Otari-Wilton’s Bush

It’s been a while since I blogged about New Zealand and our 2018 trip, but I’ll correct that today, since there was one garden omitted – and it was my favourite. If you recall, in my last blog we were sailing back to the North Island from the South Island and settling ourselves into New Zealand’s beautiful capital city of Wellington for the final chapter of our trip. Today, I want to take you to what was my favourite public garden of our entire 3-week tour, Otari-Wilton’s Bush (whose proper name is Otari Native Botanic Garden and Wilton’s Bush Reserve, but I’ll call it OWB for short). Let’s walk from the car park through the main entrance gate or warahoa…..

….. past the Kauri Lawn and the familiar trunks of the kauri trees (Agathis australis) we’d fallen in love with a few weeks earlier on the Manginangina Kauri Walk in the Puketi Forest near Bay of Islands, on our Maori culture day.

The path leads past interesting New Zealand natives towards the information centre where we can……

….. find a map. This place is massive! There are ten kilometres of walking trails over 100 hectares (247 acres) of native podocarp-northern rata forest featuring 5 hectares of gardens containing half of New Zealand’s native plants. In total, there are.1200 species, hybrids and cultivars of indigenous plants, and we have such a short time to visit!  On that note, I should add that there was a reason why it took me so long to get this blog together: the complexity of the garden and our speed rushing through it meant that I didn’t feel I could do it justice without researching it a little more than the other public gardens we’d visited, which were more straightforward…. rose garden, perennial border, etc. There is not that kind of typical botanical garden approach here at OWB. It’s all about native plants and their conservation!  I could have spent two days there, easily

Because it’s difficult to read the map (click on it or download it for a better look), here is the legend:

1 –      Plants for the home garden
2 –      Brockie rock garden
3 –      Wellington coastal plants
4 –      Grass and sedge species
5 –      Threatened species
6 –      Hebe species
7 –      Rainshadow garden
8 –      Flax cultivars
9 –      Pittosporum species
10 –     Coprosma species
11 –     Olearia species
12 –     Northern collection
13 –     Divaricate collection
14 –     Gymnosperm (conifer) collection
15 –     Fernery
16 –     Alpine garden
17 –     Dracophyllum garden
18 –     38
19 –     Broom garden

The garden and surrounding bush has a complicated history, from the Maori first inhabitants – Taranaki tapū or sub-tribes – who migrated to the general area in 1821 from the Wellington region; to the arrival of European settlers in the 1840s; to the allocation of 500 acres to Maori tribes; to the 1860 purchase by Job Wilton of 108 acres for farming; to the leasing by one tribe of 200 acres to three settlers; and subsequent sales by other tribes to other settlers. By 1900, prominent citizens of Wellington began to realize that the natural land around the city was in demise. As another 134 acres of tribal land was being sold to settlers, Wellington City Council stepped in and purchased it. By 1918, Otari’s status was changed to a reserve “for Recreation purposes and for the preservation of Native Flora.” In 1926, the well-known botanist, plant explorer and ecologist Dr. Leonard Cocayne presented a proposal to create a collection of indigenous plants on the site: the Otario Native Plant Open Air Museum. He was named Honorary Botanist to the Wellington City Council and effectively Director of the Plant Museum. Over the next few years, he collected 300 native plants and published the guidelines for the development and arrangement of the museum. Upon his death in 1934, he was buried on the site.

Let’s head out over the canopy bridge spanning the ‘bush’ below.

Visitors gazing out over this scene can appreciate how this part of New Zealand looked before cities and highways were built and invasive plants outcompeted native flora.

The garden has done a good job of labelling native trees to inspire visitors to choose these for their own gardens. This is karaka (Corynocarpus laevigatus).

This is the tawa tree (Beilschmiedia tawa).

This is rewarewa (Knightia excelsa).

Looking down, you can see the exquisite structure of the silver ferns or pongas (Alsophila dealbata, formerly Cyathea).

It’s easy to see why this fern enjoys such an elevated position in New Zealand.

Interpretive signage is well done in the garden.

Though it is far away, I attempt a photo of New Zealand’s wood pigeon.

After the canopy walkway, I find myself in a section devoted to plants for the home gardener. Seven fingers or patē  (Schefflera digitata) is a small, spreading tree fond of shade and damp places. It’s the only New Zealand species in the genus Schefflera.

The Three Kings kaikomako (Pennantia baylisiana) was down to a single extant plant in New Zealand when it was discovered on a scree slope on Three Kings Island in 1945 by Professor Geoff Baylis of Otago University. Seeds were harvested, allowing it to return from the brink of extinction.

Gold-variegated karaka (Corynocarpus laevigatus ‘Picturata’) is a colorful Otari-Wilton’s Bush introduction of the evergreen New Zealand laurel tree. Its Maori name “karaka” means orange, and is the colour of the tree’s fruit.

The Leonard Cockayne centre can be booked for small meetings, workshops and education sessions.

Our American Horticultural Society tour group listens to Otari Curator-Manager Rewi Elliot giving an overview on the garden.  You can see the memorial plaque at the base of the large rock, the burial site for Leonard and Maude Cockayne.

In the adjacent Brockie Rock Garden, I find Chatham Island brass buttons (Leptinella potentillina) is a rhizomatous groundcover adapted to foot traffic.

Slender button daisy (Leptinella filiformis) is bearing its little white pompom flowers.

Purple bidibid or New Zealand burr (Acaena inermis) has become a popular groundcover plant in Northern hemisphere gardens.

Chatham Island geranium (G. traversii) has pretty pink flowers. Its easy-going nature recommends it as a good native for New Zealand gardeners.

