:59 | 0:40:03 | |
Movie moguls and Hollywood stars built palatial homes | 0:40:03 | 0:40:06 | |
with suitably luxuriant gardens. | 0:40:06 | 0:40:09 | |
It was a time of extravagance and glamour, a period when | 0:40:09 | 0:40:12 | |
celebrities would flaunt their wealth through their gardens. | 0:40:12 | 0:40:16 | |
I've come here to Lotusland in Santa Barbara | 0:40:25 | 0:40:29 | |
because it is one of the very few gardens | 0:40:29 | 0:40:31 | |
that survived from the heyday of Hollywood. | 0:40:31 | 0:40:34 | |
And what we see now is down to one extraordinary woman, | 0:40:34 | 0:40:39 | |
called Madame Ganna Walska. | 0:40:39 | 0:40:41 | |
Ganna Walska was a Polish opera diva who married six times, | 0:40:45 | 0:40:49 | |
obviously wisely, if not successfully, | 0:40:49 | 0:40:52 | |
because she accumulated great wealth in the process. | 0:40:52 | 0:40:55 | |
She bought the property in 1941 and immediately began to renovate its grounds. | 0:40:55 | 0:40:59 | |
And today, Lotusland is 37-acre estate | 0:40:59 | 0:41:03 | |
made up of over 20 idiosyncratic gardens, | 0:41:03 | 0:41:05 | |
and it's become famous for its botanical diversity and richness. | 0:41:05 | 0:41:09 | |
A-ha. | 0:41:12 | 0:41:15 | |
Now, I've read that this used to be the original swimming pool | 0:41:15 | 0:41:19 | |
and it's been created into a series of ponds, not least to house the lotus, | 0:41:19 | 0:41:25 | |
which gives the garden its name, Lotusland. | 0:41:25 | 0:41:28 | |
The blue garden was one of the first of its kind | 0:41:33 | 0:41:36 | |
and created almost entirely without flowers, | 0:41:36 | 0:41:39 | |
and its weave of glaucous foliage, all intermeshes subtly, | 0:41:39 | 0:41:43 | |
set against a very yellow-green backdrop, | 0:41:43 | 0:41:46 | |
and it's one of a whole series of individual gardens, | 0:41:46 | 0:41:50 | |
each which has its own theme. | 0:41:50 | 0:41:52 | |
It's not just the physical scale of this garden. | 0:41:54 | 0:41:58 | |
Whether you like it or not, it's this mix. | 0:41:58 | 0:42:02 | |
Here am I, looking out on sort of a bit of Islamic garden | 0:42:02 | 0:42:05 | |
and a bit of Italianate garden, | 0:42:05 | 0:42:07 | |
and then there's a zoo or something in topiary down there. | 0:42:07 | 0:42:10 | |
Now, I actually really like it. | 0:42:10 | 0:42:12 | |
I like the kitschness, I like the sort of way it's all pulled together | 0:42:12 | 0:42:16 | |
in this quirky jingle-jangle of plants | 0:42:16 | 0:42:20 | |
because underneath that is a really assured performance, | 0:42:20 | 0:42:23 | |
as if someone's saying, "We're putting on a show and we're good at it. | 0:42:23 | 0:42:27 | |
"Stand back because you're going to be amazed." | 0:42:27 | 0:42:29 | |
But I'm curious to find out how a singing diva | 0:42:35 | 0:42:38 | |
came to create such an array of gardens on such a scale. | 0:42:38 | 0:42:42 | |
Ganna Walska's niece, Hania, grew up at Lotusland, | 0:42:42 | 0:42:46 | |
and her first wedding took place here, too. | 0:42:46 | 0:42:48 | |
What was it like growing up in this extraordinary garden? | 0:42:48 | 0:42:51 | |
Well, my friends, who I would invite for a swim, | 0:42:51 | 0:42:54 | |
were always kind of shy when they walked in here, | 0:42:54 | 0:42:59 | |
and it was kind of overwhelming for my teenage friends | 0:42:59 | 0:43:02 | |
when I would have a party here. | 0:43:02 | 0:43:04 | |
They were quite overwhelmed. | 0:43:04 | 0:43:06 | |
What was your aunt like as a person? | 0:43:06 | 0:43:08 | |
It's hard to describe my aunt. | 0:43:08 | 0:43:10 | |
She'd sort of the life of the party. | 0:43:10 | 0:43:12 | |
