Columbine

Aquilegia
A genus of mostly late spring blooming, short lived but self seeding perennials that are part of the Ranunculacea family. The flowers are highly attractive to hummingbirds.
They mostly prefer full sun to partial shade on fertile, moist, well drained soil.
Deer / rabbit resistant but prone to leaf miners which tunnel through the foliage and often kill the entire plant. It is recommended to cut back and burn foliage that is damaged by leaf miner. Get rid of the infested leaves or the larvae will overwinter and infest the plant the following year. Plants can be treated with a systemic pesticide such as Bayer during early spring. Luckily, these beautiful plants are highly rabbit and deer resistant. These herbaceous perennials are usually cut back to ground level during late autumn. Propagation is usually from seed which is sprinkled on top of loose soil and not buried.

* photos of unknown internet source



Aquilegia alpina ( Alpine Columbine )
A compact perennial, reaching a maximum size of 3 x 2 feet, that is native to central Europe. It makes a great plant for the rock garden.
The finely-divided foliage is gray-green.
The nodding, violet-blue to deep blue flowers, up to 2 inches across, are borne late spring to mid summer.
Hardy zones 3 to 8 in partial shade on moist, fertile, well drained soil.
Tolerant of hot humid summers if planted in the shade.

Aquilegia atrata
Compact in habit, reaching a maximum size of 4.3 ( rarely over 3 ) feet x 15 inches, that is native to alpine woodlands in Europe.
The foliage is blue-green. The short-spurred, purple-violet flowers are borne late spring to early summer.
Hardy zones 3 to 8

Aquilegia bertolinii
A perennial, reaching a maximum size of 20 ( rarely over 14 ) inches x 1 foot, that is native to Italy.
The violet-blue flowers are up to 2 inches across.
Hardy zones 5 to 8

Biedermeier
Very neat and compact in habit, reaching a maximum size of 20 inches x 1.5 feet.
The flowers come in a variety of colors including cream, pale pink, light blue and purple. The flowers are borne late spring to mid summer.
The flowers attract hummingbirds and butterflies.
Hardy zones 3 to 8 in partial shade.


* photo taken on May 5 2010 in Columbia, MD





* photo taken on May 14 2012 in Columbia, MD

Aquilegia buergeriana
A perennial, reaching a maximum size of 3.3 feet, that is native to eastern Asia.

Aquilegia caerulea ( Rocky Mountain Columbine )
A perennial, reaching a maximum height of 4 x 2 ( rarely over 3 ) feet, that is native to the western U.S.
The leaves, up to 15 inches in length, are composed of leaflets, up to 2.5 inches in length.
The very showy, white ( with violet-blue sepals ) flowers, up to 3.2 inches across, borne late spring to mid summer. The sepals are up to 2 inches in length.
Hardy zones 3 to 8, it prefers cool, high altitudes and in other areas should be grown on a cool shady site. Does not like excessive heat and humidity.

Kristall
Reaches up to 2.5 x 2 feet, with nodding, pure white flowers.

Red Hobbit
Compact in habit, reaching a maximum height of 16 inches, with showy, deep red, long-spurred flowers with white carollas that are borne late spring into early summer.

Rose Queen
Reaches a maximum height of 2.5 feet, with flowers that are pink with a white corolla, that are borne early to mid summer.

Aquilegia canadensis ( American Columbine )
A perennial, reaching a maximum size of 4 x 3 ( rarely over 3 ) feet, that is native to eastern North America ( Minnesota to Nova Scotia; south to Kansas to Florida ). Great for rock gardens, woodland gardens and containers.
The leaves are up to 12 inches in length and are composed of leaflets up to 2 inches.
The foliage is evergreen in the southern part of its range.
The yellow ( with red sepals ) flowers are borne during late spring into early summer. The red spurs are up to 2 inches in length.
The flowers attract hummingbirds and butterflies.
Hardy zones 2 to 8 in partial to full shade on moist, fertile, well drained soil. Resistant to leaf miners and easy to grow over most of eastern North America.

* photo taken on May 16 2011 in Washington, D.C.


Corbett
Reaches up to 2 ( rarely over 1.5 x 1.5 ) feet, with long-spurred, pale yellow. The attractive foliage is persistent and leaf miner resistant.

Little Lantern
A dwarf, compact perennial, reaching a maximum size of 1 x 1.5 feet.
The bright red ( with yellow carolla ) flowers are borne late spring into early summer. The attractive foliage is verdant bright green.

Aquilegia chrysantha ( Golden Columbine )
A vigorous perennial, reaching a maximum size of 4 x 2 feet, that is native from southwest Utah to central Colorado; south to northwestern Mexico.
The leaves, up to 18 inches in length, are composed of leaflets up to 2 inches in length.
The long, narrow-spurred, bright yellow flowers, up to 3.2 inches across, are borne during late spring. The spurs are up to 3.2 inches in length and the stamens are very prominent. It will often rebloom if cut back after flowering.
Hardy zones 3 to 8 in sun or shade on humus-rich, well drained soil. Heat tolerant and mildew resistant. It makes a great plant for dry shade conditions.

* photos taken on May 16 2011 in Washington, D.C.




Little Treasure
A very profuse flowering, miniature form, reaching a maximum size of only 15 x 10 inches, with beautiful foliage resembling that of the Maidenhair Fern.
This cultivar originated in the wild in New Mexico and is sold by High Country Gardens.

Texas Gold
Reaches a maximum size of 3 x 2 feet, with attractive blue-green foliage all season long and flowers borne early to late spring.
Very heat tolerant, even in Texas. Pest freen.

Yellow Queen
Vigorous in habit, reaching a maximum size of 4.7 x 3.5 feet, with bicolored pale-yellow and golden-yellow flowers, borne late spring to mid summer.

Aquilegia clematiflora
A compact perennial, reaching a maximum height of 1.5 feet.
The clematis-like foliage is rich green.
The red-purple, spurless flowers are borne late spring into early summer.
Hardy zones 3 to 8

Aquilegia discolor
A compact, dwarf perennial, reaching a maximum size of 1 foot x 6 inches, that is native to Spain.
The blue and creamy-white flowers are up to 1.6 inches across.
Hardy zones 5 to 8

Aquilegia ecalcarata
A perennial, reaching a maximum size of 3 x 2 ( rarely over 1.5 ) feet.
The spurless purplish flowers are up to 1 inch across.
Hardy zones 5 to 8

Aquilegia flabellata ( Fan Columbine )
A perennial, reaching a maximum size of 2.5 x 1 ( rarely over 1.5 ) foot, that is native to Sakhalin, Korea and Japan. It looks great when used for edging.
The attractive, trifoliate-lobed foliage is blue-green.
The hook-spurred, light blue flowers, up to 1.6 inches across, are borne late spring into early summer.
The flowers attract butterflies and hummingbirds.
Hardy zones 2 to 8 in full sun to partial shade on moist, well drained soil.
It is deer and rabbit resistant.




Cameo Series
Very dwarf and compact, reaching a maximum size of 8 x 10 inches. Excellent for rock gardens or as potted plants on patios. The Cameo Series comes in Blue & White, Bright Red & White, Rosey Pink & White, Pale Pink and Pure White.

Ministar
Reaches a maximum height of 1 foot, with bright blue and white, nodding flowers borne late spring into early summer.

Nana Alba
Reaches a maximum height of 1 foot, with pure white, nodding, cup-shaped flowers borne late spring to mid summer.

var pumila
Compact and miniature in habit, reaching a maximum size of 8 inches x 1.5 feet.
Looks great edging a border and in the rock garden.
The fine-textured foliage is gray-green.
The blue flowers are borne late spring through early summer.

* photo taken on May 14 2012 in Howard Co., MD

Aquilegia formosa ( Western Columbine )
A perennial, reaching a maximum size of 5.5 x 3 ( rarely over 3 ) feet, that is native to western North America ( from Alaska to Alberta and Montana; south to northern California to Utah ).
The leaves are up to 16 inches in length.
The red and yellow flowers are borne late spring to late summer.
The flowers are loved by hummingbirds and butterflies.
Hardy zones 3 to 9 in full sun to partial shade ( requires much more water in full sun ). If plant looks leggy and worn after blooming, cut to ground to encourage new flush of foliage. Do not remove all flower stalks if you want this often short-lived perennial to self seed.

* photo taken by Sheri Hagwood @ USDA-NRCS PLANTS Database

Aquilegia glandulosa
A perennial, reaching a maximum size of 2 x 1 ( rarely over 1.5 ) foot, that is native to Siberia.
The violet-blue ( with lilac-blue sepals ) flowers are up to 1.6 inches in length.
The flowers have short hooked spurs.
Hardy zones 3 to 8 in partial shade.

Aquilegia x hybrida
Hardy zones 3 to 8 in partial shade ( also full sun in cool summer climates ) on moist, fertile, well drained soil.

Blue Star
Reaches up to 2 feet, with bicolored blue and white flowers borne late spring into early summer.

Crimson Star
Reaches up to 3 x 1.5 ( rarely over 2 ) feet, with bicolored flowers that have a white corolla and intense red spurs, borne late spring into early summer.

Dragonfly Hybrids
Compact in habit, reaching a maximum size of 2.5 feet x 16 inches, with long spurred, large flowers that come in a range of colors borne on strong stems.

Koralle
Reaches a maximum height of 3 feet, with very showy bicolored coral-pink and pale yellow flowers borne late spring to mid summer.

Maxistar
Reaches a maximum height of 3 feet, with yellow, long-spurred flowers borne during late spring.

McKana Giant
Reaches a maximum size of 4 x 3 feet, with large flowers borne late spring to mid summer that come in a wide range of colors. The large showy flowers have long spurs.

Aquilegia longissima
An evergreen perennial, that is native to the southern U.S.
It is similar to Aquilegia chrysantha but with paler yellow flowers and spurs, up to 6 inches in length.

Aquilegia olympica
A perennial, reaching a maximum size of 2.5 x 1 foot, that is native to Greece.
The large, long-spurred, nodding, blue and white flowers are borne during spring.
Hardy zones 3 to 8

Aquilegia rockii ( Chinese Columbine )
Reaches a maximum size of 3.5 x 2 feet, with rich purple flowers with a corolla that is edged in white. The flowers are borne late spring to mid summer.
Hardy zones 3 to 8

Aquilegia saximontana
A perennial, reaching a maximum height of 10 inches.
Hardy zones 3 to 8

Aquilegia scopulorum
A perennial, reaching a maximum size of 15 x 6 ( rarely over 10 ) inches, that is native to Nevada and Utah.
The leaves, up to 5 inches in length, are blue-green.
The long-spurred flowers are bicolored lavender-purple and creamy-white.
Hardy zones 5 to 8

Aquilegia sibirica
Hardy zones 2 to 8

Aquilegia skinneri
A perennial, reaching a maximum height of 3 feet.

Aquilegia Songbird Series Mix
Hardy zones 3 to 8

Aquilegia vulgaris ( Grannys Bonnet )
A perennial, reaching a maximum size of 3.3 x 2 feet, that is native to most of Europe.
The leaves are up to 12 inches in length.
The short-spurred flowers, up to 2 inches across, are borne during late spring.
The flowers are typically violet however the cultivars can also some in white, pink or red.
Hardy zones 3 to 7 in full sun to partial shade on fertile, moist, well drained soil.
Propagation is from seed and they often readily self seed.
* photos taken on May 4 2012 in Columbia, MD

* photo taken on May 1 2010 @ U.S. National Arboretum, D.C.


Altrosa
Reaches up to 2 feet, with pink flowers.

Black Barlow
Very dark purple, spurless, dahlia-like, double flowers.

Blue Barlow
Double blue flowers.

* photos taken on May 3 2012 in Columbia, MD

Grandmothers Garden
Forms a bushy clump, up to 3 x 1.5 feet, with rose-pink, deep red and violet flowers during late spring.