Like a lot of shrubby veronicas, Veronica topiaria used to belong to the Hebe genus before DNA analysis. It has a compact, topiary-like nature and tiny white summer flowers.

Silver tussock grass (Poa cita) is a tough, drought-tolerant native adapted to the poorest soils.

This is a lovely view from the Cockayne Overlook.

Below, a path is flanked by some of the sedges (Carex sp.) for which New Zealand has become renowned throughout the gardening world.

We catch a glimpse of New Zealand flax (Phormium tenax) on the right along the path.

Castlepoint daisy (Brachyglottis compacta) is native to the limestone cliffs on the Wairarapa Coast of New Zealand’s North Island. Like many species here, it is considered at risk in the wild.

We had seen Marlborough rock daisy (Pachystegia insignis) at the Dunedin Botanical Garden earlier in the trip. It’s such a handsome plant.

A gardener trims the base of a sedge along the path. There are signs in the garden stating “Please do not pull out our ‘weeds’”, explaining that they may look like weeds but several are threatened endemics that are allowed to casually self-seed in the garden.

Orange tussock sedge (Carex secta), aka makuro or pukio. is common to wetlands throughout New Zealand.


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Gardeners are at work trimming the sedges with the podocarp-northern rata forest in the background.

The Wellington Coastal Garden, below,  is home to native plants found on the rocky foreshores, sand dunes and scrub-coloured cliffs of Wellington. Many plants here have thick, fleshy leaves or waxy surfaces to cope with wind and salt spray.

The Rain Shadow Garden features plants native to Marlborough, Canterbury and Otago in the South Island, specifically to regions lying east of the Southern Alps where rainfall is scant. From Wikipedia:  In the South Island of New Zealand is to be found one of the most remarkable rain shadows anywhere on Earth. The Southern Alps intercept moisture coming off the Tasman Sea, precipitating about 6,300 mm (250 in) to 8,900 mm (350 in) liquid water equivalent per year and creating large glaciers. To the east of the Southern Alps, scarcely 50 km (30 mi) from the snowy peaks, yearly rainfall drops to less than 760 mm (30 in) and some areas less than 380 mm (15 in). The tussock grasslands are common in New Zealand’s rain shadow.

To northern hemisphere eyes, New Zealand has a lot of strange plants, but none tickle our fancy more than toothed or fierce lancewood (Pseudopanax ferox). You’ll see its mature tree form a little further down in our tour of the garden but I love this photo illustrating the juvenile form, often described as Doctor Seussian or like a broken umbrella.  It is now seen in gardens throughout the world, mostly owing to the 2004 Chelsea Flower Show where it starred in New Zealand’s gold-medal-winning garden exhibit.

This is my favourite image in the garden because it celebrates plants that typify the New Zealand native palette – the buff sedges and the wiry shrubs in ‘any-colour-but-green’. Save for the sword-like leaves of the cabbage palm (Cordyline australis) at the top of the picture, there is nothing ‘luxuriant’ about the plants in this garden. They evolved their sparse foliage to outsmart hungry predators or to protect themselves from wind, heat and salt.

As an illustration, here is Coprosma obconica, considered threatened in its native niche, with its “divaricating” growth habit (branching at sharp angles) when young. Note that its tender foliage is in the centre of this wiry sphere, thus protected from the nibbles of herbivores.

But then there are the big grasses and phormiums, which lend the opposite lush feeling. I love this garden, too, with its collection of flaxes, both the large New Zealand flax or harakeke (Phormium tenax) and the smaller mountain flax or wharariki (Phormium colensoi, formerly P. cookianum).  In milder climates of North America, we see P. colensoi cultivars used extensively, e.g. ‘Maori Maiden’, ‘Black Adder’, ‘Sundowner’, etc.  This is P. tenax ‘Goliath’.

A closer look at ‘Goliath’. The Māori grow harakeke plants especially for weaving and rope-making.  Note the leaves of the Carex, illustrating the mnemonic “sedges have edges”.

At the base of the steps is a beautiful stand of South Island toetoe grass (Austroderia richardii, formerly Cortaderia). It is related to the South American pampas grass (Cortaderia selloana) which has become an invasive in New Zealand (and also coastal California).

Below we see the juvenile (right) and mature (left) forms of fierce lancewood (Pseudopanax ferox) growing side by side. Note the stout trunk and the different leaves on the adult tree. Botanists theorize that the tree evolved its narrow, young form with its hooked leaves to thwart herbivory by New Zealand’s flightless bird, the giant moa, which was hunted to extinction by Polynesian settlers five hundred years ago. Once the plant reaches a certain height – around 3 metres or 9 feet in 10-15 years – it gets on with the regular business of being a tree.  The forms are so different that early taxonomists mistook them for different species.

Nearby is a garden labelled “the hybrid swarm”, featuring offspring of crossings of two other lancewood species, Pseudopanax crassifolius or horoeka and P. lessonii or houpara.

One of the tour members calls to me that she has heard the tui bird and I pass a stand of Richardson’s hibiscus (H. richardsonii)…..

…. as we go exploring into denser garden areas.

Sure enough, there it is – not the best photo, but it’s a treat to find it here. The Māori call this bird the ngā tūī, and this particular bird’s black-and-white colouration (its iridescence isn’t notable in this light) illustrates why the colonists called it the parson bird.  It is one of two extant species of honeyeaters in New Zealand, the other being the bellbird. If you read my blog on Fisherman’s Bay Garden, you might have watched the YouTube video I made of that lovely garden with the entire soundtrack comprised of the bellbird’s song.