Let's put it this way, when she walked in, everybody knew. | 0:43:12 | 0:43:15 | |
I don't know why but they all stopped talking when she walked in, | 0:43:15 | 0:43:19 | |
and she was such a strong personality. | 0:43:19 | 0:43:21 | |
And it was extraordinary back then | 0:43:21 | 0:43:23 | |
that somebody like her should become so involved in gardening | 0:43:23 | 0:43:28 | |
because she became effectively the head gardener, didn't she? | 0:43:28 | 0:43:31 | |
Yes, she did, actually. | 0:43:31 | 0:43:33 | |
No-one was allowed to touch anything, or move anything, | 0:43:33 | 0:43:36 | |
or plant anything, or cut anything without her specific permission. | 0:43:36 | 0:43:41 | |
If it was a question of planting, she'd say, "Dig a hole, then wait." | 0:43:41 | 0:43:46 | |
Then she'd walk around the garden. | 0:43:46 | 0:43:49 | |
Two hours later she'd come back, the gardener's standing over the hole, | 0:43:49 | 0:43:53 | |
and she'll say, "All right, now put the plant in and I'll come back and look." | 0:43:53 | 0:43:57 | |
So, she puts the plant in the hole, then she'll come back an hour later | 0:43:57 | 0:44:01 | |
and she says, "No. More to the left. I'll be back." | 0:44:01 | 0:44:05 | |
I think, perhaps more than any other garden, this is specifically hers | 0:44:12 | 0:44:18 | |
because other gardeners may have landscape designers, you know, | 0:44:18 | 0:44:22 | |
and she did, | 0:44:22 | 0:44:24 | |
but she wouldn't take their word for it! | 0:44:24 | 0:44:27 | |
She would get their plans, and then she would change them! | 0:44:27 | 0:44:31 | |
I think I'm beginning to understand how Madame Walska got through her six husbands. | 0:44:33 | 0:44:38 | |
But there's no question that her approach has led to | 0:44:38 | 0:44:40 | |
a very individual garden, and that's always good. | 0:44:40 | 0:44:44 | |
Now this is very weird, | 0:44:49 | 0:44:51 | |
although I like that lion, with his shaggy mane. | 0:44:51 | 0:44:55 | |
Here we have a set of slightly Disneyfied animals, topiary, | 0:44:55 | 0:45:00 | |
and this enormous clock in the middle. | 0:45:00 | 0:45:03 | |
I think this is Madame having fun, and she did everything big. | 0:45:06 | 0:45:11 | |
So if she's going to do tacky, do it big. | 0:45:11 | 0:45:15 | |
This is the aloe garden, | 0:45:26 | 0:45:28 | |
with a large collection of aloes. | 0:45:28 | 0:45:32 | |
But it is centred around, and dominated by, | 0:45:32 | 0:45:38 | |
a pool of such monstrous hideosity | 0:45:38 | 0:45:44 | |
that it's hard to see the plants for what they are, which is fascinating. | 0:45:44 | 0:45:49 | |
But it's interesting. | 0:45:50 | 0:45:52 | |
I'm amazed. | 0:46:01 | 0:46:03 | |
Here we have a garden where money seems to be no object, | 0:46:16 | 0:46:20 | |
where ambition doesn't stop anything, | 0:46:20 | 0:46:23 | |
where everything is unfettered, including taste. | 0:46:23 | 0:46:26 | |
And that is a real picture of America and its optimism and energy | 0:46:26 | 0:46:32 | |
in the '40s and '50s and '60s. | 0:46:32 | 0:46:35 | |
And I think the next step, whilst I'm here in California, | 0:46:35 | 0:46:38 | |
is to see what people are doing with their money and energy in the modern day. | 0:46:38 | 0:46:44 | |
The movies are still the driving force | 0:46:51 | 0:46:53 | |
behind the cultural and economic life of California, | 0:46:53 | 0:46:56 | |
and the next garden I'm going to see belongs to the director | 0:46:56 | 0:46:59 | |
who made the huge Hollywood blockbusters, | 0:46:59 | 0:47:02 | |
Independence Day, The Patriot and Stargate. | 0:47:02 | 0:47:05 | |
I'm fascinated to see what he's done with his garden. | 0:47:05 | 0:47:08 | |
