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Dolia Design Developer

We are pleased to announce that The Gardens at Old Camps featured on BBC Gardeners' World on the 7th September 2018, with host Mark Lane.

Included below are the highlights and details of the episode

 
 

It all started with an email out of the blue from the wonderful Camilla Bassett-Smith.

At first I thought it was an email from a private group wishing to visit the gardens, but as I read on, it soon dawned on me that this request was different!  You always dream of being on GW, but to have the BBC approach you is quite sublime.

Throughout the whole process, from initial contact to filming, the team were fantastic - clear communications, prompt responses and above all else, highly professional and as equally supportive.

Meeting Mark Lane Old Camps Gardners World

Filming Day

The Sound Engineer arrived first, regrettably with a migraine, which he fortunately managed to avert with fifteen minutes of sleep before the others arrived.  He was soon joined by the Director, Camera Operator and Production Team – we chatted for ten minutes and then it was down to business, as time is precious.  

We discovered that to record three minutes of TV ready footage - it takes five hours. For five-seven minutes - ten hours and anything longer will then run into multiple days.  Therefore, I gave them a quick tour of the gardens and they took furious notes, commenting on where to film, what would make a great backdrop, how the noise of low flying aircraft would impact the piece and where they should start.

The purpose of the feature was to discuss and explore the concepts of formal design and contemporary planting, which Mark Lane was presenting on GW.  I had only known of Mark through his time on GW and the garden design practice that he operates, but I have come to understand that he is an extremely talented presenter, plants-person and inspirational designer.  Oh, and by the way, he is a very amiable bloke too!

Gardners World BBC Film Crew Old Camps

The Interview with Mark Lane

Mark arrived with his PA Georgie, half an hour later and I introduced myself.  We spent a good forty- five minutes meandering through the gardens, chatting about the design, the vistas, challenges and the finished effect.  As a relatively new designer myself, having positive feedback from him was humbling and inspiring.

Mark then re-joined the team as they laid out their preparations for the day.  The day itself is largely scripted before they arrive on site, as Camilla does a lot of preparation work with the garden owner beforehand, asking for pictures, thoughts and ideas.  These are knitted together into a general script for the team, allowing them to hit the ground running when they arrive.

Having sat down with a cup of tea to set about my daily task of answering my emails and social media that had come in overnight, I anticipated that the team would get on with their production. However, fifteen minutes later Camilla asked me to join them in the Potager. I was greeted by the Sound Engineer who had now recovered from his migraine to ask, “Have you ever worn a microphone before?” “No”, I replied!  Thirty seconds later, mic at the ready, I was sat down chatting with Mark at the table – he was great at keeping me relaxed, joking and chatting, while all along in the background the Director was getting ready to roll.  Then, after about five minutes……”We’re rolling………and action!”

Mark sprang into life, welcomed me to GW and thanked me for letting us share our beautiful gardens.  He asked me a series of questions based on the overall theme of formal garden design, referencing a number of features from our gardens: the Knot Garden, the Potager, the long, yet formal borders, the clipped topiary, the contemporary planting schemes and the Mediterranean Borders.  It was all a blur and after what seemed like an age, waiting for aircraft to pass over, I thought that was it.  How naïve I was - the team run through it again and again from multiple angles, asking the same questions, which is then pulled back together in the editing suite.

The Interview Mark Lane Old Camps Gardners World

Final Touches

Once finished, I left them to complete their filming throughout the rest of the garden.  They focussed their time in the lower gardens, the Knot Garden and the Mediterranean Terraces.  Every piece they filmed, was captured on average four-five times to ensure they got the finished article just so!

The whole team were extremely professional, none more so than Mark, who demonstrated an in-depth knowledge and a passion for the subject, which you only really see on the 4th or the 5th take! The Camera Operator never stopped; when he was not filming myself and Mark, he was capturing footage all over the garden, in places that even I had to question why he was there– a master finely crafting his work, that is for sure.

At the end of the day, it was the turn of the Sound Engineer to step up.  Mark pondered the script with the Director and they began recording the voiceovers, the parts of the feature where you see the unusual shots of the gardens, but with no presenter.  I would say this lasted about an hour, but it was extremely clever how they knew what would be needed, several weeks before the editors would get hold of it all for the final piecing together.

It was an exhausting day for all involved and the team finally packed up and left just before 6pm, but there was still time for photos together, without a grumble and full of smiles.  A big thank you to Camilla, who was a real star pulling it all together in the background, while keeping timings and schedules on track.