Heidi
Reaches up to 28 inches in height, with pink flowers during late spring.

* photos taken on May 3 2012 in Columbia, MD

Lace Frills
Bright blue flowers during late spring.

Leprechaun Gold
Very attractive foliage that is green with yellowish-green streaking, constrasting with intense deep purple flowers.

Miss Jekyll
Reaches up to 2.5 feet, with pure white flowers during late spring.

var Nivea
Vigorous in habit, reaching up to 3 feet, rarely more, with pale gray foliage and single, white flowers.

Nora Barlow
Reaches a maximum size of 3 x 2 feet, with spurless, double pink and purplish-pink flowers borne late spring to mid summer.
Almost breeds true from seed.
* photos taken on May 7 2012 in Bsltimore, MD

Plena
Reaches a maximum height of 3 feet, with double flowers that come in a mix of colors.
Full sun or partial shade.

Plum Pudding
Reaches a maximum height of 2.5 feet, with violet-red, short-spurred, double flowers borne late spring into early summer.

* photo taken on May 7 2012 in Columbia, MD

Raspberry Tart
Reaches up to 2.5 feet, with double, deep pinkish-red flowers borne late spring into early summer.

Ruby Port
Reaches a maximum height of 3 feet, with showy, large, deep red, double flowers.
Full sun or partial shade.

William Guinness
Forms a bushy clump, reaching a maximum of 3 x 2 feet, with double, blackish-purple ( with white corollas ) flowers borne late spring into early summer.

Woodside Gold
Compact and tidy in habit, reaching a maximum size of 2 x 2 ( 3 feet in bloom ) feet. The intense golden-yellow foliage contrasts well with the bicolored blue and rose-pink flowers.

Woodside Variegata
Reaches a maximum size of 2 x 1.5 feet, with very attractive foliage that is green and heavily streaked and marbled creamy-white to yellow.
The flowers come in a mix of color.

Read More

13 1 Landscape Architecture Theory

13.1 Landscape Architecture Theory
Contents list

The blood of philosopher-kings

Landscape design theory has been rotting away, peacefully, like a garden temple, since the close of the eighteenth century. The Director of Landscape Architecture
Studies at Dumbarton Oaks gives poverty as the explanation:

This ignorance or cavalier disregard of history is part and parcel of a larger poverty of discourse; as Steven R. Krog has written, landscape architecture
is "a discipline in intellectual disarray and with a "deficiency of theoretical discourse. Of all the modern arts none has displayed such a meagre command
of analytical, including rudimentary philosophical, language as landscape studies. (Hunt, 1992)

Therefore:

...if you find yourselves in agreement with somebody about a beautiful design in landscape architecture, this happy accident can be explained in more cases
than not by a shared class background or education rather than by any examinable philosophical criteria... Modern designs, perhaps to escape this solipsism,
have insisted both upon design as problem solving and specifically upon designing for groups or the community.

There is sufficient justice in these remarks, by John Dixon Hunt, for us to return to the Socratic questions that lie at the heart of any professional or
artistic activity: "What are the means? and "What are the ends?. Spurning the trite answer that "landscape architecture is what landscape architects
do, it becomes necessary to review the history and philosophy of the art. According to Hunt, it is essential to have an appreciation of what happened
around 1800:

The crucial moment of modernism occurred not circa 1900 but rather one hundred years earlier... The failure to identify and understand that watershed contributed
substantially to the historical and theoretical inadequacies of those who prompted modernist landscape architecture.

Walker and Simo see the modern development of landscape architecture, after 1945, as "classically tragic. America had a great natural wilderness, limitless
wealth, leaders, writers, gifted planners and highly talented designers. But, with notable exceptions, the result was progressive "environmental impoverishment
(Walker and Simo, 1994). What went wrong?

Plato: The Philosopher King of Landscape Theory

13.2 Decay of Landscape Theory
Contents list

While not disagreeing with Hunt, I believe his analysis to be over-sophisticated and unbalanced in its emphasis on the role of landscape design as a fine
art. Pure works of art do not have functions. Landscape designs, generally, do have functions, while they may also be works of art and significant interventions
in the environment. It is easy to confuse these roles. Having spent much time working in design studios, I am very conscious of the dilemma in which designers
without a workable theory are likely to find themselves. The journeyman designer is often, as Christopher Hussey wrote of Lancelot Brown, a practical man
in the grip of a theory (Hussey, 1967). Good theories may lead to good designs. Bad theories are a regular cause of bad designs. "What to do and "how
to do it are the chief problems for landscape theory.

Stylistically, the landscape designers nineteenth century dilemma may be likened to that of a young artist commissioned by a great nobleman to undertake
a painting of his ancestral home in a far-away country. After an arduous journey and many perils, he arrives on site to find his patrons mansion decayed
and overgrown. The artist has several choices: a painting of scrubby vegetation enlivened by fragments of fallen masonry; a swindling copy of another property;
a reconstruction of the original property made without understanding the details or principles of its composition. After the crisis of circa 1800, each
of these alternatives was attempted in those Western countries that came under the influence of the English landscape movement, which means all Western
countries.

English landscape design developed within the Ideal Theory of Art. This derived from Aristotles interpretation of Platos Theory of Ideas. Everyday objects
were seen as imperfect copies of universal Ideas, and the artists job was to get as close as possible to the ideal. When an artist, Croton, was commissioned
to produce a painting of Helen, he held an inspection of naked maidens, chose five of them and selected the most admirable points from each, to compose
an ideal. Bellori, in 1664, conceived the true artist as a seer who gazes upon eternal verities and reveals them to mortals. Poussin and Claude applied
this principle to landscape painting, seeking to represent ideal places. Reynolds, in his Discourses, argued that the artists goal is to imitate nature.
By nature, he meant universal nature: "to paint particulars is not to paint nature, it is only to paint circumstances. Painting ideal nature would, be
believed, would bring about moral improvements in the viewer.

13.3 Imitation of Nature
Contents list

Fig 13.1 (above)1800 saw a Great Turning Point in the history of garden design - when the ancient theory that art should imitate nature almost from the
impact of Three Stakes (Fig 13.2, below) driven into its heart: Empiricism, Geography and Functionalism. Its heart of landscape theory is represented by
Repton’s trade card.

Before 1800, landscape design was firmly based on the Ideal Theory of Art. Practitioners used the Neoplatonic axiom that "art should imitate nature. John
Barrell, to whom Hunt directs our attention, gives an illuminating account of the theory of painting between the early eighteenth and early nineteenth
centuries (Barrell, 1986). It parallels, in several dimensions, the evolution of landscape theory. Shaftesbury, writing in 1711, was troubled by Platos
criticism of painting, that it tends to destroy the rational part of the mind. Shaftesbury believed that painting should have a public role in fostering
virtuous behaviour. He thought history-painting the genre most likely to achieve this goal, because it can represent the universal ideals of virtue and
heroic action. A century later, after 1800, it was thought that the painters aim should be to engender private satisfaction, rather than public virtue.
The general interpretation of the Neoplatonic axiom, that "art should imitate nature, had changed. Sir Joshua Reynolds, in the Discourses delivered to
the Royal Academy between 1769 and 1789, held to the classic, but waning, eighteenth century view:

...the great style in art, and the most PERFECT IMITATION OF NATURE, consists in avoiding the details and peculiarities of particular objects. (Barrell,
1986)

William Hazlitt, in a group of essays published circa 1816, held a contrary view, that one can show general truths only by representing the particulars:

...the highest perfection of the art depends, not on separating, but on uniting general truths and effect with individual distinctness and accuracy. (Barrell,
1986)

Both writers believed that artists should "imitate nature, but they differed in their interpretations of "nature. For Reynolds, nature meant the ideal
world of the Platonic forms. For Hazlitt, nature was far closer to the world of empirical reality, which included "both masses and details. Their interpretations
are the consequence of an epochal swing, from classicism to romanticism, from rationalism to empiricism, from universalism to individualism. The change
caused a profound crisis for landscape theory.

The Neoplatonic axiom had borne especially rich fruit for landscape design during the eighteenth century. As the predominant interpretation of "nature
changed, the arts of garden and landscape design could not do other than change with them. Plan styles became progressively less regular, as shown in the
upper part of Figure 13.1. The eighteenth century was a period of dynamic stylistic evolution. In 1700, the predominant sense of "nature in garden and
landscape design derived from Platos Theory of Forms. "Nature meant "essence, as it still does when we speak of "the nature of the case. Imitating
nature meant mimesis of the Platonic forms. As the most perfect forms were considered to be the sphere, the circle, the cube and the square, it was necessary
to base the most perfect gardens on these shapes. Honselaarsdijk, in Holland, was the finest flower of Platonic idealism in garden design. In 1700, any
young man setting out to "imitate nature knew that he must look "upwards to the world of ideas. This provided an eminently workable theory. During the
nineteenth century it suffered three fatal blows (
See next section -
Figure 13.2).

"Cliff Top Garden" by Sir Joshua Reynolds

13.4 Three Stakes in the Body of Landscape Theory
Contents list

Fig 13.2 The ancient theory that art should imitate nature suffered near-fatal blows from Three Stakes driven into its heart: Empiricism, Geography and
Functionalism. The heart of landscape theory is represented by Repton’s trade card.
A first stake was driven into the throbbing heart of landscape theory by changes in the Neoplatonic axiom that "art should imitate nature. So long as "nature
had meant the world of the forms, the axiom worked satisfactorily. By the end of the eighteenth century, when "nature came to mean "the natural world,
as it usually does today, it became ridiculous to make gardens that imitated nature. To have done so would have meant filling gardens with weeds, rocks,
broken branches and wild animals. The French Neoplatonist, Quatremère de Quincy, declared that if the objective of landscape gardening was to imitate wild
nature herself, then landscape design could not be admitted to "the circle of the fine arts (Quatremère de Quincy, 1837). The great ship of Neoplatonism
had run aground, in a garden of rocks. The practical men had no theory. For landscape designers, this was the immediate and practical cause of the watershed
that Hunt identifies. Three main styles evolved from the dilemma, as shown in the lower part of Figure 1. Another possible way out would have been to interpret
"nature in yet another way, and to have represented the individuals "inner nature in gardens. Hunt would like to have seen a "marvellous flourishing
of ad hoc, idiosyncratic, or vernacular gardens (Hunt, 1992). Some owner-designers, like the Earl of Shrewsbury at Alton Towers and James Bateman at Biddulph
Grange, walked down this path. But most professional designers remained lost in the theoretical maze.

A second stake was driven into the weakened heart of landscape theory by Frederick Law Olmsted and Calvert Vaux, when they inadvertently chose landscape
architecture as a professional title (Turner, 1990). Their choice would not have mattered, but for the fact that the predominant use of the word "landscape
was changing, as had the predominant use of "nature. In 1860, a landscape was still, more or less, an ideal place. By the twentieth century, it had become
any place at all that results from "shaping processes and agents. When the picturesque theorists of the 1790s spoke of "making a landscape, the word
represented a Neoplatonic ideal. When the word "landscape was adopted by geologists and geographers, it came to mean "the product of topographic evolution.
If the "landscape in "landscape architecture is understood in a geographical sense, instead of a Neoplatonic sense, then the professions title becomes
a patent absurdity: as tyrannical as it is sacrilegious as it is preposterous. Tyrannical, because it requires a despots power to control the environment
in any way that resembles an architects power to control the production of a building. Sacrilegious, because God, or Mother Nature, is the architect of
the visible world. Preposterous, because it is not given to humans to wield such awesome power.