Here, right in Hollywood, we have the homes of the rich and the powerful in the movie business. | 0:47:13 | 0:47:20 | |
Next door is the house and garden of Dame Helen Mirren, | 0:47:20 | 0:47:23 | |
and this one belongs to the director, Roland Emmerich. | 0:47:23 | 0:47:27 | |
But when he bought it, it was actually very destitute and rundown, | 0:47:27 | 0:47:30 | |
so he was going to revamp the whole thing, | 0:47:30 | 0:47:33 | |
and he hired a garden designer and gave her very specific instructions. | 0:47:33 | 0:47:36 | |
He said he wanted her to create something that evoked the glamour of a 1920s starlet. | 0:47:36 | 0:47:43 | |
He wanted a garden that was exotic and other-worldly. | 0:47:43 | 0:47:48 | |
Compared to Lotusland, this is a relatively small garden. | 0:48:02 | 0:48:05 | |
It's only a couple of acres. | 0:48:05 | 0:48:07 | |
But actually everything about it is on a colossal scale. | 0:48:07 | 0:48:11 | |
Apparently it needed an enormous crane to bring in | 0:48:11 | 0:48:14 | |
these enormous trees, and the expenditure matches it. | 0:48:14 | 0:48:18 | |
The initial flush of pots set them back 100,000, | 0:48:18 | 0:48:21 | |
and then they got more. | 0:48:21 | 0:48:22 | |
The total cost of the garden came to round about 3 million. | 0:48:22 | 0:48:27 | |
Now, another aspect of the brief was that Roland wanted the view blocked because he didn't like it, | 0:48:31 | 0:48:36 | |
and he also wanted to make sure people couldn't look in, | 0:48:36 | 0:48:39 | |
so he had complete privacy, | 0:48:39 | 0:48:41 | |
not least from the paparazzi, as film stars often come and stay here. | 0:48:41 | 0:48:46 | |
And he wanted that NOW. | 0:48:46 | 0:48:48 | |
He wanted his mature garden as quickly as possible. | 0:48:48 | 0:48:51 | |
Well, of course, the only way you can do that | 0:48:51 | 0:48:54 | |
is by buying in enormous trees, which they've done. | 0:48:54 | 0:48:57 | |
So, money, power and the positive thinking | 0:48:57 | 0:49:01 | |
can create an extraordinary garden like that. | 0:49:01 | 0:49:06 | |
The garden is designed around a central stairway | 0:49:12 | 0:49:15 | |
that leads from the front door, | 0:49:15 | 0:49:17 | |
right the way down through the middle of the garden, | 0:49:17 | 0:49:20 | |
to the pool, the archetypal Hollywood swimming pool. | 0:49:20 | 0:49:25 | |
Now, I confess that I came here prepared to mock. | 0:49:25 | 0:49:30 | |
I somehow couldn't believe that all that I'd heard about this garden, | 0:49:30 | 0:49:34 | |
the energy, the desire to have it completed fast, | 0:49:34 | 0:49:38 | |
the money that it cost, | 0:49:38 | 0:49:40 | |
could result in anything that wasn't a bit brash, a bit vulgar. | 0:49:40 | 0:49:45 | |
But, actually, I was completely wrong. | 0:49:45 | 0:49:48 | |
It's fantastic. | 0:49:48 | 0:49:50 | |
When you consider the brief of this garden, to make something that | 0:50:08 | 0:50:12 | |
evoked a glamorous 1920s starlet, something exotic and other worldly, | 0:50:12 | 0:50:17 | |
the designer could have been forgiven for chucking colour at it. | 0:50:17 | 0:50:20 | |
Actually it's much more restrained. | 0:50:20 | 0:50:22 | |
It's all gradations of green, and what that gives it, | 0:50:22 | 0:50:27 | |
other than a sense of great peacefulness, | 0:50:27 | 0:50:29 | |
is substance, almost dignity. | 0:50:29 | 0:50:32 | |
And instead of being blousy with colour, | 0:50:32 | 0:50:36 | |
the few dots of brilliant flowers are like jewels, | 0:50:36 | 0:50:38 | |
jewels against the starlet's beautifully-cut frock. | 0:50:38 | 0:50:43 | |
I've really enjoyed this garden. | 0:50:59 | 0:51:01 | |