For me, it was an interesting experience and one that I will treasure for the future.  Stay tuned for the 7th September 2018.

Gardners World BBC Film Crew Old Camps

Gardens at Night

The brief here was to extend the day; to be able to use the garden well after dark for socialising and relaxing.

The lighting plan had to be drawn up early so the cabling could be laid before all of the soft planting was completed.  Inspiration for the design came from the Blenheim Palace Winter Display and the lighting designs from the great Italian Gardens of Tuscany, which could be adapted to fit the needs of the client.  The key was to up-light the signature trees within the garden to create a stunning effect, plus it would have the added bonus of drawing wonderful silhouettes from the under planting schemes.  The colours were chosen carefully, mimicking the planting schemes in the surrounding borders, thus continuing the theme once the sun sets.

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An exciting garden around a contemporary home awaits the visitor to Old Camps in Headley, where the past and future are both carefully considered says Leigh Clapp.

Adam and Heidi Vetere could see enormous potential when they bought the one-acre property in 2007. Attracted by panoramic views of Watership Down from the south-facing slope and intrigued that the house was built on the site of a Roman camp and bath house, they were excited by the prospect; although there was a great deal to be done, and on a tight budget.

Hampshire Life Cover

It is rare for a garden to merge so readily into an ancient landscape, but the planting at Old Camps harmonises perfectly with the surrounding Hampshire countryside.

'The first time I came down the drive and saw the stupendous view towards Watership Down, I was hooked,' recalls Adam Vetere.

Tucked away on a hillside in the village of Headley, Old Camps is built on the site of a former Roman camp. It is now a decade since Adam, his wife Heidi, and their young son Luke moved in. While the bungalow they had bought was being transformed, Adam used the architect's ground plan to map out a design for the garden that would wrap around the house on three sides.

Country Gardens July cover

Cottage Gardens

The previous owners had two smaller existing borders along the eastern side of the house, just outside the kitchen.  The kitchen itself has a large window overlooking this area, which resulted in a largely underwhelming view which needed to be improved.  There was also a mature apple tree and  Syringa vulgaris 'Madame Lemoine' in close proximity.

The brief was to create a flowing scheme for the entire season, which gently followed the contours of the site, linking to the other areas of the garden to the south of the site. In addition, both the apple tree and Syringa were to be incorporated into the design.  The focus was then on the quality of the planting plan, as an array of cottage plants were requested.

Before:

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After:

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The approach focussed on extending one of the existing beds to encompass both mature trees in a much larger, free-flowing bed. This allowed it to be filled with exuberant cottage plants and perennials which would last the entire season, with the help of a regular 'Chelsea Chop'.  The remaining bed in front of the kitchen window was then extended in an easterly direction to mirror the larger free flowing bed, thus allowing a swooping lawn path to develop which would take the visitor on a journey through the garden.  This was mirrored on the other side of the main bed, with the addition of a long flowing Ericaceous border which created a wonderful backdrop to the cottage bed and yet another grass path which gave the visitor a completely different aspect to the design.

 

Long Border

The site was long (35m) and flat, having been terraced by the previous homeowners.  The aspect was east to west, running in a perpendicular fashion across the south-facing slope, therefore creating a very warm microclimate. The brief here was to create substantial beds that would show off North American Prairie planting and a Tropical Scheme to sit opposite the Mediterranean Terraces, which would be seamlessly linked to the rest of the garden.

The original design incorporated a sweeping layout that was a continuation from the cottage garden link.  However, this did not sit comfortably with the house and had to be redesigned; as with all great designs, they often require adjustments until the final design is delivered.  Therefore, the borders were straightened, linked to the central axis of the house and crossed with a path, that dissects to the bottom part of the garden.

Before:

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After:

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The prairie border scheme included many grasses but not limited to Stipa gigantea, Miscanthus sinensis zebrinus, Festuca glauca and many wonderful perennials arranged in large sweeping drifts within the long rectangular bed; the border itself was 26m long, so groups of up to 11 were used.  Notable inclusions were: Helenium 'Moreheim Beauty' and 'Sahins Early', Echinacea purpurea, Hemerocallis 'Fulva', Crocosmia 'Lucifer', Aster frikartii 'Eiger', Salvia 'Amistad' and Rudbeckia fulgida var. sullivantii 'Goldsturm'.