A third stake was driven into the now-rotting cadaver of landscape theory by the advance of scientific functionalism during the twentieth century. Shaking
off the historicist styles of the nineteenth century, architects and other designers came to see design as "a problem-solving activity. "Form follows
function, they proclaimed. Such slogans are still heard echoing betwixt blank walls and blank faces in the design studios of the world. Landscape architects
were attracted to the new rationalism, but faced two immediate puzzles: What were the problems to be solved? Where were the functions to be followed? This
is when the "desire line assumed such portentous eminence in landscape teaching and practice. Too often, the "function of a space was conceived merely
as a route from an origin to a destination. The "problem, therefore, was to find an alignment that pedestrians might wish to follow. Not too difficult,
though many got it wrong.

Having dealt with desire lines, landscape architects began to look for other "problems to solve. They discovered needs for "shelter, "enclosure and "visual
screens. This was no basis for a fine art, an applied art, or any other kind of art. Should anyone believe the approach can produce art, let them look
through a book of modern design details. Theodore Walkers ever-popular Site Design and Construction Detailing ( Walker, 1992) is a good example. The details
are functional in the worst sense of the word, though one has no assurance that they actually work any better than the twentieth century buildings that
are ridiculed by critics of Modernism. Even if they do function, the majority of the details are heartless, soulless, plain, vacant and even downright
ugly to the non-professional eye. They are the outdoor equivalent of hotels in the International Style.

13.5 SAD Landscape Theory
Contents list

Fig 13.3 The modernist Survey-Analysis-Design procedure, as used in the 1970s

The survey-analysis-design (SAD) procedure is an aspect of functionalism that is well known inside the design professions but poorly understood by outsiders
(Figure 13.3). It would be advantageous if experienced planners and designers were to write about it, as Sturt wrote of the wheelwrights craft. Future
historians will have to understand this procedure if they are to understand twentieth century cities. The SAD method of planning began with Patrick Geddes.
As a scientist, a sociologist and a geographer, he was disenchanted with the engineers and architects approaches, which saw city planning as a technical
exercise. Take the example of a new street. To the engineer, it was a traffic artery. To the architect, it could also be a visual axis. To Geddes, it should
be a vital component of civic structure, affecting regional development, history, culture and everything else. Geddes therefore required a full survey
and analysis as a prelude to plan-making. Undoubtedly, he was correct. The problems arose when SAD came to be used by less-enlightened people. Engineers
were delighted with the SAD method. Before planning a new street, they surveyed and analysed the existing traffic. If vehicular flow was surveyed at twice
the volume of existing street capacity, they doubled the size of the street. Similarly, architects surveyed the function of a building before producing
a plan. This led to the notorious idea of a house as a "machine for living.

Lewis Mumford, who admired Geddes, recognized Ian McHargs Design with Nature (McHarg, 1971) as a scion of Geddes Cities in Evolution (Geddes, 1915), and
agreed to write an introduction to the book. In it, Mumford praises the empirical foundation of McHargs ecological method:

He seeks, not arbitrarily to impose design, but to use to the fullest the potentialities -- and with them, necessarily, the restrictive conditions -- that
nature offers.

As the ecological method rested on "imitating nature, McHarg was led to believe that "any man, assembling the same evidence, would come to the same conclusion
(McHarg, 1971). This is naked determinism, red in tooth and claw. Much as I admire Geddes, Mumford and McHarg too, this particular claim appears wholly
misleading. The two excellent features of McHargs method are his single‑topic analytical drawings and his Suitability Maps. Conventional Master Plans
look to some point in the distant future. They are incomplete for a quarter of a century and out of date thereafter. McHargs Suitability Maps are modest
by comparison: they imply a desire to guide the future, not to exert control.

The deductive aspect of McHargs ecological method needs to be reconsidered. If landscape design is, to any degree, a fine art, then it simply cannot use
a deterministic methodology. Neither ecological determinism nor any other kind of determinism will suffice. Davies and Shakespeare (Davies and Shakespeare,
1993), after working on a project in Paris, declared that:

Landscape design is a form of artistic expression. Designers need freedom to explore the realm of the imagination... We believe the Billancourt project
was a triumph for the use of metaphor... By abandoning the SAD method, the groups were able to determine the direction of their schemes very early on.
Predictability was broken by taking this high risk route. Ian McHarg might have commented that "every group assembling the same evidence has come to a
completely different conclusion.

Fig 13.4 A metaphorical design procedure (by Rob Shakespeare)

Like John Dixon Hunt, they overemphasize the role of landscape design as a fine art. The above quotation highlights the role of metaphor and gives tertiary
patterns a key role in the design process. This does not detach the process from the existing site but it does effect a considerable widening of horizons,
towards the world of ideas. It also rests upon inductive logic at least as much as upon deductive logic. The relationship between the SAD and metaphorical
approaches is shown by a comparison of Figure 3 with Figure 4. Both begin with the existing site, but only the SAD procedure is constrained by the existing
site. The SAD procedure derives a design from a small input of information, because the design process is limited by the boundary of the existing site.
Metaphorical approaches draw in more information.

Another problem for the survey‑-analysis‑-design method is that it does not accord with our knowledge of how designers actually operate. Schemes often spring
into designers minds at an early stage. After being recorded on the back of an envelope, or a wine-stained table napkin, the scheme is developed over
months and years. The process is not linear: it follows different paths. When experienced practitioners recommend the SAD method, it is usually a case
of "Do as I say, not as I do.

13.6 Renewal of Landscape Theory
Contents list

So how can landscape theory be resurrected, and with it, perhaps, the arts of garden and landscape design? Hunt (1992) has three suggestions, each of which
has merit. First, designers must bother to find out "what people really want of private or public gardens. Second, they should "establish a new agenda
of meanings. Third, they should "exploit locality as "some of the most intriguing recent designs have done. I arrived at not dissimilar conclusions
by a different route. Using the terminology proposed in a previous essay (on
Pattern Assisted Design),
my version of the points can be phrased as follows:
First, designers should respond to human patterns.
Second, designers should respond to the sorts of criteria and patterns that influence artists, writers and poets.
Third, designers should respond to natural patterns.

Designers should respond to natural patterns

Designers should respond to human patterns.

Designers should respond to the sorts of criteria and patterns that influence artists, writers and poets

Hoping the reader will pardon a little autobiography, I shall explain how I arrived at these conclusions.

My interest in landscape theory began at a party, in 1969. Frank Clark, my teacher and a pioneer of landscape studies in Britain, told me that it would
be of great benefit if someone could devise a better name than landscape architecture for the profession we had adopted. "Nobody understands us he complained.
I set out, working backwards, to discover how this wretched term had come into use, and if there were any alternatives. It did not take me long to discover
that every member of the International Federation of Landscape Architects who uses the term does so in consequence of the capricious decision by Olmsted
and Vaux to adopt the title "landscape architects in 1863. It then emerged that all those Americans who claim Olmsted as the inventor of the term are
misinformed (Turner, 1982). It was devised in 1828 by Gilbert Laing Meason, a friend of Sir Walter Scott. Meason used the term to praise the type of architecture
that is found in the great Italian landscape paintings (Meason, 1828). His book is illustrated by engravings of architectural drawings culled from works
by the great painters of Italy.

I then spent some time trying to devise a better title for the landscape profession. My favoured proposal was "topist (one who makes places). But then
my historical investigations resumed, now into the meaning of the word "landscape. I found that it had dropped out of Middle English but had been re-introduced
from Dutch in the sixteenth century, as a painters term, linked to the Ideal, Neoplatonic, theory of art. A "landscape was a special kind of place: an
ideal place. The theory derives from Plato, who, believing the Form of The Good is the proper goal of human endeavour in life as in art, argued that philosopher
kings are the people best suited to rule society. Platos Theory of Forms, or Ideas, led directly to the Neoplatonic axiom that "art should imitate nature.

I was not sorry to detect the blood of philosopher-kings coursing in the professions ancestry, and became convinced that "landscape, correctly understood,
should be the professions headword. The aim of landscape design is to make good outdoor places. A full appreciation of this point can be the starting
point for a revival of landscape theory. But exponents of the art should work as practical philosophers, not philosopher-kings. Kingship is a dead idea
from a bygone age. Professionals can be king-like only when someone entrusts them with a task, not by virtue of their qualifications. Offering to make
a "landscape or a "garden is a special kind of offer to the public. Many professions use words in specialized ways. "Invest, for example, means "clothe
in the College of Heralds, "lay siege to on the field of battle, and "employ money for profit on Wall Street. When used by landscape-makers, the word
"landscape has a favourable evaluative connotation: it means a good place, not just any place, not the end product of topographic evolution. Words have
to be used with precision. You would hardly place your spare funds with an investment consultant if you thought the cash would be spent laying siege to
a city. Potential clients, seeing advertisements for "landscape architecture, may be deluded into thinking that their funds will be used for tyranny,
blasphemy or absurdity.

Had Frank Clark lived longer, my answer to his plea for a "better name would have been that it is only necessary to define a professional usage for the
word "landscape. After that, the profession should adopt "design, instead of "architecture, as the most general name for the art it promotes. This would,
at least, enable the landscape profession to understand its own objectives; explaining them to the public would still be a problem.

If you agree that the aim of landscape design is to make good places, the next task is to determine what characteristics make places good. They are many.
The great periods in the history of garden and landscape design have been those when designers have reached out and forged links with artists, scientists
and philosophers: Rome in the first and sixteenth centuries, Japan in the eleventh and twelfth centuries, France and Holland in the seventeenth century,
England in the eighteenth century, the Americas in the twentieth century. The long drab interludes have been when one or other interest group, usually
horticulturalists, has made design a province of their own domain.

13.7 Pattern Recognition
Contents list

The poverty of discourse that Hunt identifies is paralleled by a poverty of inspiration. But how can the world of ideas be fused once more with that of
garden and landscape design? How can art be married to function? The worlds of ideas and of functions have become so vast that no individual can know very
much. J.C. Loudon, in the 1820s, was expert on gardening, architecture, horticulture and agriculture, not to mention political economy and philosophy.
In the 1990s, one could hardly pretend to more than a patchy expertise in a minor department of one of these disciplines. I believe there are two ways
forward: to downplay the role of the individual in landscape design and to up-play the use of patterns. Patterns should become what the computer fraternity
knows as a data interchange format.

In the 1820s, the members of an artisan family could have built their own home, grown their own food and made their own clothes. A small hamlet might also
have had the capacity to make the necessary tools and obtain its raw materials from the locality. Today, we have a much wider net of economic interdependence.
There are many countries that cannot make vital categories of product, such as aircraft. This state of affairs would not be possible without a currency.
Nor could the computers that handle information flows operate without data interchange formats. The broadly based arts, including garden and landscape
design, require a currency to facilitate information interchange. Patterns, as proposed in a previous essay, can perform this role. They have a long and
honourable place in the history of design. The entire industrial process is based on their use. So was "architecture without architects in pre-modern
societies. So was the production of most housing in nineteenth century Europe.

Patterns can be a currency for environmental planning and design that stands comparison with the use of money in economic exchange. Markets bring knowledge
and skills together. Instead of each manufacturer having to perform each stage of the manufacturing process, components and skills are purchased from other
organizations. Instead of there being One Right Way to manufacture widgets, set by the Central Widget Committee, all manufacturers devise their own improvements.
For markets to function, there must be a currency with the following roles.
Standard of value. Money is the standard of value for industrial products. Patterns could be a standard of value for planning and design. For example, an
overall map of agricultural value can be used to judge the relative quality of individual land parcels.
Medium of exchange. Money facilitates the exchange of goods and services in an economy. Patterns facilitate the exchange of information about places. For
example, when vehicular and pedestrian movement patterns have been mapped they can be compared.
Store of wealth. Money can be used as a store of financial wealth. Patterns can be used to keep records of the value that exists in places. For example,
when aquifer-recharge areas have been mapped they can be protected.