I like almost everything about it, and I particularly like | 0:51:01 | 0:51:04 | |
the way that it uses restraint, combined with confidence. | 0:51:04 | 0:51:10 | |
Now, it's not a gardener's garden. | 0:51:10 | 0:51:12 | |
There's nothing to do and there's no sense of it | 0:51:12 | 0:51:15 | |
growing and being nurtured by an individual hand. | 0:51:15 | 0:51:18 | |
But it's a performance, like everything here in Hollywood, | 0:51:18 | 0:51:22 | |
and I think the most appropriate response is just to applaud. | 0:51:22 | 0:51:25 | |
However, when I left Lotusland I said I wanted to see what was going on now, | 0:51:25 | 0:51:30 | |
and this garden draws a lot of its inspiration from the past. | 0:51:30 | 0:51:33 | |
There is a sort of retrospective feel about it, | 0:51:33 | 0:51:36 | |
and before I leave Hollywood, | 0:51:36 | 0:51:37 | |
I want to see something truly modern, | 0:51:37 | 0:51:40 | |
to see what people are looking forward to. | 0:51:40 | 0:51:43 | |
I'm off to Brentwood in the west of the city, | 0:51:49 | 0:51:51 | |
one of LA's most affluent suburbs, | 0:51:51 | 0:51:53 | |
to visit a garden that represents a dramatic break with the past. | 0:51:53 | 0:51:57 | |
The owners of this house and garden, the Greenbergs, having reached retirement age, | 0:51:57 | 0:52:02 | |
decided to start all over again and pull down the home they'd raised their family in | 0:52:02 | 0:52:07 | |
and rebuild a new, very modern house, literally in its place. | 0:52:07 | 0:52:11 | |
Walking in here I'm immediately struck by the great slabs | 0:52:20 | 0:52:24 | |
of colour on the surfaces and the build up of shapes, | 0:52:24 | 0:52:27 | |
and these fantastic palms! | 0:52:27 | 0:52:31 | |
I find it an extraordinary notion | 0:52:50 | 0:52:52 | |
that on this site was the family home where the children grew up, | 0:52:52 | 0:52:57 | |
with all the memories and associations, | 0:52:57 | 0:53:00 | |
and yet it was felt an exciting thing to do | 0:53:00 | 0:53:05 | |
to scrub it all away and reinvent themselves, to build something new. | 0:53:05 | 0:53:10 | |
And that kind of optimism and bravery | 0:53:10 | 0:53:13 | |
seems to me to be very Californian. | 0:53:13 | 0:53:16 | |
This boldness of vision led the owners to collaborate | 0:53:25 | 0:53:28 | |
with the Mexican architect Ricardo Legorreta. | 0:53:28 | 0:53:31 | |
He's famous for using elements of Mexican regional architecture in his work, | 0:53:31 | 0:53:36 | |
including bright colours and plays of light and shadow. | 0:53:36 | 0:53:39 | |
The wonderful garden, however, is the work of the landscape architect Mia Lehrer. | 0:53:39 | 0:53:45 | |
It was a wonderful sort of | 0:53:45 | 0:53:48 | |
experience working with Mr Legorreta, | 0:53:48 | 0:53:51 | |
and working with the Greenbergs. | 0:53:51 | 0:53:53 | |
They really responded to the notion that the garden | 0:53:53 | 0:53:58 | |
and the house had to have sort of an equal billing, so to speak. | 0:53:58 | 0:54:04 | |
Some of my gardens, and especially this one, was relatively instant. | 0:54:06 | 0:54:12 | |
The fact that you can roll out a lawn, | 0:54:12 | 0:54:15 | |
you know, and actually, to a degree, Hollywood plays a part in this. | 0:54:15 | 0:54:21 | |
You know, the instant gardens that need to be created | 0:54:21 | 0:54:25 | |
for drama, film and TV | 0:54:25 | 0:54:30 | |
have become sort of an expectation in my world, | 0:54:30 | 0:54:34 | |
for a certain level of client. | 0:54:34 | 0:54:37 | |
-All the trees around the house were actually saved from the original property. -Really? | 0:54:53 | 0:55:00 | |