But time is fleeting and we still have the Fernery to visit. I stop for a moment to photograph Kirk’s daisy or kohurangi (Brachyglottis kirkii var. kirkii).  It is in decline and classed as threatened, mostly due to predation from possums, deer and goats.

Common New Zealand broom (Carmichaelia australis) is not related to European broom (Cytisus scoparius), which is as invasive in New Zealand as it is throughout the temperate world.

Here is a large specimen of bog pine (Halocarpus bidwillii).

I pass a small water garden surrounded by rushes.

Crossing back over the canopy walkway, I come to the totara (Podocarpus totara) with its stringy, flaking bark. This specimen was planted in the 1930s and could live for more than 1,000 years. It is one of 5 tall trees in the Mixed Conifer-Broadleaf Forest type here; the others are kahikatea (Dacrycarpus dacrydioides), matai (Podocarpus taxifolia), rimu (Dacrydium cupressinum) and miro (Prumnopitys ferruginea).  Totara wood is strong and resistant to rot; it was used traditionally by the Māori for carving and to make their waka or canoes.  On trees 150 to 200 years old, an anti-microbial, anti-inflammatory medicinal product called totarol can be extracted from the heartwood on a regular basis. A dioecious species, female trees bear masses of fleshy, red, edible berries that the Māori collected in autumn by climbing the trees with baskets.

Now I’m on the boardwalk heading back through the Fernery to the parking lot and our bus. It was April 10, 1968 when Cyclone Giselle brought sudden winds of 275 kilometres per hour (171 mph) to Wellington, sinking the interisland ferry Wahine in sight of the harbour, with 53 lives lost of the 734 aboard. But the cyclone, the worst in New Zealand’s history, also knocked down trees throughout the country, including a swath cut through the forest at Otari-Wilton’s Bush. The opening created light favourable for the growing of ferns, and thus the fernery was launched late that year.

I see New Zealand’s iconic silver fern or ponga, which has had a botanical genus name change from Cyathea dealbata to Alsophila dealbata, courtesy of DNA sequencing.  Look at the ferns colonizing its trunk.

Later, I get a closer look at the plants climbing another silver fern, which were identified for me by an Otari botanist for my 2018 blog New Zealand – The Fernery Nation. The climbing thread fern is Icarus filiformis (formerly Blechnum filiforme) or pānoko. The broadleaf plant is scarlet rātā vine or in Māori akatawhiwhi (Metrosideros fulgens).

I pause at a few low-growing ferns, including Cunningham’s maidenhair (Adiantum cunninghamii).

…… and the rhizomatous creeping fern Asplenium lamprophyllum.

But it’s the tree ferns that are most spectacular here. Milne’s tree fern (Alsophila milnei) has also had a genus name change from Cyathea. It is endemic to Raoul Island.

Kermadec tree fern (Alsophila kermadecensis) is also native to Raoul Island.

Mamaku or black tree fern has also been moved out of Cyathea; it is now called Sphaeropteris medullaris. It can grow very tall, up to 20 metres (60 feet).

I take a quick glimpse into the native bush, which encompasses 100 hectares here as our guide calls for me to hurry. I’m the last one on the bus!

Leaving the garden, I glance back at the beautiful pou whenua carved with the creatures of the forest. Given that “Otari” is a Māori word for “place of snares” recalling its heritage as a traditional place for bird-hunting, it is fitting that it is now celebrated as a place for watching birds and all manner of wildlife and plants.

As I run for the bus, I stop to take one last photo, of the unfurling crozier, or koru in Māori, of rough tree fern or whekī (Dicksonia squarrosa).  Traditionally, the koru symbolizes perpetual movement, a return to the point of origin. It seems that the people of Wellington and those who fought to reclaim the bush for nature and education have done that here very well.

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If you enjoyed this blog, be sure to read my New Zealand series of blogs:

  1. Totara Waters – A Tropical Treat
  2. Connells Bay Sculpture Park – Waiheke
  3. New Zealand – The Fernery Nation
  4. Finding Beauty and Tranquility at Omaio
  5. Bay of Islands – Māoris, Kauris and Kia Ora
  6. From Forage to Flora at The Paddocks
  7. Queenstown – Bungy-Jumping & Botanizing
  8. A Night on Doubtful Sound
  9. Dunedin Botanic Garden
  10. Oamaru Public Gardens
  11. A Lunch at Ostler Wine’s Vineyards
  12. Hiking Under Aoraki Mount Cook
  13. The Garden at Akaunui
  14. Christchurch Botanic Gardens
  15. Ohinetahi – An Architectural Garden Masterpiece
  16. Fishermans Bay Garden
  17. The Giants House – A Mosaic Master Class in Akaroa
  18. A Visit to Barewood Garden
  19. A Grand Vision at Paripuma
  20. A South Island Farewell at Upton Oaks
  21. We Sail to Wellington

 

Fishermans Bay Garden

Looking at a Google Maps satellite view of the Banks Peninsula is one thing, but driving the hilly landscape from garden to garden is quite another.  We were now heading from Sir Miles Warren’s garden at Ohinetahi on Governors Bay (#1 below) to the “eastern bays” of the peninsula to visit Jill & Richard Simpson’s Fishermans Bay Garden (#2) and enjoy lunch there before ending our afternoon at The Giant’s House in Akaraoa (#3).  (Click to enlarge the map.)

The drive to Fishermans Bay took us an hour and forty minutes and encompassed some of the most beautiful scenery we’d seen in New Zealand. A quarter-of-an-hour past Governors Bay, we drove past roadside stock pens and wild phormiums (P. tenax or harakeke).