The first patterns recognized by a newborn child may be those of hunger and thirst. As the child develops, more and more patterns come to be known. Skill
in pattern recognition is one of the most central human capabilities, and one of the most difficult for computers to replicate. The most able people are
often those with the greatest skill in identifying, manipulating and creating patterns, be they formed by words, numbers, musical notes, human behaviour
or visual images. These patterns are akin to universals. Thinking about design, four groups of pattern were discussed in the previous essay: primary/natural
patterns; secondary/human patterns; tertiary/aesthetic patterns; quaternary/archetypal patterns. Patterns therefore enable ideas of nature, art and human
life to be restored to the foreground position that they once enjoyed in design circles. This was before the advance of rationalism and of scientific empiricism
pushed them out and cluttered the foreground with spurious "facts. Landscape design is a process of embedding new ideas into old landscapes. Nature is
not a white sheet at the outset. A "landscape design, like a "town plan is but a small step in a cycle of perpetual change. It can never be complete.

Human use is fantastically varied, but falls into patterns. Primitive man made paths through the wilderness. Modern man follows desire lines through the
urban jungle, which we pave. Yet it would be impossible to produce a complete list of functions, even for a small outdoor space. Backyards are used for
sunbathing, snowballing, outdoor cooking, pets, nature watching, repairing gadgets, hobbies, entertaining friends, growing plants, childrens play, storage,
exercise, solitude, and much else besides.

Tastes differ and tastes change. Theories evolve. We all have conceptions of what fine art is, and few would dispute their importance to the applied arts.
Landscape designers must learn to conduct a trade in ideas, for which they need a currency. Patterns can become that currency. Landscape design is a wide‑reaching
activity, with multiple inputs, hosts of outputs, and a need for procedures to guide the efforts of practitioners. The concept of pattern deserves a central
position in the designers trade, but the designer is no author-god.

Claims to "authorship of a landscape design carry little conviction: the climate will be unchanged; the land will have existed for billions of years; the
fauna and flora evolved long before man; many other designers may have worked on the site; several clients may have dictated the design; most of the component
artefacts will have been made by others. What does our modern "designer claim to have done? Not much. But modest changes to the landscape can result in
valuable improvements. Designers should not worry about the use of patterns compromising their individuality.

13.8 Design Methods
Contents list

Fig 13.5

Fig 13.6

Fig 13.7

Fig 13.8

The modernist design procedure can be described in the terminology of patterns. It made use of natural, social and aesthetic patterns, but only within the
locale of the existing site. Natural patterns were the focus of the survey stage. Social patterns had some importance at the analysis stage. A creative
leap was then permitted, to produce a design, which resulted in aesthetic patterns. Ideas were largely excluded. The conceptual boundaries of the survey-analysis-design
(SAD) procedure were curtailed by the site and by the clients functional requirements. As deductive logic was strongly emphasized, the SAD procedure took
on a sad inevitability, like the interpretation of the scientific method on which it was based. Using patterns can place ideas at the centre of the design
process.

Walter De Marias "Lightning Field, illustrated on the front cover of John Beardsleys Earthworks and Beyond (Beardsley, 1984), is a sublime project that
illustrates a different design procedure. Beardsley relates that De Maria

wanted a place where one could be alone with a trackless earth and an overarching sky to witness their potent interchange through apparently wanton electrical
discharge. (Beardsley, 1984)

Note that he "wanted a place: a vision of how the work should look led to the selection of the site. The image came first. This is not the modernist procedure,
at all. From Beardsleys account, the design process went idea-design-analysis-survey, as shown in the accompanying diagrams. It began with an aesthetic
pattern, made by a flash of lightning (Figure 13.5). De Maria then searched for a natural pattern - a landform where "one could be alone with a trackless
earth (Figure 13.6). The means of attracting lightning to the earth was a grid of 400 stainless steel poles (Figure 13.7), which could serve as an archetypal
pattern for similar projects. The result was unquestionably a work of fine art (Figure 13.8), because it has no function. Social patterns had no place
in the design process.

Other projects in Beardsleys book do have functions. One of my favourites is the "Mill Creek Canyon Earthworks by Herbert Bayer:

Development of land along the creek had resulted in an excessive flow of water during periods of heavy rain, and the city needed a way of containing it
and allowing it to recede slowly through the town. Bayers design provided them with a high berm that stops the water. (Beardsley 1984)

This reads like a landscape architecture programme, but the outcome (Figure 13.9) has a cosmic interest, reminiscent of Davis and Shakespeares diagram.
There is "a bridge that is poised between a berm and a conical mound, another earthen ring "seemingly suspended in a circular pool of water, and a "high
berm topped with another cone. It is an abstract composition, dominated by a tertiary pattern that plainly derives from the artists imagination, not
from the existing site and not from the clients programme. A Design Idea occupies pride of place in the design procedure, as the Neoplatonists would have
wished. It is even based on circles, which Neoplatonists considered the most perfect forms. Beardsley believes that "if art is thoroughly subsumed under
other disciplines or a completely functional intent, it is bound to lose some of its particular magic (Beardsley, 1984). Perhaps the magic can survive
when an artistic idea is accorded a high and privileged position in the design process.

To professional designers, the least satisfactory way of producing a design is to start with quaternary patterns. Architects scorn books of house plans.
Landscape architects may have an even lower opinion of the "typical plans that appear in popular gardening books and magazines. But most of the worlds
buildings are not designed by architects, even in advanced industrial countries, and most of the worlds design decisions are not taken by trained designers.
Quaternary patterns have great value for makers of objects and places who have not undergone a formal design education. Their use was crucial to the craft
design methods that preceded the modern fad for design-by-drawing. Modern, in this context, means post-Renaissance. As discussed in an earlier essay, Alexanders
pattern language begins with quaternary/archetypal patterns.
Although it was not recorded on paper, the waggon-builder possessed a complete pattern for his work, encompassing all the technical, environmental, aesthetic,
and functional criteria for "farm waggon or dung-cart, barley-roller, plough, water-barrel, or what not. The shapes he followed were "imposed upon us
by the nature of the soil in this or that farm or by "the gradient of this or that hill. Each waggon "grew into a thing of beauty, comparable to a fiddle
or boat. This is how most design has always been done, in most countries in most historical periods. To think the craft
method obsolete would be wild folly. For outdoor steps, the craftsmans pattern that twice the riser plus the tread should be 450 mm, continued to be taught
in modernist design schools, regardless of the increased size of the human body. Designs should be people-specific and place-specific

13.9 Aims of Landscape Architecture
Contents list

We can now return to the Socratic questions that were posed at the outset of this essay, and offer Platonic answers. In landscape design, what are the ends
and what are the means? The ends can be defined with confidence: "The aim of landscape design is to make good places. The means vary. Sometimes, the old
"modernist survey-analysis-design procedure will be best. At other times, even older art-based and craft-based approaches will be correct. On yet other
projects, a post-Postmodern approach may be used, celebrating the death of the designer, beginning at any point, concluding at any point, taking advantage
of CAD and GIS, allowing forms to come before functions, considering each layer as an independent design, celebrating design clashes as one does the meeting
of wind and water, water and rock, heat and cold, sun and rain. How does one choose between the alternative means? One consults the
Genius of the Place.
She has to be consulted. She need not be obeyed. Practical philosophers require sympathetic oracles.

The pattern approach to landscape design is put forward as a way of dealing with the multiple inputs and multiple outputs that should characterize landscape
design. It uses both inductive and deductive logic. The former works from the particular to the general, to identify patterns. The latter works from the
general to the particular, making use of patterns. Inputs can be brought into relationship with each other by being represented on pattern diagrams. Alexander
states that "If you cant draw a diagram, it isnt a pattern (Alexander, 1979) Outputs can be read as different sets of patterns. Instead of the project
being a Master Plan by an author-god, it becomes a feast for the viewer. Just as one can read a novel from the viewpoints of literary style, philosophical
outlook, characterization, narrative or social history, so one should be able to read a plan from the viewpoints of colour harmony, ornament, composition,
proportion, social value, conservation value, symbolism, mythology, narrative. Any of them or all of them. It is a layered approach to design, and it fits
remarkably well with the layering capabilities of computer-aided design (CAD) and geographical information systems (GIS). Ideas, representable by patterns,
should lie at the intellectual heart of landscape design and planning.

Delphi

Read More

Strawberry Trees Madrone and Manzanitas

Arbutus

A small genus of 8 species of trees that are part of the larger Ericaceae family.
All Madrones are EVERGREEEN. The branches are often twisted giving them a picturesque effect.
The Madrones prefer full sun, moderate moisture and deep, fertile well drained soil on a site sheltered from excessive wind. They should be installed as containerized plants at a young age since they resent root disturbance and older trees are difficult to transplant. Insect pest and disease problems rarely occur.
Young trees should be pruned to a single leader, side shoots should be retained but shortened. Eventually prune to limb up and expose the trunk. Trees may occasionally need thinning. Pruning is typically done in early April.
Propagation is from seed sown in autumn or semi-ripe cuttings taken late in summer, autumn or winter.

Arbutus andrachne ( Greek Madrone )
A dense, heavy set, broadly spreading medium size tree native from southeast Europe to southwest Asia
. Some records include: fastest recorded growth rate - 3 feet; 20 years - 40 x 40 feet; largest on record - 60 x 60 feet with a trunk diameter of 5 feet.
The smooth edged, oval leaves, up to 5 x 3 inches are smooth glossy deep green above, smooth pale green beneath.
The small urn shaped flowers, up to 0.25 inches in length, are greenish in bud opening to white and are borne on short stalks in an upright terminal cluster up to 4 x 4 inches during early spring.
The nearly smooth, rounded fruits are an orange-red berry up to an inch across.
The red bark peels and flakes away in thin strips to expose fresh orange-brown bark beneath.
Hardy north to zone 6 though young trees may need some extra protection against the cold north of zone 8.

* excellent photo link found on internet
http://plants.nature4stock.com/?page_id=663

Arbutus x andrachnoides ( Hybrid Madrone )
A heavy set, spreading medium size tree that is the hybrid between Arbutus andrachne & A. unedo. Some records include: fastest recorded growth rate - 3 feet; largest on record - 80 x 60 feet with a trunk diameter of 52 inches.
The toothed, elliptical leaves, up to 5.3 x 2 inches are smooth glossy deep green above, smooth pale green beneath.
The small, white, urn shaped flowers, up to 0.25 inches in length are borne on short stalks in an drooping terminal cluster over a long season between fall and spring.
The warty, strawberry-like fruits are red and up to 0.65 inches across.
The orange-red bark peels vertically in long thin strips.
Hardy zone 7 to 9 and is tolerant of alkaline soil. Propagated from semi-ripe cuttings taken during late summer.

Marina
Larger, glossy leaves, to 6 inches in length. A handsome tree; it is also fast growing when young, moderate growing after reaching around 50 feet and growing at rates of up to 3 feet per year.
The flowers are pinkish-white.
The attractive bark is red.
Tolerates as low as 0 F and is drought tolerant.

Arbutus arizonica ( Arizona Madrone )
A rare, heavy set, broadly columnar, handsome, large tree native to the mountains of eastern Arizona and western New Mexico, south in mountains in western Mexico to Jalisco. Some records include: fastest recorded growth rate - 3 feet; largest on record - 82 x 52 feet with a trunk diameter of 5 feet; oldest tree on record - 225 years. This beautiful tree should be much more frequently used in landscaping, especially in moist summer climates where other Madrones will not grow.
The smooth edged, thick, lance shaped leaves, up to 6 x 2.5 inches
The handsome foliage is glossy deep green above, pale brown-green beneath.
The small, white to pink, urn shaped flowers, up to 0.25 inches in length, are borne on loose panicles up to 2.5 inches in length during summer.
The rough, warty, strawberry-like fruits are orange-red and up to 0.3 inches across.
On young trees the shiny orange-red bark flakes away to reveal fresh green bark beneath. The bark on very old trees is scaly and ashy-gray.
Hardy zones 6 to 10 in full sun to partial shade preferring moderate to ample summer moisture. It is drought and heat tolerant though trees should be kept moist until establishment. Highly resistant to storm damage. It is not known to grow in the humid eastern U.S.