The tropical border was much shorter at 7m, but was a real success with a vibrant planting scheme that included a backdrop of Musa basjoo, lowering to many varieties of Hedychium, Brugmansia, Canna, Salvias and Dahlias in the mid tier, with Eucomis 'sparkling burgundy'. Persicaria microsephala 'Red Dragon' and lower growing Salvias in the foreground.

The intersection through both borders was framed with two large Eriobotrya japonicas, which in turn accent the journey down to the bottom garden.

 

Potager

The original site was sloping and poorly set out, with an old shed and a small glasshouse awkwardly positioned at the top of the site.  The site itself measured 16m x 12m and was laid out in a quadrant, but because of its size this meant that in order to plant or work the land, you would have to walk over the beds, causing unnecessary compaction.

The brief here was to create a formal potager, that would look contemporary, yet would hark back to the 1920s roots of the original house.  It would need to operate over a level site, with a 2.5m high wall at the northern edge of the site to create improved growing conditions, raised beds and the addition of a new, much larger greenhouse. Above all else, the layout had to be symmetrical and allow the ability to grow fruit, vegetables and flowers in a stylish environment.

Before:

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During:

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After:

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Potager at night:

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The final design incorporated a large glasshouse positioned at the southern end of the site, lying symmetrically across the central axis of the rectangular site. The edges of the site had a 0.5m bed, which contained fan trained and espalier fruit trees, underplanted with fruit bushes and woodland planting to take advantage of the dappled light they created.

There was a small square patio that joined the glasshouse to the four raised vegetable beds, which again ran down the central axis.  Over the central axis a path cut through the four beds under a contemporary arbour leading to the focal point in the large south-facing wall, being an ornate 'Lion’s Head' water feature cutting into the large semi-circular patio. A great place to catch the morning sun to enjoy a cup of tea.

 

Townhouse

The original garden was flat, laid to lawn and was in the shape of a letter 'L'.  It was north-facing and was 10m in length and 8m at the widest point.  Luckily it was a walled garden, so it did benefit from a warmer microclimate that would allow more exotic planting.

The brief was to take advantage of the microclimate to provide a Mediterranean flavour to the planting with a high impact effect.  There needed to be space to entertain, running water and a BBQ.  No storage was needed, as the tools could be kept in the adjoining garage.

Project Images:

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The design centred around the wonderful gnarled olive tree that was several hundred years old.  It was positioned so that as you walked out of the back door, the visitor would be 'wowed' by its impact and would then walk around to see what was hiding further down the garden.  A retaining slate wall was constructed around it, allowing people to sit and take refuge under the canopy in the warm, summer months.

The focal point at the end of the garden (slate monolith fountain), drew the eye, thus creating the effect of additional space within the small garden.  In the bottom part of the “L”, a patio was laid to take the 8 seater polished granite table, allowing space to entertain.  This area was partitioned with a slim bed to create the effect of another room, thus suggesting more space than there was.

The planting scheme was exuberant, architectural, on the exotic side and yet tough enough to survive the UK winters, courtesy of its micro-climate.  Notable specimens were Chamaerops humilis, Ficus cCarica 'Brown Turkey', Trachycarpus fFortunei, Calistemon citrinus, Feijoa sellowiana and Nerium oleander, to name but a few.  The underplanting of the olive tree every year was truly exotic, with house plants used as a bedding scheme - it was a little expensive when compared to standard bedding, but it truly complimented the display!

 

Indoor Garden

Inside a house with the benefit of a large atrium, the brief was to create a desert scheme which would tolerate the 'dry' conditions of a centrally-heated house.  So often houseplants suffer because they originate from a humid/moist part of the world (The Tropics), so it was important for the scheme to suit the environment.

The rectangular bed was 4m x 1m, which cut down through the surrounding floor boards and joists, so that the plants could run their roots into the top soil layer beneath.  The bed itself was lined with polythene to protect the surrounding timbers and filled with large quantities of a free draining topsoil, mixed with large amounts of grit and aggregate to create the desert-like soil conditions. It was actually well-filled in places to 30cm or more to create more of a 3D effect, allowing differing levels to receive some large pieces of stone.

Project Images:

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The planting scheme was based around Aloes and Succulents, notable inclusions were Aloe striatulata, arborescens and vera, Aeonium Zwartkop, Agave reticulata and a number of Cacti. It was then topped with a mulch of chippings to retain the moisture within the dry environment.

 
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