We passed rocky outcrops at Gebbies Pass, below, that geologists call the “Gebbies Rhyolite”. It’s what’s left of volcanoes that occurred in the Late Cretaceous, around 81 million years ago. (And thank you to Dr. Greg Browne of GNS Science, New Zealand, for identifying the rock type for me.)

We climbed the hillside around Duvauchelle, from which some of the finest New Zealand woolens are exported around the world.

We passed olive groves near Robinsons Bay, home of a tasty, extra-virgin oil.

Then we came to our first sighting of the “eastern bays” — also known as the Wildside —  a series of headlands and inlets jutting out from the peninsula into the Pacific.  And I would be lying if I didn’t admit that this part of the trip was a little white-knuckle in a large bus, but we were soon…..

….. slowing down on a long access road, past the neighbouring farmer’s sheep running away…..

….. and beehives buzzing….

….. to park beside a rustic old shed framed in agapanthus and wildflowers…..

….. and be welcomed with a sign that we’d arrived.

We walked towards a pretty house with a little entrance garden featuring roses, Spanish lavender and an olive tree.

The owners of Fishermans Bay Garden, Jill and Richard Simpson, greeted us and gave a little introduction to the garden, which she later described to me as a “love story”. (You can hear her tell this story in the video at the end of this blog.)  Jill was working as a landscape designer in Christchurch when they met and fell in love. A dairy farmer, Richard already owned the property – all 300 hectares (790 acres) of it, as well as a dairy farm in Springston west of Christchurch. They would bring their family of six children (three each) to the property for holidays. Once Jill’s children were old enough, they renovated the house and moved to the peninsula. That was 12 years ago, and Jill has been making gardens there ever since.

We began in the long double herbaceous border…….

……. with beautiful  combinations of perennials and lots of fragrant lilies…..

….. and this spectacular rose, below, ‘Eyes for You’. It represents a remarkable and complex breeding achievement by Peter James, stemming  from the dark-splotched Persian rose, Rosa persica – or, as some refer to it, Hulthemia persica. (In fact, the latest taxonomy places the parent in the rose Subgenus Hulthemia, so technically it’s correct to refer to the Persian rose as both names.) A straggly, yellow flowered rose native to dry areas in Iran and Afghanistan, it was that attractive blotch that captivated rose breeders. Some 40 years after they started working with it, there is a growing roster of roses with dark eyes and the Middle Eastern hulthemia in their bloodlines.

Jill collects hebes – more than 150 species and cultivars – and in fact has an entire garden of them, on the slope towards the ocean, but these two made attractive companions at the end of the border.

Fruit trees were integrated into the garden, including apples,…..

….. pears…

….. and plums (that were clearly providing nesting material for leaf-cutting bees)….

A vegetable garden was nearby, and this was one was designed for productivity….

…. rather than ornament.

There were some vestiges of the old holiday house that had once been here, like this sweet little patio.

I walked past an informal cottage garden with dahlias and roses towards a small forest of hulking Monterey cypress trees (Cupressus macrocarpa) – that exotic evergreen considered a pest in New Zealand and paradoxically in danger of extinction on California’s Monterey Peninsula, where it’s endemic.

There were interesting succulent plantings at the top of the hill here, with rusty old farm implements as decor……

…..and a fun planting of shaggy Acacia cognata ‘Limelight’.

I started down the path to find that this marked just the beginning of ……

……Jill’s newest garden, an ambitious hillside planted with an ebullient, Piet Oudolf-inspired tapestry of perennials.

Jill terraced this slope with two truckloads of railway ties, carted and placed one at a time. Let’s walk down through the garden together.

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I could have spent hours exploring the plant combinations here. But it wasn’t simply a naturalistic meadow made by throwing all kinds of colourful perennials together; look at the way those carefully-placed canna lilies draw your eye through the planting here.

At the edges near the Monterey cypresses, conditions are favourable for native ferns and other shade-loving plants.

Moving further down, I saw a bench made from those very same cypress trees.

Further down the hill. Such an amazing profusion of flowers and foliage.

I arrived at a little terrace on the hillside, where there was a stunning piece of statuary conceived as an airy steel wire sculpture by Hawarden sculptor Sharon Earl, titled ‘Ecosphere’, from which to appreciate the amazing view.

And what a view it is.


Let’s keep going down this flowery path, because there’s something very different at the bottom. (And I don’t mean the bellowing bull our tour members are photographing.)

This is from the same position, but looking back up the hill.

At the base of the hillside border, I looked back up. That fluffy waving flag of native New Zealand toetoe (Cortaderia richardsonii) on the right, below, represents a frontier on this property, and a shift from the ornamental plants grown all the way up the slope, …..

….. because although there was still a sinuous stream of traditional perennials extending towards the ocean,……

….. which culminated in a bee-friendly planting of Fuller’s teasel (Dipsacum fullonum)

….. and annual opium poppies (Papaver somniferum) adjacent to……

……the paddock with the very noisy bull,…..

…… we had now arrived in Jill Simpson’s next gardening chapter. Here is where her love of plants meets her ecological sensibility. After buying this property two decades ago, the Simpsons protected about one-third of it via covenanting, and much of the native ‘bush’ on their property has regenerated since then. (The Simpsons are founder members of the Banks Peninsula Conservation Trust). But New Zealand natives are also beautiful garden plants (as the international horticultural community has discovered), so Jill has begun to use natives and cultivars of native plants in her designs here near the Pacific, like the brown New Zealand flax (Phormium tenax) below.

But there are many pure natives here, like the totoe, below, with Chionochloa in front……

….. and the lovely cotton daisy (Celmisia spectabilis).