Arbutus canariensis ( Canary Island Madrone )
A dense, heavy set, broadly dome shaped medium size tree that is similar to Arbutus unedo ( except for larger leaves ) and is native to the Canary Islands where it is highly endangered. Old trees are gnarled in appearance. Some records include: fastest recorded growth rate - 2.5 feet; 10 years - 25 feet; 20 years - 40 x 40 feet; largest on record - 50 x 46 feet with a trunk diameter of 2.8 feet.
The toothed, oblong leathery leaves, up to 6 x 2 inches are smooth very glossy deep green above, smooth pale green beneath.
The small, white to pale pink, urn shaped flowers, up to 0.25 inches in length are borne on short stalks in loose panicles up to 6 inches in length from late summer to early fall.
The warty, strawberry-like fruits are red and up to 1.5 inches across. They ripen during autumn from previous years flowers which is why this tree flowers and fruits both at the same time. The fruits are edible though gritty in texture.
The red-brown bark is flaking and rough and does not peel unlike that of most other Arbutus.
Hardy zones 8 to 10, it grows in sun or shade and while preferring sandy soil, it is soil tolerant, even tolerating lime.
It is easily grown from tissue culture but not cuttings.

* photo of unknown internet source


Arbutus glandulosa
A dense, heavy set, broadly spreading medium size tree, up to 40 x 20 feet that is native to mountain Pine-Oak forests in southern Mexico. It is threatened with extinction in its native range.
The smooth edged, oval leaves, up to 5 x 3 inches are smooth glossy deep green above, smooth pale green beneath.
The small, pinkish flowers are borne in terminal clusters during winter.
They are followed months later by smooth, orange, rounded fruits.
The light pinkish-brown bark peels and flakes away in thin strips to expose fresh creamy bark beneath. The bark is extremely attractive.
Hardy zones 9 to 10.

Arbutus menziesii ( Pacific Madrone )
A heavy set, broadly columnar, handsome, large tree native to western North America from southwest British Columbia to California.
Some records include: fastest recorded growth rate - 3 feet ( 10 feet recorded on sprouts ); 20 years - 40 x 40 feet; 30 years - trunk diameter of 1.2 feet; largest on record - 162 x 100 feet with a trunk diameter of 11 feet; oldest tree on record - 600 years. Though not native there, very large trees already occur in the British Isles.
The smooth edged, oval leaves, up to 7 x 4 inches are smooth glossy deep green above, smooth blue-white beneath.
The small, white, urn shaped flowers, up to 0.25 inches in length, are greenish in bud opening to white and are borne on large, upright to drooping clusters up to 9 x 6 inches during mid to late spring.
The rough, warty, strawberry-like fruits are orange to red and up to 1 inches across.
The fruit make a good juice but are not good eaten fresh due to the large seeds.
The red bark peels and flakes away in thin strips to expose fresh olive-green bark beneath. Bark on very old trees becomes darker and fissured.
Hardy zones 6 to 9, it prefers humid areas and acidic well drained soil that is dry during summer ( in fact this tree only grows in climates with little or no summer rainfall ). It is drought tolerant and excessive irrigation can kill a mature tree as can changing soil grade/drainage. Transplant seedling before they reach a foot in height, or you risk serious damage or death of plant.

* photo of unknown internet source


* photo taken by Frank A. Waugh @ USDA-NRCS PLANTS Database

Palisades
A new cultivar developed by The Desert Northwest in Sequim, WA that originates from a grove high up in the Cascades mountains. Similar in appearance but much hardier than regular Arbutus menziesii, it has much potential for expanding this most attractive trees range into the Intermountain West as well as eastern Washington / Oregon.
Likely hardy north to zone 5a, it can tolerate as low as -20 F!

Arbutus texana ( Texas Madrone )
Also called Arbutus xalapensis var texana. A rare, heavy set, broadly columnar, handsome, large tree native to the mountains of western Texas, south into mountains of eastern Mexico through to Nicaragua.
. Some records include: fastest recorded growth rate - 3 feet; largest on record - 82 x 40 feet with a trunk diameter of 5 feet.
The smooth edged, thick, oval leaves, up to 6 x 2.5 inches though usually much smaller.
The handsome, leathery foliage is glossy deep green above, smooth blue-white beneath.
The small, white to pale pink, urn shaped flowers, up to 0.3 inches in length, are borne on clusters up to 2.5 inches in length during mid to late spring.
The rough, warty, strawberry-like fruits are orange to red and up to 0.3 inches across.
The bark is orange-red and peels in thin sheets.
Hardy zones 7 to 9 ( trees of western Texas mountain origin are hardier north to zone 5b, easily tolerating -15 F and possibly below -20 F ). It is drought and heat tolerant though trees should be kept moist until establishment. Highly resistant to storm damage. It does sometimes grow on limestone bluffs in the wild and therefore unlike other species, alkaline tolerant yet it also grows on acidic soil.

* photo taken by D.M. Earl @ USDA-NRCS PLANTS Database

Arbutus unedo ( Strawberry Tree )
A dense, heavy set, broadly dome shaped medium size tree reaching around 40 feet that is native the Mediterranean region and also southwest Ireland. Old trees are gnarled in appearance. Some records include: fastest recorded growth rate - 2.5 feet; 10 years - 25 ( 10 is average ) feet; 20 years - 40 x 40 feet; largest on record - 60 x 60 feet with a trunk diameter of 5 feet.
The toothed, oblong leathery leaves, up to 4.3 x 2 inches are smooth very glossy deep green above, smooth pale green beneath.
The small, white ( rarely pink ), urn shaped flowers, up to 0.25 inches in length are borne on short stalks in an drooping terminal cluster up to 2 inches during autumn.
The warty, strawberry-like fruits are red and up to 1.5 inches across. They ripen during autumn from previous years flowers which is why this tree flowers and fruits both at the same time. The fruits are edible though gritty in texture.
The red-brown bark is rough, fissured and does not peel unlike that of most other Arbutus.
Hardy zones 6 to 10, it grows in sun or shade and while preferring sandy soil, it is soil tolerant, even tolerating lime. A clone from Ireland is known to have survived -22 F


* photos taken on October 17 2010 @ U.S. National Arboretum, D.C.



* photo of unknown internet source

* excellent photo link found on internet
http://plants.nature4stock.com/?page_id=667

Compacta
A miniature form, rarely reaching as large as 12 x 10 feet ( typically about half that ).

Rubra
Pink flowers

Arctostaphylos ( MANZANITA )

A genus of plants mostly native to coastal California and mountains of the western U.S, with exception of 2 species native to cool to cold northerly climates around the world. They are part of the larger Ericaceae family and likewise prefers acidic, well drained soil and protection from excessive cold winds. They should be installed while small as they hate root disturbance. They also hate root confinement which makes them poor container plants. Do not water overhead during hot weather, in fact most species prefer deep soil that is not watered at all during summer once established. When first installed, water them weekly but taper off once they establish and begin to grow. They prefer a stone mulch or bark rather than organic mulch. Fertilizing is generally not recommended.
Most Manzanitas are at home in a Mediterranean climate such as California or Europes Mediterranean, MOST MANZANITAS DO NOT GROW IN THE HUMID EASTERN U.S. unless otherwise noted. A true Mediterranean plant, most Manzanitas are easy to grow if treated as such.
The flowers attract hummingbirds. They flower on previous year wood which is something to keep in mind when pruning.
The fruits make a good tea if boiled briefly.
A semi-popular drink in the Manzanitas native range is Manzanita Cider ( check external link - http://honest-food.net/2010/08/22/manzanita-cider/ ).
Another good drink is made from the pulp of the berries if the seeds are removed.
Manzanita has a natural adaptation to fire. The plants burn easily however being that they burn away quickly during a forest fire, there is rarely enough heat to damage the roots which quickly resprout. The fire actually rejuvenates the plant as its roots hold the soil from rains that may follow.
Manzanita burns with an oily black smoke. It may be a fire hazard in some areas so it should be mixed with either plants that do NOT burn easily or used on sites where they are surrounded by non vegetation.
Propagation is from cuttings ( difficult ) or seed which should be soaked in boiling water, scarified in acid or covered by pine needles and lit on fire. The seeds have a very hard shell and are programed in the wild to sprout after forest fire in order to take advantage of abundant light.
Pharmacology: The leaves contain Arbutin, which is also found in Cranberries. Arbutin is a diuretic and also kills urinary infections.
The leaves can be used for tea but have strong medicinal properties.
Smoking Manzanita and drinking alcohol at the same time may bring intoxication however it can bring along the side effect of central nervous system depression.
The very early spring flowers are an important source of nectar of Honey Bees.
The berries are an important source of food for wildlife.
The wood is rarely used since large plants are rare, however the finely grained wood is very valuable to wood carvers and cabinet makers. The wood is extremely hard.

* photo of unknown internet source


Arctostaphylos alpina ( Alpine Bearberry )
Similar to A. uva-ursi and is native to heaths in cooler parts of the Northern Hemisphere ( from Scotland thru Russia to Alaska as well as northern North America incl. Greenland; south to B.C., New Hampshire & Maine ). In Europe it ranges south to the Pyrenees & the Alps, and in Russia it is found wild as far south as the Altai Mountains. It is creeping in habit and reaches a maximum size of 1 x 10 feet.
The finely toothed, lance-shaped leaves turn to scarlet red during autumn.
Unlike other species of Arctostaphylos, this one is not evergreen.
The pendulous white flowers are borne in axilliary racemes.
The berries are similar to A. uva-ursi but taste better and are juicier. Cooking still however does improve the taste. They are red then later ripening to deep purple during autumn.
Hardy zones 1 to 8 in full sun on well drained soil.

Arctostaphylos andersonii ( Santa Cruz Manzanita )
An evergreen large shrub to small tree, reaching a maximum size of 17 feet, that is native to redwood forest openings in the Santa Cruz Mountains in California.
Some records include: feet.
The toothed leaves, up to 2.8 x 1 inches, are deeply lobed at the base. The foliage ranges from glaucous powdery white to green.
The flowers are borne in racemes during early spring.
They are followed by sticky fruit, up to 0.3 inches.
Propagation is from seed only. Unlike many other Manzanita, this one does not resprout after fire.

Arctostaphylos auriculata ( Mount Diablo Manzanita )
An evergreen shrub reaching a maximum size of 15 feet, that is native to the Mount Diablo area in Contra Costa County in California.
The leaves, up to 2.8 x 1.3 inches, are deeply lobed at the base. The overlapping leaves are silvery.
The profuse flowers are borne in racemes during early spring.
They are followed by hairy fruit, up to 0.4 inches.
Propagation is from seed only. Unlike many other Manzanita, this one does not resprout after fire.

Arctostaphylos Austin Griffith
A fast growing, long-lived, twisted tree, reaching up to 12 x 8 feet, that is basically a larger leaved Dr Hurd in appearance.
The foliage is healthy and green all year.
The pink flowers are borne on large clusters during late winter and lasting up to 6 weeks.
The attractive trunk is smooth and mahogany-red.
Hardy zones 7b to 9 F.

Arctostaphylos bakeri ( Bakers Manzanita )
A mid-sized, evergreen shrub reaching a maximum size of 10 feet, that is native to mountain scrub and woodlands in Sonoma Co., California.
The oval leaves, up to 1.3 inches in length, are rough and dull to glossy deep green.
The urn-shaped flowers are borne in dense racemes.
They are followed by smooth, rounded, red berries, up to 0.3 inches across.
Hardy zones 8 in full sun on well drained soil.