It occurred to me that we could bank, so to speak, | 0:55:00 | 0:55:04 | |
the large existing specimen trees and work with them, | 0:55:04 | 0:55:10 | |
and that that would be a wonderful way of bringing | 0:55:10 | 0:55:13 | |
what was part of the original family place back | 0:55:13 | 0:55:18 | |
and integrate that into the garden. | 0:55:18 | 0:55:22 | |
We had these two beautiful jacaranda trees, in this courtyard. | 0:55:22 | 0:55:27 | |
We had the scattering of Washingtonia palms throughout the site, | 0:55:27 | 0:55:33 | |
and we decided to plant them before the house was built. | 0:55:33 | 0:55:38 | |
So literally locate them, with a surveyor, | 0:55:38 | 0:55:42 | |
in their location on the plan and then build the house around it. | 0:55:42 | 0:55:47 | |
I think one of the ultimate compliments I ever got was when | 0:55:50 | 0:55:55 | |
Mr Legorreta walked around the house after it was done and we had a party, | 0:55:55 | 0:56:00 | |
and he said, "You know, this is a garden with a house, | 0:56:00 | 0:56:05 | |
"not a house with a garden." | 0:56:05 | 0:56:08 | |
This is the best place to see the garden. | 0:56:29 | 0:56:31 | |
It looks absolutely fantastic from here, and, significantly, | 0:56:31 | 0:56:36 | |
the best place to see it from is the swimming pool. | 0:56:36 | 0:56:40 | |
Swimming pools are right at the heart of | 0:56:40 | 0:56:43 | |
the whole Californian lifestyle, really, | 0:56:43 | 0:56:45 | |
certainly of homes and gardens. | 0:56:45 | 0:56:47 | |
And the very European idea of garden rooms, | 0:56:53 | 0:56:56 | |
where you have compartments where you discover | 0:56:56 | 0:56:58 | |
separate sections of the garden, is totally absent from here. | 0:56:58 | 0:57:02 | |
The whole thing is open, open to the eye and, above all, open to the sun. | 0:57:02 | 0:57:07 | |
And yet it works together with its various sections | 0:57:07 | 0:57:11 | |
in a very balanced, harmonious way. | 0:57:11 | 0:57:14 | |
The thing I most like about this garden | 0:57:14 | 0:57:17 | |
is not actually just the physical layout, | 0:57:17 | 0:57:19 | |
which I think is beautiful, but it's the spirit behind it. | 0:57:19 | 0:57:22 | |
It seems to me this garden represents that very Californian spirit, | 0:57:22 | 0:57:28 | |
that if you've got the energy, the optimism and the money, | 0:57:28 | 0:57:33 | |
then you can do anything. | 0:57:33 | 0:57:35 | |
This is the end of my journey across America, | 0:57:42 | 0:57:45 | |
and I've visited some amazing gardens | 0:57:45 | 0:57:47 | |
that reflect the diversity and energy and of its people. | 0:57:47 | 0:57:51 | |
But the truth is that the wider American public are slow to embrace the concept | 0:57:51 | 0:57:55 | |
of tending for their land as part of a sense of personal responsibility and pleasure. | 0:57:55 | 0:58:01 | |
However, there is a movement in America that | 0:58:01 | 0:58:04 | |
is starting to think about issues of sustainability and stewardship, | 0:58:04 | 0:58:08 | |
which can be best expressed through the daily care of a domestic garden. | 0:58:08 | 0:58:12 | |
I think if America got gardening, | 0:58:12 | 0:58:15 | |
this idea of a sort of generous nurturing of the soil | 0:58:15 | 0:58:18 | |
that we'd all benefit from, then that could change the world. | 0:58:18 | 0:58:22 | |
Next time, my journey takes me to the Far East, | 0:58:24 | 0:58:28 | |
where I'll travel through China and then on to Japan, | 0:58:28 | 0:58:31 | |
to uncover the history and meaning of their enigmatic gardens. | 0:58:31 | 0:58:37 | |
Subtitles by Red Bee Media Ltd | 0:58:43 | 0:58:46 | |
Email [email protected] | 0:58:46 | 0:58:49 |