As I headed back towards the house along a track mown through meadows…

….. I gazed down at the ocean 150 metres (492 feet) below.  Though I didn’t ask the Simpsons, I imagine that the bay is a popular fishing location. The southeastern bays are known for blue cod, sea perch, tarakihi and trumpeter fish.

I’m not sure what fish this was, adorning the entrance to Jill’s hebe collection. Rockfish?

I passed Herbina, the corrugated cow resting in the meadow grasses. I read that although Richard Simpson has had a long relationship with dairy cattle on his farms, he and Jill now have a sharemilker on their other property near Christchurch. (Sharemilking is often used in New Zealand to provide income to farmers who have given up their herds, while providing an opportunity to younger farmers with cattle, but no land). And their young next-door neighbour and his wife manage this property for them, leaving them free to garden and pursue new opportunities, such as their recent purchase of the old (1907) Madeira Hotel in Akaroa.

It was time to enjoy the lovely lunch, set out on the various patios and decks.

I loved the bouquets that Jill had made…

….. from her abundance of flowers.

Look at this view from my lunch spot! That phormium is ‘Jester’, and beyond are astelias and native cabbage trees (Cordyline australis).

These alfresco lunches in the special gardens on the tour were a chance for us to relax and get to know one another better. And it was fun for my husband, Doug, left, to get to know “my” friends from the gardening world, like North Carolina’s Cyndy Cromwell and Denver Botanic Garden’s Panayoti Kelaidis.

Jill Simpson was sitting with us on the deck, and someone asked her how this all got started. Her answer was candid and interesting — including the direction she hopes to take integrating native plants here at Fishermans Bay.

With less than a half-hour remaining before we had to depart for Akaroa, I finished my lunch and rushed back out to this amazing garden to see what I might have missed. It was then that I heard the mellifluous song of the New Zealand bellbird (Anthornis melanura), and I had an idea. What if I retraced my steps through as much of the property as I could, filming the beautiful garden while the bellbird sang in the background. Could I do it?  Would the little yellow bird sing on cue? Have a listen and see what happened.

 

Ohinetahi – An Architectural Garden Masterpiece

It was Day 15 of our American Horticultural Society “Gardens, Wine & Wilderness” tour of New Zealand and we had a wonderful day of garden visits ahead of us. We left our hotel in Christchurch early and drove south. As we came to the Port Hills, the view of   Lyttelton Harbour ahead was spectacular.  It would not be until I returned home and did some research that I would learn that we were actually on the rim of the collapsed Lyttelton Volcano, one of two shield volcanoes that make up the Banks Peninsula, the other being Akaroa (both active 11-8 million years ago). If you’ve read my blog on Yellowstone Park, you know how much I love volcanos, and this would be my third visit to one (Ngorngoro in Kenya was my first).  When Lyttelton’s southern volcanic rim eventually eroded, it was flooded by the sea, resulting in the pretty harbour we saw ahead of us.

Though the Māori have been in this area for hundreds of years, it was first seen by Europeans when Captain James Cook sailed past on February 17, 1770, giving the name Banks Island (for onboard botanist Joseph Banks, who featured in my Doubtful Sound blog) to the land along the curved shore, which appeared to his eyes separate from the mainland behind. It would later be renamed Banks Peninsula.  We would be visiting three gardens today, each occupying a scenic spot on the peninsula. Looking at the satellite map below (you can click to make it bigger), you’ll see that I’ve marked them as 1 (this garden), 2 and 3. You’ll also see my two earthquake notations (unrelated to the peninsula’s volcanic past). The one in the upper left shows the rough location of the Greendale-Rolleston Fault, a previously unknown slip-fault which caused the destructive September 3, 2010 earthquake.  That 7.1 magnitude quake, the strongest recorded in New Zealand was followed 5 months later by the deadlier 6.3 aftershock centred just west of Lyttelton, which killed 185 and injured more than 6,000 people in greater Christchurch. Both would have a direct impact on our first garden today and an indirect impact on our third garden in Akaroa.

We circled Lyttelton Harbour to our destination overlooking Governors Bay. It was the Māori Ngāi Tahu chief Manuhiri who called his pā (fortified village) overlooking this bay “Ōhinetahi” – The Place of One Daughter – in honour of his solitary daughter in a family of sons. And that became the name of this garden, now arguably Christchurch’s finest private garden.

We were met at the entrance by Ohinetahi’s principal gardener, Ross Booker, shown below at left, chatting with our tour guide, New Zealand born, Pennsylvania-based landscape architect Richard Lyon.

We walked through the gates and down the drive.

Perhaps if I’d seen this plan of the garden on our arrival, I would have had a better sense of how to approach exploring it in the short time we had. But I hadn’t yet grasped the formal, linear arrangement of the garden rooms on three levels….

….. nor paid attention to the intersecting axes I glimpsed soon after we entered. This was the peony garden, which of course was out of bloom in mid-summer. But what was the enticing glimpse of garden below this? In fact, that is the north-south axis that cuts through the various east-west garden rooms and leads directly to a suspension bridge  over the creek to arrive at a shady bush walk filled with New Zealand natives. But we’ll get there later.