Louie Edmonds
Reaches up to 6 x 4 feet in 5 years, eventually to 8 x 6 feet.
The foliage is gray-green.
The flowers are pink.
The bark is smooth and deep red to purple.
Hardy north to zone 7a, tolerating 0 F.

Arctostaphylos canescens ( Hoary Manzanita )
A compact shrub reaching a maximum size of 7 x 6 feet, that is native to forests from southwest Oregon and northern California. It is long lived and can live up to 100 years.
The smooth-edged, pointed, rounded or oblong leaves, up to 2 x 1.3 inches, are densely white felted, later turning to green. The leaves gradually loose their downy texture.
The white to pink, urn-shaped flowers are borne in dense clusters.
They are followed by brown berries, up to 0.3 inches.
The twigs are smooth and deep red.
Hardy zones 6 to 10 in full sun on well drained soil, thriving where yearly precip. exceeds 30 inches.

Arctostaphylos catalinae ( Santa Catalina Manzanita )
An evergreen shrub to small tree, reaching a maximum size of 17 x 10 feet, that is native to Santa Catalina Island off the coast of California.
The smooth-edged to toothed, ovate or elliptical leaves, up to 2 x 1.3 inches, are bright green.
The flowers are pink.
The twigs are bristly.
Hardy zones 8 to 11 in partial shade. Tolerant of persistent salt wind.

Arctostaphylos x coloradoensis
An attractive, vigorous, evergreen, groundcover shrub, reaching up to 15 inches x 6 feet.
The showy, exfoliating bark is orange-red.
The bright pink, urn-shaped flowers are borne during spring.
They are followed by red fruit during autumn.
Hardy zones 4b to 8 in partial shade on sandy, well drained soil. Drought tolerant. Water regularly for the first few summers until it is fully established. Rabbit and deer resistant.

Arctostaphylos columbiana ( Columbia Manzanita )
Also called Hairy Manzanita. A dense, erect evergreen large shrub to small tree, reaching a maximum size of 33 x 15 feet ( rarely over 18 ) with trunk diameter of 5 inches, that is native to coniferous forests from coastal British Columbia to northern California. It is fast growing, at least for a Manzanita and can be trained as a small tree.
The oval leaves are up to 3 x 1.3 inches, are fuzzy dull green.
The small, white, urn-shaped flowers are borne on pendulous racemes.
They are followed by red fruit, up to 0.3 inches across.
The branches are hairy.
Hardy zones 7 to 9 ( tolerates as low 0 F - possibly below -10 F for inland mountain clones ), thriving where annual precip. exceeds 35 inches. This Manzanita tolerates wetter climates than most. Columbia Manzanita requires full sun or partial shade and can tolerate a soil PH from 3 to 7. The seeds need consumption by animals ( scarification going thru digestive system ) or fire to germinate.

Arctostaphylos confertiflora ( Santa Rosa Island Manzanita )
A twisted small shrub reaching a maximum size of 6.5 x 8 feet, that is native to the Channel Islands and Santa Rosa Islands where it is endangered.
Some records include: feet.
The broad ovate to round leaves, up to 1.8 x 1.5 inches, are dull bright green.
The creamy-white flowers are borne in dense racemes.
They are followed by fuzzy fruit, up to 0.3 inches across.
The bark is gray to deep red.
Hardy zones 9 to 11

Arctostaphylos cruzensis ( La Cruz Manzanita )
A small and flat, groundcover, evergreen shrub, reaching up to 2 x 6 feet; that is native to the shoreline in San Luis Opispo & Monterey Counties in California.
The small, pointed, oval leaves, up to 1.3 x 1 inches, are bright green with a thin red edge.
The very pale pink, urn-shaped flowers are borne in racemes.
They are followed by fruit, up to 0.3 inches across.
The shredded bark is red.
Hardy zones 7 to 10 in full sun to partial shade.

Arctostaphylos densiflora ( Vine Hill Manzanita )
A spreading shrub reaching a maximum size of 5 x 7 feet, that is native to scrubland Sonoma County, California where it is extremely endangered with all remaining wild plants growing in one stand.
Some records include: 5 years - x 7 feet.
The elliptical leaves, up to 1.3 inches in length, are glossy mid-green.
The white to pinkish-white flowers are borne in short upright panicles. The flowers attract hummingbirds to the garden.
They are followed by berries, up to 0.2 inches across.
The bark is smooth and dark red.
Hardy zones 7 to 10 in full sun to partial shade on sandy, well drained soil. Drought tolerant.

Emerald Carpet
A handsome, trailing, low spreading groundcover shrub, reaching up to 14 inches x 7 feet, forming a dense groundcover.
The foliage is glossy green .

Harmony
A very attractive shrub, reaching up to 7 x 6 feet.
The glossy green leaves are the largest of any cultivar.
The showy, pink flowers are borne on clusters during late winter and lasting up to 6 weeks.
Hardy zones 7a to 10. Easy to grow.

Howard McMinn
A very attractive, fast growing, dense, mounding, large shrub to small tree. Some records include: fastest recorded growth rate - 1 foot; largest on record - 12 x 22 feet.
The foliage is glossy deep green. The urn-shaped flowers, borne over a 6 week period beginning late winter, are pink at first then fading to white.
They are followed by deep red fruit.
Hardy zones 7b to 10, minor damage to foliage at 0 F.

Sentinel
Reaches up to 5 x 5 feet in 5 years, with a maximum size of 10 x 7 feet. Some records include: fastest recorded growth rate - 2 feet. The deep green foliage is felted at first.
The leaves are heavily downy.
The deep pink flowers borne late winter to early spring are followed by deep reddish-orange berries.
The trunk and stems are smooth and deep orange.
Hardy zones 6+

Arctostaphylos diversifolia ( Summer Holly )
Also called Comarostaphylis diversifolia. A moderate growing upright shrub or small tree, reaching a maximum size of 30 x 20 feet, that is native from California into the Baja Peninsula.
The leaves, up to 6 x 3.2 inches in length, are glossy deep green.
The white flowers are borne in downy racemes, up to 2.5 inches in length, during late spring into summer.
They are followed by somewhat wrinkled, small, red berries.
Hardy zones 7 to 10 ( populations from lower elevations more likely zone 8 + ) in full sun on well drained soil. It thrives in Mediterranean climates at least north to Victoria BC on the North American west coast.

Arctostaphylos edmundsii ( Little Sur Manzanita )
A fast growing, prostrate, low shrub reaching a maximum size of 3 x 20 ( rarely over 10 ) feet, that is native to coastal cliffs in Monterey County in California. The stems root as they touch the ground. Makes a great groundcover.
The leathery, ovate to rounded leaves, up to 1.3 inches in length, are bronze at first, later turning glossy deep green. The young foliage is edged in red.
The small, white to very light pink, urn-shaped flowers are borne on dense racemes. They are followed by glossy red-brown berries, up to 0.3 inches across.
Hardy zones 6 to 10 in full sun on well drained soil., tolerant of heavy and wet soil.

Arctostaphylos gabilanensis ( Gabilan Manzanita )
An evergreen erect shrub to small tree, reaching a maximum height of 17 feet, that is native to scrubland and coulter pine woodland on the border of Monterey & San Benito Counties in California where it is extremely endangered.
The oval leaves, up to 1.5 x 1 inches, are waxy gray-green.
The white to pink, urn-shaped flowers are borne in racemes, up to 3 inches in length.
They are followed by rounded, red-brown fruit, up to 0.6 inches across.

Arctostaphylos glandulosa
A very attractive, vigorous, erect to broad and flat topped, mid-sized evergreen shrub, reaching a maximum size of 13 x 15 feet, that is native from Oregon to the Baja Peninsula.
Some records include: 10 years - 13 feet.
The ovate to elliptic leaves, up to 2 x 1 inches, range from bright green to glaucous blue.
The white flowers are followed by red berries.
Hardy zones 6 to 9 in full sun to partial shade on well drained soil.
Very fungus and leaf spot resistant.

Arctostaphylos glauca ( Bigberry Manzanita )
A small tree reaching around 25 feet, that is native to California.
Some records include: 2 years - 3 feet from 1 gallon; largest on record - 43 x 45 feet with a trunk diameter of 1.5 feet. It is long lived, living up to 100 years.
The elliptical leaves, up to 2 inches in length, are dull gray-green.
The white to pink flowersy are followed by sticky brown berries.
Berries taste better than most Manzanitas.
The bark is dark red.
Hardy zones 6 to 10 ( tolerating as low as -4 F ) in full sun on well drained soil.

Arctostaphylos glutinosa ( Schreibers Manzanita )
A shrub reaching a maximum size of 6.5 feet, that is native to scrubland on the western slope of the Santa Cruz Mountains in California where it is endangered.
The densely arranged, stemless leaves, up to 2 x 1.3 inches, are woolly and dull greenish-gray.
The urn-shaped flowers are borne in dense racemes.
They are followed by red fruit.

Arctostaphylos hookeri ( Monterey Manzanita )
A mat-forming to mounded shrub reaching a maximum size of 4 x 15 feet, that is native to central California including San Francisco.
The small, oval to spatulate leaves, are luxuriant mid-green.
The white to pink flowers are borne in dense racemes during
They are followed by oval to rounded, glossy red berries.
Hardy zones 7 to 10 in full sun on well drained soil.

subsp. franciscana ( Franciscan M. )
A very low, prostate groundcover shrub, reaching up to 8 inches x 4 feet.
Hardy zones 8a to 10

Ken Taylor
Dense in habit, reaching up to 2 x 8 feet.
Hardy zones 7a to 10

Wayside
Very vigorous and spreading, reaching up to 2.5 x 12 feet, making an excellent groundcover for dry sunny banks.
The leaves are small and green.
The stems are reddish.
Full sun to partial shade, tolerates as low as 5 F.

Arctostaphylos imbricata ( San Bruno Mountain Manzanita )
A mat forming to mounded, evergreen shrub reaching a maximum size of 40 inches, that is native to scrubland on San Bruno Mountain in San Mateo County where it is endangered.
The smooth to tooth-edged, rough, oval to rounded leaves, up to 1.6 x 1.3 inches, are bright green.
The white, urn-shaped flowers, up to 0.2 inches, are borne in dense racemes.
They are followed by hairy fruit, up to 0.2 inches.
Requires fire for reproduction.

Arctostaphylos insularis ( Island Manzanita )
A large, spreading evergreen shrub reaching a maximum size of 17 x 15 feet, that is native to Santa Cruz Island in California where it is rare.
The oval leaves, up to 2 x 1.3 inches, are smooth, glossy bright green.
The urn-shaped flowers are borne in dense inflorescences.
They are followed by orange-brown fruit, up to 0.6 inches.
Hardy zones 8 to 9 ( tolerating as low as -5 F ) in full sun on well drained soil. Tolerant of heavy soil and drought.

Dr Hurd
Fast growing, reaching a maximum size of 15 x 20 feet.

Arctostaphylos John Dourley
A handsome, low, spreading shrub, reaching up to 3 x 4 feet in 5 years, eventually wider.
The very attractive foliage is orange-red at first, turning to blue-green with a narrow red edge.
The very light pink flowers are borne late winter to early spring and are followed by red berries.
The showy bark is deep mahogany-red.
Hardy zones 7a to 9 ( tolerating 0 F ) in full sun preferring a mediterranean climate with a dry summer. It is clay tolerant but only with no irrigation.

Arctostaphylos luciana ( Santa Lucia Manzanita )
An evergreen large shrub to small tree, reaching a maximum size of 17 ( rarely over 7 ) feet, that is native to coastal slope scrubland in the Santa Lucia Mountains in San Luis Opispo Co, California.
The smooth-edged, oval to rounded leaves, up to 1.6 x 1 inches, are woolly to smooth and green.
The urn-shaped flowers are borne in racemes.
They are followed by red fruit, up to 0.5 inches.

