More importantly, Some Branch against the Sky sets us thinking about what a garden is and how it differs from its surroundings; about cultivation and wilderness, and how we can tread the border between the two; about climate and situation and how we can learn the most from those that appear the least favourable if we work with rather than against them. And it suggests how, gardeners or not, we can help reduce the loss of our near-wild habitat by integrating with our own chosen part of it.

More importantly, Some Branch against the Sky sets us thinking about what a garden is and how it differs from its surroundings; about cultivation and wilderness, and how we can tread the border between the two; about climate and situation and how we can learn the most from those that appear the least favourable if we work with rather than against them. And it suggests how, gardeners or not, we can help reduce the loss of our near-wild habitat by integrating with our own chosen part of it.

A call for landscape architects to leave the office and return to the garden. Addressing one of the most repressed subjects in landscape architecture, this book could only have been written by someone who is both an experienced gardener and a landscape architect. With Overgrown, Julian Raxworthy offers a watershed work in the tradition of Ian McHarg, Anne Whiston Spirn, Kevin Lynch, and J. B. Jackson. As a discipline, landscape architecture has distanced itself from gardening, and landscape architects take pains to distinguish themselves from gardeners or landscapers. Landscape architects tend to imagine gardens from the office, representing plants with drawings or other simulations, whereas gardeners work in the dirt, in real time, planting, pruning, and maintaining. In Overgrown, Raxworthy calls for the integration of landscape architecture and gardening. Each has something to offer the other: Landscape architecture can design beautiful spaces, and gardening can enhance and deepen the beauty of garden environments over time. Growth, says Raxworthy, is the medium of garden development; landscape architects should leave the office and go into the garden in order to know growth in an organic, nonsimulated way. Raxworthy proposes a new practice for working with plant material that he terms “the viridic” (after “the tectonic” in architecture), from the Latin word for green, with its associations of spring and growth. He builds his argument for the viridic through six generously illustrated case studies of gardens that range from “formal” to “informal” approaches—from a sixteenth-century French Renaissance water garden to a Scottish poet-scientist's “marginal” garden, barely differentiated from nature. Raxworthy argues that landscape architectural practice itself needs to be “gardened,” brought back into the field. He offers a “Manifesto for the Viridic” that casts designers and plants as vegetal partners in a renewed practice of landscape gardening.

Damaged. Broken. Destroyed. I’ve heard it all. A single moment of trusting the wrong person shattered my life into pieces, and my family has never looked at me the same. It’s impossible to convince them that I’m anything more than the broken girl they rescued all those years ago. Until I meet him. Ramsey’s grumpy demeanor and menacing scowl scare most of the world away. But not me. Not when I’ve seen his gentle hands soothe an abused colt or comfort a terrified mare. And when I finally get up the courage to strike out on my own, Ramsey’s there. Roommates felt like such a safe proposition until Ramsey’s lingering touches and wicked smile light a fire in me I don’t think will ever be extinguished. And he feels it, too… But just as my new life begins to take root, an evil from my past emerges from the shadows, casting a darkness on my newfound freedom. And this time, they won’t settle for pieces of me. They want everything…

Illustrating the dominant features of many common species — elm, maple, willow, apple, more — this manual includes two portraits of each variety, in pencil and other media. 34 drawings.