At the bottom of the drive, we turned left to find ourselves gazing at a lovely house, below, whose walls were crafted of soft-peach sandstone block.This is where Sir Miles Warren lives, having retired in 1995 from a long architecture career that began in 1955 when he founded his own practice with the radical Dorset Street Flats, expanded it in 1958 with the formation of Warren and Mahoney with Maurice Mahoney, then spent almost four decades creating hundreds of buildings, including some of New Zealand’s most iconic, modernist structures. Those include College House – University of Canterbury (1966), the Christchurch Town Hall (1972), the New Zealand Embassy in Washington DC (1975), the Christchurch Central Library, the Hotel Grand Chancellor (1986) and Clarendon Tower (1986) not to mention housing complexes, apartments and government buildings and airports in Wellington, Auckland and elsewhere. The firm became renowned for its concrete-based “Christhchurch School” style, combining Brutalism with contemporary Scandinavian and Japanese design principles. Sadly, several of those buildings were no match for the earthquakes that would devastate Christchurch in 2010-11, with many sustaining enough structural damage that they were ordered demolished.

Today, Warren and Mahoney Architecture is a 300-employee practice but its original co-founder – retired since 1995 – lives here in this Victorian house.  It was built by British-born naturalist-botanist-entomologist Thomas Potts between 1863-67 and looked like this on New Year’s Eve 1867, in a photo by Daniel Mundy. below. That’s native “cabbage tree” (Cordyline australis) in the foreground.

Potts would go on to plant a number of trees which still stand at Ohinetahi, but the extensive gardens he designed and maintained with the help of six gardeners were completely overgrown in 1977 when Miles Warren, his artist sister Pauline Trengrove and her husband, the late architect John Trengrove, found the property. It consisted of a ramshackle house with a leaking roof (they nicknamed the place Miss Haversham from Great Expectations), a lawn and the small orchard that is still on the site.  But they knew in ten minutes that they would buy it and hired two carpenters who worked for 18 months repairing it, while they came out on weekends to do the “donkey work”.  The garden would take a decade to shape, with Pauline the expert gardener and her brother and husband the designers. As Sir Miles said in one interview, “We were amateurs practising an art rather than having to be professional architects. We could do what we damn well liked and make our own mistakes.”  The garden became a place to escape their desks. In another interview, he recalled, “That period, we were both very busy professionally, so it was great relief, moving bricks and removing trees, fighting our way through the jungle and so on. It was an ideal contrast to the working week.” When Pauline and John moved away in the late 1980s to make another garden, he was left as Ohinetahi’s sole owner and resident designer.

Gardens have always been important to Sir Miles Warren, a passion not always shared by members of the profession. I love this photo of him, below, taken mid-career at his then-Christchurch house by Matt Arnold. That long pool is the epitome of modernism, softened with lots of lovely water plants.

As we set out, I spied the owner, now 89, walking across the lawn. “May I take your photo?” I asked. “Oh, I break cameras,” he replied with a chuckle, but gamely posed for me.

He was very lucky to be standing on his lawn, for his close escape from the 2010 earthquake came in the pre-dawn darkness of September 3rd when the four stone gables toppled onto the tin roofs, the rock falling through into the library where books and grandfather clock crashed to the floor.  As he came down from his bedroom searching for a flashlight, he had no idea of the damage around him.  Friends, family and former tradespeople helped empty the house and begin repairs, removing the stone third storey. stabilizing the walls with concrete and steel bracing and helping the house survive the much closer, more violent February 2011 aftershock. Sir Miles designed further changes to reinforce and strengthen the house. Today Ohinetahi remains a Category 1-listed heritage house – and, personally, I think the scale is much better without all that top-heavy stone.

All that toppled stone would be put to creative use, as with this reinforced folly and observation tower leading to a new waterfront “park” that I’ll show you later.

THE GARDENS

When Sir Miles, Pauline and John Trengrove began planning the garden at Ohinetahi, they did what many serious designers do: they visited famous gardens. Thus the Red Border of Hidcote Manor Gardens in England’s Cotswolds became inspiration for the lovely Red Garden here. But I think this one is even better (having seen Lawrence Johnston’s version some 25 years ago….) because of its intimacy,……

…… formality and smaller scale, which helps visitors understand how to accomplish a “colour garden” themselves.  That centrepiece, below, is a deconsecrated stone baptismal font. The red parterre hedge is barberry; the green is boxwood. And the silver pear (Pyrus salicifolia) adds just the right touch at right.

Plus…. if you know that my great passion is colour in garden design, you’ll know that I think complementary contrasting red-and-green is one of the best ways to bring the drama of that brilliant colour to a garden.

Four Burbank plum trees planted by a previous owner are still producing fruit, and act as the forecourt to Ohinetahi’s spectacular Herbaceous Border.

I loved that someone had placed this fallen plum on the statuary leading into the border.

Isn’t this border enchanting?  Sir Miles designed the airy, octagonal gazebo with its ogee roof and curved arches to match the Victorian trim on the house.

The summer combinations were stunning, like this sundrops (Oenothera fruticosa) and Verbena bonariensis….

…. and this dark Teucrium hircanicum with a cranesbill (Geranium) and Japanese hakone grass (Hakonechloa macra ‘Aureola’).

…. and magenta summer phlox (Phlox paniculata) with agapanthus.

Bumble bees were happy foraging on the single red dahlias in the herbaceous border.

This is what the border looked like facing back to the house.

I went down into the Woodland Garden that runs along the edge of the property beneath mature trees, including oaks that are some 150 years old.. Here were native cabbage trees and tree ferns and a sculpture by Mark Whyte…..

….. and selections of New Zealand flax (Phormium tenax)….

…. and traditional shade garden ornamentals such as hosta, hellebore and astrantia….

Climbing back up, I walked past a wall inscribed in Latin by Mark Whyte, Conditor horti felicitatis auctor: “Whoever plants a garden, plants happiness”.

At this end of the garden was a suspended metal globe by Neil Dawson titled Ferns. His large works also adorn downtown Christchurch.