Arctostaphylos manzanita ( Manzanita )
A very attractive, moderate growing, rounded, evergreen, large shrub to small tree.
Some records include: 25 years - 19 feet with a trunk diameter of 5 inches; largest on record - 40 x 47 feet with a trunk diameter of 3.7 feet. It often forms large thickets in the wild.
The leathery, oval leaves, up to 2.5 x 1.7 inches, are hairy and green on both sides.
The deep pink flowers are borne on racemes during early spring.
They are followed by berries that are white, later ripening to reddish-brown in autumn.
The attractive deep red peels to expose brighter red fresh bark.
Hardy zones 7 to 10 in full sun on well drained soil. Very tolerant of extended drought. Boil seeds for 15 minutes before sowing to loosen seed coat and improve germination.

Dr. Hurd
Fast growing and upright in habit, reaching a maximum size of 17 x 17 feet, can be pruned as a small tree.
Larger rounded leaves, up to 3 inches.
Tolerates temperatures as low as 0 F.

St Helena
Vigorous and tree-like, reaching a maximum size of 20 x 20 feet.
The foliage is bluer than the species.
Tolerates as low as 5 F. Leaf spot resistant.

Arctostaphylos mewukka ( Indian Manzanita )
A shrub reaching a maximum size of 13 feet, that is native to the Sierra Nevada Mountains in California.
The broad lance to rounded leaves, up to 2.8 inches, are smooth and dull green.
The urn-shaped flowers are borne in loose racemes.
They are followed by rounded, red-brown fruit, up to 0.6 inches.

Arctostaphylos montaraensis ( Montara Manzanita )
A dense, erect, evergreen shrub reaching a maximum height of 17 feet, that is native to Montara and San Bruno Mountain in San Mateo County, California where it is extremely endangered.
The rough, ovate leaves, up to 2 x 1 inches, are dull green.
The cone-shaped flowers, up to 0.3 inches, are borne in dense racemes.
The stems are deep red.
Drought tolerant, it makes an attractive landscape plant.

* photos of unknown internet source




Arctostaphylos montereyensis ( Toro Manzanita )
A shrub reaching a maximum size of 6.5 ( rarely over 3 ) feet, that is native to
sandy maritime scrubland near Salinas in Monterey County, California where it is highly endangered.
The rough, smooth-edged, oval to round leaves, up to 1.8 x 1 inches, are deep green.
The urn-shaped flowers are borne in dense racemes.
They are followed by bristly drupes, up to 0.3 inches across.

Arctostaphylos morroensis ( Morro Manzanita )
A spreading evergreen large shrub to mini-tree, reaching a maximum size of 6 x 10 feet, that is native to sandy scrubland in Morro Bay in San Luis Opispo Co. California where it is extremely endangered.
The oval leaves are deep green above, dull gray-green beneath.
The very light pink, urn-shaped flowers are borne in abundant, dense racemes.
They are followed by red fruit, up to 0.3 inches across.
The shredded bark is reddish-gray.
Hardy zones 8a to 10

Arctostaphylos myrtifolia ( Ione Manzanita )
A shrub reaching a maximum size of 4 x 6.5 feet, that is native to scrub and open woodlands in Calaveras & w Amador Counties in central California. Extremely rare, it is listed federally as threatened with extinction. It will like soon be relisted as endangered as Phytophthora cinnamomi and newly introduced Phytophthora cambivora are killing the few remaining natural stands.
The elliptic leaves, up to 0.7 inches in length, are glossy bright green.
The small pink, urn-shaped flowers, up to 0.8 inches, are borne on racemes during winter.
They are followed by berries during
The attractive, smooth, waxy bark is reddish in color. The stems are bright red.
Hardy zones 7 to 10 in full sun on well drained soil.

Arctostaphylos nevadensis ( Pine Mat Manzanita )
A very beautiful, mat-forming, low, evergreen shrub reaching a maximum size of 2 x 8 feet, that is native to coniferous mountain forests of Nevada. It is similar in habit to Arctostaphylos uva-ursi.
The leaves, up to 1.3 x 0.6 inches, are bright green.
The white, urn-shaped flowers are borne on racemes.
They are followed by fruit, up to 0.3 inches across.
The stems are dull red.
Hardy zones 4 to 6 in full sun on well drained soil. Requires cool winters and snow cover. Great for the British Isles and the Pacific Northwest. A great groundcover used to stabilize slopes.

Arctostaphylos nummularia ( Glossyleaf Manzanita )
Also called Fort Bragg Manzanita. A shrub reaching a maximum size of 6.5 x 17 feet, that is native to forested mountains in California north of San Francisco.
The very finely toothed to smooth-edge, oblong leaves, up to 1 inch in length, are very glossy deep green above, paler beneath.
The hanging, white to pinkish-white flowers are borne in racemes during early spring.
They are followed by red berries, up to 0.2 inches.
The attractive bark is red.
Hardy zones 6 to 8 in full sun to partial shade on acidic, well drained soil.
Easy to grow, esp in western Oregon.

Arctostaphylos obispoensis ( Serpentine Manzanita )
Also called Bishop Manzanita. A mid-sized to large, evergreen shrub reaching a maximum size of 20 x 8 ( averaging 4 ) feet, that is native to coastal range forests of the southern Santa Lucia Mountains of San Luis Opispo County,
California. During severe extended drought it may become semi-deciduous.
The pointed, broadly lance-shaped to oblong leaves, up to 1.8 x 1 inches, are fuzzy and gray-green. The foliage is woolly at first, later becoming smooth.
The white, urn-shaped flowers are borne on dense racemes.
They are followed by fruit, up to 0.3 inches across.
The stems are deep red.
Hardy zones 8 to 10 in full sun to partial shade on just about any well drained soil.

Arctostaphylos oppositifolia
A large evergreen shrub that is native to the Baja Peninsula.
Some records include: largest on record - 33 feet.
The leaves, up to 3.3 inches in length, are green.
The flowers are borne in racemes during
They are followed by berries during
Hardy zones 8 in full sun on well drained soil.

Arctostaphylos osoensis ( Oso Manzanita )
A dense, spreading evergreen shrub reaching a maximum height of 13+ feet, that is native to the western Los Oso Valley in San Luis Obispo County in California where it is endangered.
The smooth-edged to toothed leaves, up to 1.3 x 1 inches, are glossy deep green.
The leaves are stem clasping and strongly overlapping.
The urn-shaped flowers, up to 0.2 inches across, are borne in racemes.
They are followed by smooth fruit, up to 0.3 inches across.
The shredded bark is gray.

Arctostaphylos otayensis ( Otay Manzanita )
An erect, evergreen shrub reaching a maximum size of 9 x 6 feet, that is native to mountains of San Diego County in California.
The smooth-edged, pointed, oval leaves, up to 1.3 x 0.8 inches, are green.
The bright pink flowers are borne in dense racemes.
They are followed by red fruit, up to 0.3 inches across.
The shredded bark is red turning to gray.
Hardy zones 7a to 10

Arctostaphylos Pacific Mist
A handsome, trailing, low, spreading evergreen shrub, reaching a maximum size of 2 x 10 feet. A great groundcover for parking medians.
The foliage is striking blue-gray.
Hardy zones 7a to 10 in full sun. Very drought tolerant but also tolerates irrigation if planted on very well drained soil. Prune during late spring.

Arctostaphylos pajaroensis ( Pajaro Manzanita )
A dense, evergreen shrub reaching a maximum size of 12 x 7 ( rarely over 7 ) feet, that is native to scrubland in Santa Cruz and far west San Benito Counties where it is has become extinct in the wild.
Some records include: feet.
The smooth to toothed, triangular leaves, up to 1.6 x 1 inches, are red tinted gray-green to mid-green.
The pinkish-white to pink, urn-shaped flowers are borne on loose panicles, during late winter.
They are followed by hairy, deep red berries, up to 0.3 inches across.
The shredded bark is gray to red.
Hardy zones 7 to 9 in full sun on sandy well drained soil, even on pure sand. Thrives where annual average rainfall exceeds 20 inches. Do NOT plant on heavy wet clay.

Bretts Beauty
Reaches up to 6 x 6 feet, with foliage that is intense deep red at first, turning to blue-green.
Hardy zones 8a to 10

Lester Rowntree
Reaches up to 8 x 8 feet, with foliage that is coppery-red at first, turning to silvery-blue.
The flowers are pink.
Hardy zones 8a to 10

Warren Roberts
A very attractive, fast growing, large, spreading shrub, reaching up to 7 x 8 feet.
Some records include: 5 years - 6 x 7 feet.
The triangular leaves are bright orange-red at first, turning to blue-green.
The flowers are pinkish-white.
Hardy zones 7a to 10

Arctostaphylos parryi ( Parry Manzanita )
A shrub reaching a maximum size of 10 x 10 ( rarely over 6.5 ) feet, that is native to coastline areas from Santa Barbara Co. to the San Gabriel Mountains in California.
Some records include: feet.
The pointed, oval leaves, up to 2 x 1 inches, are bright green.
The small, pinkish-white flowers are borne on racemes.
They are followed by dark brown fruit, up to 0.3 inches across.
Hardy zones 5 to 8 ( tolerating -30 F ) in full sun. Thrives where annual average rainfall exceeds 16 inches.

Arctostaphylos patula ( Greenleaf Manzanita )
A multistemmed, rounded, spreading shrub reaching a maximum size of 10 x 13 ( rarely over 7 x 7 ) feet, that is native to high mountain coniferous forests in the western U.S. ( from Washington and Montana to Colorado; south to Nevade to Utah ).
The thick, leathery, broadly oval to oblong or rounded leaves, up to 2.3 x 1.6 inches, are glossy bright gray-green to luxuriant mid-green.
The small, white to pale pink, urn-shaped flowers are borne in loose panicles, up to 3 inches in length, during mid to late spring.
They are followed by small, dark brown to black berries, up to 0.3 inches across.
The attractive smooth bark is reddish-brown.
Hardy zones 4 to 6 ( tolerating -30 F ) in full sun on humus-rich, fertile, acidic, well drained soil. Likes climates with cool winters and heavy snowfall. It likes cool summers and grows well in mountain areas of in the Northeast esp. Massachussetts.
The seed can remain dormant for hundreds of years then germinate after a forest fire followed by a cold winter.

Arctostaphylos pechoensis ( Pecho Manzanita )
A dense, large, evergreen shrub reaching a maximum size of 17+ ( rarely over 10 ) feet, that is native to coastal scrubland and coniferous forests in the Pecho Hills southwest of San Luis Opispo Co., California.
The smooth-edged to toothed, oval leaves, up to 1.6 x 1 inches, are green.
The overlapping leaves clasp the stems.
The fruit are up to 0.5 inches across.

Arctostaphylos peninsularis
An evergreen shrub, reaching a maximum height of 12 feet.
The elliptical to oval leaves are silvery-blue.
The flowers are pinkish-white.
Hardy zones 8a to 10

Arctostaphylos pilosula ( Santa Margarita Manzanita )
An evergreen shrub reaching a maximum size of 6.5 feet, that is native to mountainous habitat in San Luis Opispo and Monterey Counties in California.
The oval to rounded leaves, up to 1.3 x 0.8 inches, are smooth and dull green.
They are followed by red-brown fruit, up to 0.3 inches across.

Arctostaphylos polifolia
A shrub reaching a maximum size of 20 feet, that is native to
Some records include: feet.
The leaves, up to inches, are green.
The flowers are borne in racemes during
They are followed by berries during
Hardy zones 8 in full sun on well drained soil.