Here’s a closer look at Ferns. Neil Dawson’s work was also featured in the blog I wrote about the Connells Bay Sculpture Park on Waiheke Island near Auckland.


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And I found one of the old trees planted by Thomas Potts, a hoop pine (Araucaria cunninghamii).

It was comforting to see a handsome, well-used compost bin behind one of the hedges. (Ross Booker: “Four months turnaround from hoe-to-go“.) Maintenance is crucial here; the hedges alone take three months to trim.  At the moment, all the work is done by Ross and one other full-time gardener.

The pleached Hornbeam Walk is also modelled on England’s Hidcote; at its cross-axis is a copy of the urn designed for Alexander Pope’s garden at Twickenham.

I walked back towards the Lawn which is all that remains of Thomas Potts’s original garden.  Looking to my right I saw the pretty pool house and the pool wall hidden by a pyracantha hedge.

But when I climbed up to the pool level, I could look back at the lawn and the perfectly balanced scene opposite….

….of two chartreuse ‘Frisia’ locusts (Robinia pseudoacacia) and a Luytens bench flanked by two shiny granite columns. Behind were precisely-clipped macrocarpa hedges (Cupressus macrocarpa).

I walked to the Suspension Bridge over the creek….

…. with its artfully-adorned bridgehouse.

Here I could see the stream below wending its way south to the ocean through New Zealand “bush”…..

…. including lacy tree ferns.

Suspended elegantly in the lush native bush under Thomas Potts’s five old oaks was a stainless steel sculpture by Auckland artist Virginia King titled “Heart of Oak”, below.  Commissioned by Sir Miles in 2014, the artist – who saw the garden in winter – describes it on her website. “The circular mandala  form alludes to the longevity of trees, to changing seasons and the cycle of life and  to ancient mythologies about Oak trees in Roman, Greek, Celtic, and Teutonic cultures.

The cycle of life was certainly evoked naturally in this lichen-covered tree trunk.

I loved that the blue base of this woodland sculpture emerged from a clump of New Zealand blueberry or turutu (Dianella nigra) with fruit exactly the same azure hue.

Approaching the outlook to Governors Bay, there was another evocative sculpture, this one by Andrew Drummond.

With our departure time approaching, I made a quick stop in Ohinetahi’s little art gallery, featuring works by renowned New Zealand artists.

Adjacent is a newer gallery containing 3D models and photographs of Warren & Mahoney projects….

…… including many destroyed by the earthquakes.

Back at house level, the Rose Garden beckoned, with its 12 rectangular, boxwood-edged beds marked by topiary spirals and boxwood chess pieces…..

……and filled with white, yellow and apricot roses to match the house.

I loved the ebullient fuchsia at the house entrance, and was intrigued with the number woven into the trim. Thomas Potts’s sandstone walls were quarried at Charteris Bay across Lyttelton Harbour.

The rose garden’s central path was on an axis with the Reflecting Pool across the lawn, its edges adorned with eight Coade stone flowers.

Now there was just enough time to dash around the house and head up past the Doug Neil-carved Oamaru stones “Canyon Suite”…

….. and Andrew Drummond’s “Astrolabe”, below, to visit the newest addition to Ohinetahi, an adjacent .75-hectare (1.85 acres) property overlooking Governors Bay purchased in 2008 and christened “the park”.

There are masses of natives here, like leatherleaf sedge (Carex buchananii)…..

…..and Corokia cotoneaster sheared into wedges, below.  Originally part of the Potts property, the park features the oaks he planted a century-and-a-half ago.

Large-scale modern art commands the hillside……

…… including pieces like ‘Phase’ by Graham Bennett.

And the new amphitheatre overlooking the water is a place where visitors can relax in a spectacular setting atop a turf bench supported by some of the 140 tonnes of sandstone block that fell from Sir Miles’s roof into his library, that terrible night in September 2010.

In 2012, after setting up the Ohinetahi Charitable Trust (the trustees include his sister Pauline and a niece) to oversee the necessary maintenance, insurance costs and continued development of the property, Sir Miles Warren donated it to New Zealand.  As he said to a reporter at the time, “So many gardens are made in New Zealand and the owners become elderly and the grounds fall into disrepair. It would seem a pity to spend 35 years making something and then walking away and letting it fall apart.

The bus was leaving and I had just enough time to make one last photograph.   The bust, of course, was familiar, but I had to look up the inscription. Firmitas, Utilitas et Venustas.  Coined by the Roman architect Vitruvius, it dates from the 1st century B.C and means “Strength, Utility and Beauty.” It’s an age-old tenet of architecture but it seemed to me it described this garden, as well as the man who is now a tenant here.

We were heading south on the Banks Peninsula to see two other gardens made by brilliant, obsessive gardeners. It would be a garden touring day like no other (and I’ve been on many tours). But as to this part of Canterbury, I will let Sir Miles Warren have the last word. Filmed in 2016, it relates to the city he loves, a city whose architectural heritage owes much to the work of Warren and Mahoney Architects, a city working to recover. Be sure to watch until the end, when he asks the question I would also put to you.  And the answer: “If you haven’t yet, why not?”

https://www.youtube.com/watch?v=bh8YF5XluCw

Finding Beauty & Tranquility at Omaio

While touring New Zealand this January with The American Horticultural Society’s Travel Study Program, we were privileged to visit both gardens with a high degree of human intervention and wild places where nature was the sole designer. But we also visited a garden where the owner had used her skill to meld subtle design with the natural environment in a way that complemented both.

Omaio-Garden Welcome-Sign

Omaio is a Māori word that means “peace, tranquility and happiness”. For Liz Morrow, her 18-acre (7 hectare) property on the Takatu Peninsula an hour north of Auckland is all of those things. What started out in 1980 as a log cabin seaside holiday house (what the Kiwis call a “bach”) became, in 2005, a full-time home.  Now it’s not just a ‘garden of national significance’ recognized by the New Zealand Gardens Trust, but also a Bed & Breakfast.  And it’s been the subject of magazine articles and a garden show.

Omaio-House front

But back to 2006, when Liz and her son Johny….

Omaio-Garden Sign

….. whose eponymous deck (aka ‘the gin deck’) is a comfortable spot to have a drink while gazing out at the ocean….

Johnny's Deck-the gin deck-Omaio

…. worked together to sculpt a garden out of native bush that features a  puriri tree (Vitex lucens) estimated to be 800-1000 years old, ancient kauri pines (Agathis australis), totaras (Podocarpus totara), silver ferns (Cyathea dealbata) and many other species. Crushed seashells from the beach, below, form the paths which circle through the bush……

Shell path through bush-Omaio

….. while fallen tree fern trunks delineate the edges in many places. Tree fern path edging-Omaio

Using borrowed garden hose to outline gently curving borders that echoed the curves and waves of Kawau Bay below, Liz cut into the former lawn, planting both exotics and natives that would complement, but not out-compete, the natural setting.

Lawn & sea view-Omaio

In the sunny garden surrounding the house…..

Omaio-House garden

….and in the dappled shade near the tennis court are plants like hydrangea that do very well here.

Tennis court-Omaio

We were all wowed by the luscious mophead Hydrangea macrophylla ‘Bloody Marvelous’.

Hydrangea macrophylla 'Bloody Marvelous

Though Liz’s massed clivias and bergenias would have flowered in New Zealand’s spring (our autumn), their foliage and fruit still offered interest in midsummer. This is the fruit of a yellow-flowered clivia.

Clivia fruit-Omaio

Liz was the perfect hostess, organizing an alfresco lunch…….

Liz Morrow-Omaio

….. in the shade behind the house where terraced gardens stretching up the slope offer what Liz calls “a soft palette that’s easy on the eyes”:  lots of green foliage with just a sprinkling of colour in a favourite yellow dahlia.

Terraced beds-Omaio

I loved this focal point crafted from a Scleranthus moss cushion…….

Scleranthus moss cushion-Omaio

……… and the real cushions on these comfy chairs under ferns.

Chairs & tree ferns-Omaio

Main function of heart is get viagra australia to regulate oxygen supply using blood flow to various parts of the body. It also releases L-dopa to suppress the effects of prolactin cheapest sildenafil 100mg and ensures harder erection to satisfy your female in bed. With the arrival of many online drug selling companies, you can now even cialis online consultation . cialis: Important Safety Information This pill can cause your blood pressure to drop suddenly to an unsafe level if it is taken with a high fat meal, the rate of absorption is reduced, with an average delay in the effectiveness of the medicine. tadalafil from india Johari Saad is the most experienced tester of Tongkat Ali. After lunch I wandered Omaio’s paths, past the sunny Koru Garden where vegetables grow in profusion in raised beds shaped like the koru or symbolism-laden fern crozier that I wrote about in my last post.  In the bright midday sunshine, it was difficult to do justice to this garden…..

Koru Vegetable Garden1-Omaio

…..that provides fresh produce throughout the year. Not visible in the background is a small fruit orchard.

Koru Vegetable Garden2-Omaio

In the mostly green bush landscape, the pohutakawa (Metrosideros excelsa) stood out like a glowing red bouquet.

Metrosideros excelsa 'Vibrance'

This was my favourite photo from Omaio, a shimmering kauri trunk set against the turquoise ocean. (Kauris will figure prominently in my next blog on Maori culture.)

Kauri trunk-Agathis australis-Omaio

The artwork chosen for Omaio is subtle and rustic, like this corrugated iron boat shed…..

Boat shed-Jeff Thomson-Omaio

….. and sphere, both by Jeff Thomson. (His “Cows Looking Out to Sea” were in my earlier blog video from Connell Bay Sculpture Park.)

Sphere-Jeff Thomson-Omaio

Grandchildren must love this swing under the trees.

Swing

In a nod to the North Island’s prehistoric past, a lifesize moa by Jack Marsden-Meyer made from driftwood and pururi boughs watches over the path from the bush.  The sculpture recalls the flightless bird – this one, the North Island giant moa (Dinornis novaezealandiae)  was estimated to stand at 3 metres (10 feet) – that was hunted to extinction by the Polynesians, the first humans to reach New Zealand in the 13th century.

Moa-sculpture-Jack Marsden-Meyer-Omaio

Her “eggs” sit in a nest nearby.

Moa sculpture eggs-Omaio

As I came back around the house, some of Liz’s family were returning from a fishing expedition on Kawau Bay with a bucket of ‘snapper’ (Pagrus auratus), aka pink seabream, for dinner.

Snapper-Pink seabream-Omaio

Rounding into the shade, a native New Zealand hens-and-chicks fern (Asplenium bulbiferum) caught my eye.  Note the tiny ferns arising from bulbils on the mature fronds.

Asplenium bulbiferum-Mother spleenwort-Hen-and-chicken fern

And I loved this little maidenhair fern in a pot……

Maidenhair fern-Omaio

…. and these nests from the birds that have called Omaio home over the years.

Nests-Omaio

A quick glass of water……

Water jug-Omaio

……then it was time to climb the path to the bus and head further north to the seaside town of Paihia in the Bay of Islands.