Arctostaphylos pringlei
A shrub reaching a maximum size of 17 x 23 ( typically less than half that ) feet, that is native from Arizona south into the Baja Peninsula.
Some records include: largest recorded trunk - 1 foot diameter.
The rounded leaves, up to 2 inches in length, are green.
The flowers are pink.
Hardy zones 7 to 9 in full sun on well drained soil.

* photos taken by F. Lee Kirby @ USDA-NRCS PLANTS Database

Arctostaphylos pumila ( Sandmat Manzanita )
A mat-forming, wide creeping evergreen shrub, rarely exceeding 1 foot in height, that is native to sand dune to wooded coastline in the Monterey Bay area of California.
Some records include: largest on record - 8 x 12 feet.
The small, oval to spatulate leaves, up to 1 x 0.6 inch in length, are bright green turning to deep green above, fuzzy beneath.
The flowers are white to very light pink.
They are followed by rounded brown fruit, up to 0.2 inches across.
Hardy zones 8 to 9 in full sun on sandy, well drained soil.

Arctostaphylos pungens ( Pointleaf Manzanita )
An erect to spreading, evergreen shrub reaching a maximum size of 27 x 20 ( rarely over 10 ) feet, that is native to scrublands and woodlands from California & Nevada to Texas; south into central Mexico.
The oval leaves are up to 2 x 0.6 inches.
The bright green foliage is slightly woolly at first, later turning leathery.
The pinkish-white, urn-shaped flowers are borne in rounded inflorescences during early spring.
The attractive bark is smooth and red.
Hardy zones 5 to 10 in full sun on dry sandy to gravelly, well drained soil.
The seed requires scarification by wildfire to germinate.

Arctostaphylos purissima ( Lompoc Manzanita )
A dense low spreading to mounded evergreen shrub reaching a maximum size of 5 x 15 feet, that is native to coastal scrub in western Santa Barbara Co. in California.
During severe extended drought, it may become deciduous.
Some records include: largest on record - 13+ feet.
The small, smooth-edged, pointed oval leaves, up to 1 x 0.8 inches, are deep green.
The white, bell-shaped flowers are borne in clusters at the branch tips.
They are followed by berries during
The stems are red.
Hardy zones 8 to 10 ( tolerating as low as 0 F ) in full sun on well drained soil.. Thrives where annual average rainfall exceeds 15 inches.

Arctostaphylos refugioensis ( Refugio Manzanita )
A dense, evergreen shrub reaching a maximum size of 13+ feet, that is native to coastal scrubland in Santa Barbara Co., California.
Some records include: feet.
The oblong leaves, up to 1.8 x 1.3 inches, are dull green.
The 0.3 inch flowers are borne in racemes during winter.
They are followed by red fruit, up to 0.3 inches in length.

Arctostaphylos regismontana ( Kings Mountain Manzanita )
A shrub reaching a maximum size of 13+ feet, that is native to the Santa Cruz Mountains in the southern San Francisco Bay area.
Some records include: feet.
The smooth-edged to toothed, ovate to oblong leaves, up to 2.4 x 1.3 inches, are bright green.
The flowers are borne in racemes.
They are followed by sticky fruit, up to 0.3 inches across.

Arctostaphylos rubra
Similar to A. uva-ursi.
The berries are similar to A. uva-ursi but taste better and are juicier. Cooking still however does improve the taste.

Arctostaphylos rudis ( Sand Mesa Manzanita )
A handsome, fast growing, small, erect, evergreen shrub originating from a burl, reaching a maximum size of 6.5 x 7 feet, that is native to scrubland on the central California coast.
Some records include: 5 years - 5 x 5 feet.
The smooth-edged, oval to round leaves, up to 1.3 x 0.8 inches, are glossy green.
The small, white, urn-shaped flowers are borne late autumn to winter.
They are followed by abundant, smooth red fruit, up to 0.3 inches.
The young branches are covered in fibers. The older stems have shredded red or gray bark.
Hardy zones 7b to 10 ( tolerating as low as 5 F ) on sandy soil. Thrives in Puget Sound as do most Manzanitas. Very resistant to black spot.

Vandenburg
More compact but eventually larger growing, reaching up to 7 x 10 feet.
Some records include: 5 years - 3 x 3 feet.
Hardy zones 8a to 10, tolerating 10 F.

Arctostaphylos silvicola ( Bonny Doon Manzanita )
Also called Ghost Manzanita. An evergreen large shrub to small tree, reaching a maximum size of 20 x 20 ( rarely over 10 ) feet, that is native to sandy coniferous forests on the coastal slope of the southern Santa Cruz Mountains in the southwest San Francisco Bay area.
The slightly woolly to smooth, oval leaves, up to 1.5 x 0.6 inches, are pale gray-green to silvery.
The white, urn-shaped flowers are borne on raceme.
They are followed by berries, up to 0.5 inches across.
The smooth bark is dark red.
Hardy zones 8 to 10 in full sun to partial shade.

Arctostaphylos stanfordiana ( Stanfords Manzanita )
A bushy, evergreen shrub reaching a maximum size of 8 x 6 feet, that is native to coastal ranges of California north of San Francisco.
Some records include: fastest recorded growth rate - 2 feet.
The pointed, oval leaves, up to 3 x 1 ( rarely over 2 ) inches, are luxuriant mid-green to blue-green.
The pinkish-white to pink, urn-shaped flowers are borne on loose inflorescences.
They are followed by oblong, red berries, up to 0.3 inches, during autumn.
The smooth bark is reddish-brown.
Hardy zones 6 to 10 in full sun on well drained soil.

Bakeri
Reaches a maximum size of 10 x 9 feet.
Hardy zones 6 to 9

Louis Edmunds
Reaches a maximum size of 10 x 6 feet.

Arctostaphylos Sunset
An evergreen shrub, reaching a maximum size of 6 x 8 feet. Some records include: 5 years - 4 x 6 feet.
The attractive foliage is reddish-orange at first, turning to olive-green and are edged in small white hairs.
The white flowers borne during late winter are followed by small berries.
The attractive bark is mahogany-red.
Hardy zones 7a to 9

Arctostaphylos tomentosa ( Shagbark Manzanita )
Also called Downy Manzanita. An evergreen large shrub to small tree, reaching a maximum size of 25 x 12 ( typically half ) feet, that is native to scrubland and coniferous forests of the central California coastline.
The oval leaves, up to 2.5 x 1 inches, are glossy green above and gray felted beneath.
The white to pinkish-white flowers are borne in racemes.
They are followed by rust-brown berries, up to 0.3 inches across.
The attractive bark peels in long shreds. The young stems are densely hairy.
Hardy zones 7 to 10 ( tolerating 0 F easily ) in full sun on well drained soil.

subsp. rosei
Red branches.

Arctostaphylos uva-ursi ( Bearberry )
A fast growing, low, mat-forming, evergreen, groundcover shrub, reaching a maximum size of 2 x 25 feet ( average is 10 inches x 4 feet ), that is native to northeastern North America and the western U.S. ( Alaska to Newfoundland & Greenland; south to California, New Mexico, Michigan to New Jersey ). It is also native to Eurasia from Iceland through Norway thru arctic Siberia; south to Spain, the Apennines in Italy, Turkey, the Caucasus and the Himalayas. Typically slow growing, on ideal sites, it can spread up to 2 feet per year. Once established, Bearberries form a dense, thick mat, making it an excellent plant for erosion control. The stems are self rooting as they creep along the ground. The woody dry stems are sometimes used for fuel in the Arctic where trees are rare.
The thick, oval leaves, up to 1.3 x 0.5 inches in size, are glossy deep green.
The foliage often turns reddish during the winter. The leaves persist from 1 to 3 years.
The nodding, small, white to pinkish-white, urn-shaped flowers are borne in drooping clusters during mid to late spring.
The flowers attract hummingbirds and butterflies.
They are followed in autumn by bright red berries, up to 0.4 inches across. The berries persist well into winter. The berries are edible but not very tasty. They are however rich in Vitamin C and Carbohydrates. The fruits are sweeter when cooked and can be used in preserves and pies.
Hardy zones 1 to 6 ( tolerating as low as -50 F ) in full sun to partial shade on fertile, humus-rich, acidic, very well drained soil. Prefers a soil PH from 5 to 6 and is tolerant of drought, salt spray and wind. This is one of the very few Manzanitas that actually thrive in humid summer climates such as eastern North America. The foliage may windburn in severe climates with no snowfall during winter. Site carefully since it does not enjoy root disturbance or transplanting, they resent fertilizing.
Propagation is from cuttings that are rooted in moist sand over the winter. Layering is also an option as is semi-ripe cuttings taken during summer. Seed can also be used but with slower results. It is not eaten by deer.

* photos taken on Sep 21 2013 in Howard Co., MD

Big Bear
Fast growing, with larger, glossy deep green foliage, that often turn reddish during winter.
The red berries are also larger than the species.
Hardy zones 5 to 8.

Emerald Carpet
A low, dense, mounding, evergreen shrub, reaching a maximum size of 1.5 x 10 feet.
Some records include: fastest growth rate - 1.5 feet.
The thick, broadly-oval leaves, are glossy bright green.
The small, white, urn-shaped flowers are borne in dense panicles during spring.
The smooth bark is purplish.

Massachussetts
Very vigorous and dense, reaching a maximum size of 1 x 15 feet. The thick, glossy deep green foliage is resistant to pests and diseases including leaf spot.

Pt. Reyes
Rapid growing and dense, reaching a maximum size of 2 x 10 feet.
The foliage is deep green.
The flowers are pink.
Hardy zones 5 to 10, tolerant of heat, clay and smog.
Much more drought tolerant than species.

Vancouver Jade
Very vigorous, reaching up to 15 inches tall, with glossy foliage that turns bright red during autumn.
The flowers are pink.
Excellent disease resistance.

* photo taken on June 23 2013 @ U.S. National Arboretum, DC

Woods Red
Dwarf in habit, reaching a maximum size of 1 x 8 feet.
The pink flowers are followed by large, glossy red fruit.
The foliage is glossy deep green, turning reddish during winter.
The young stems are also red.

Arctostaphylos virgata ( Bolinas Manzanita )
Also called Marin Manzanita. An evergreen large shrub to small tree, reaching a maximum size of 17 + feet, that is native to scrubland and forests in Marin Co., California incl. Pointe Reyes.
The rough, sticky, oval leaves, up to 2 x 1 inches, are glossy mid-green.
The pinkish-white, urn-shaped flowers are borne in dense racemes.
They are followed by bristly berries, up to 0.3 inches across.
The twisted branches have deep red bark.
Hardy zones 7b to 10 ( tolerating 5 F ) in cool summer Mediterranean climates.

* photo of unknown internet source


Arctostaphylos viridissima ( Whitehair Manzanita )
An evergreen shrub or small tree, reaching a maximum size of 13 feet, that is native to the Channel Islands and Santa Cruz Island in California.
The oval leaves, up to 1.5 x 1 inches, are fuzzy at first, turning to glossy green.
The urn-shaped flowers are borne in dense racemes during
They are followed by fruit, up to 0.3 inches across.
The peeling bark is red.

Arctostaphylos viscosa ( Whiteleaf Manzanita )
An evergreen large shrub to small tree, rarely exceeding 15 feet, that is native to scrubland and coniferous forest the U.S. west coast from Oregon to California. Some records include: largest on record - 31 x 32 feet with a trunk diameter of 2.5 feet.
The oval to rounded leaves, up to 2 x 1.6 inches, are dull green to blue-green on both sides.
The white to pale pink, urn-shaped flowers are borne in dense inflorescences.
They are followed by shiny red fruits, up to 0.3 inches across.
The mahogany stems can be either smooth or fuzzy.
Hardy zones 6 to 8 in full sun on well drained soil.
The seed requires fire for germination.

December Skies
Very white foliage.
Hardier, to zone 4b ( tolerating as low as -25 F ).

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