Meadows are hot right now, with horticulturalists’ renewed focus on habitat preservation/creation and the rise of the “new perennial” gardening movement that showcases native and “wild-looking” plants in naturalistic compositions. Everyone loves a meadow—or at least the image of them as presented in aspirational garden porn—billowing fields of lively grasses punctuated with bright yellow, pink and white blooms that persist all summer long.

There are several ways to achieve the cultivated meadow look, and the most commonly accepted, and perhaps effective, method involves several rounds of herbicide spray that kill all existing plants back to bare dirt, a process that takes about a year in order to catch each wave of germination. The idea is to create a blank slate so that you may then, ideally in the fall, sow a mix of wildflower seeds that’s usually composed of annuals, to give you quick, first-year color, and perennials, which will take longer to get going but persist and multiply through the years. Without leveling the playing field with herbicide, the desired wildflower seeds most likely wouldn’t be able to germinate and out-compete the existing vegetation.

All this is fine, and I’ve seen some lovely meadows created this way. But the idea of mass herbicide spray doesn’t sit well with me, nor does watching vast swaths of ground turn brown and shrivel, taking with it the native plants in all their diversity only to be replaced with a select blend of imports. As much as I would love to try creating a wildflower meadow, and still may, I haven’t yet been able to reconcile the steps I’d have to take to get there.

But as I was mulling this gardener’s quandary, a wildflower meadow was quietly forming right in my own yard with almost no help from me. It happened in the transitional zone between the forest and my mowed field, on a patch of ground that had been thickly colonized by invasive alanthus trees, honeysuckle, and brambles. This area was cleared back to bare dirt two winters ago, and I basically just left it alone.

Last year I noticed tons of mullein plants sprouting in the bare dirt. Mullein are the pioneers of the plant world—they are among the first plants to recolonize disturbed ground. They are biennials, and in their first year form a rosette of soft, fuzzy grey-green leaves. The second year the plants shoot tall yellow flower stalks high into the sky. Mullein has a long and respected heritage in herbal medicine, and is commonly used to treat disorders of the respiratory system. If you believe in the doctrine of signatures, the leaves of mullein are lung-shaped, which indicates that they are beneficial to that part of the body.

I think mullein are incredibly beautiful, and so I refrained from mowing them last year in order to see them bloom this year. Well, in not mowing this patch of ground, I unintentionally created what has turned out to be a fascinating wildflower meadow—no herbicide needed. In addition to purple clover, wild strawberries, and countless other plants, here are just a few of the flowers I’ve identified in my meadow:

Dianthus armeria, or Deptford Pink, a relative of Sweet William

Achillea millefolium, common yarrow

Some kind of very pretty, low-growing grass that reminds me of the “fiber optic grass” sold in nurseries. Any ideas what it is?

Papaver aculeatum (I think), orange poppy, gone to seed

Triodanis perfoliata, Venus Looking Glass

Wild onion, gone to seed

Parthenocissus quinquefolia, Virginia creeper, with Erigeron strigosus, Prairie Fleabane in the background

I look forward to watching this meadow progress through the summer, but in the meantime I find it so striking that the former hayfield, above, which I bush hog every now and then, is so much less botanically diverse than the new meadow, below, which sits just a few feet away. I am not sure if this is because the hayfield was created (how are hayfields created, anyway?) once upon a time to be primarily grasses, but I would have thought that by now it would have reverted to a more wild state. Perhaps the grass cover is too thick to allow other plants to germinate? Botanical succession—how plants reclaim and populate land, which come first, and how they create ideal conditions for each successive wave of new plants—fascinates me, and I am glad to have these uncultivated meadows that provide a wonderful laboratory to watch and learn from this process.

I just came across this collection of photographs from a contest sponsored by the Royal Botanic Gardens, Kew, in England, and I have been mesmerized for a long time, taking in the details of each exquisite photo. I don’t reblog much, but these images are on par with anything I’ve seen come out of the National Geographic Photo Contest and deserve as much exposure as they can get. Maybe I’ll submit one of my own images to this contest some day—seeing these photos is real motivation to keep upping my own photographic game.

It’s easy to piece together some trends from this winning collection. Of course the New Perennials are still going strong, as evidenced by the contest winner, Rosanna Castrini, an Italian garden designer who describes her gorgeous garden as a prairie. Her photo, below, has reawakened my lust for Echinachea “Magnus,” a magenta coneflower (and 1998 Perennial Plant of the Year) that’s been on my radar for a few years but I’ve yet to encounter in any local garden center. Also still hot are representations, either natural or planted, of “meadows.”

Take some time to click through and enlarge each of these images. At the very least you’ll find a break from the seemingly relentless cold and snow surrounding most of us. And at best, you’ll take away some inspiration for a future garden design.

Last week I took the train up to Connecticut to visit a friend and caught this view approaching Manhattan. I like how this photo plays with scale, the skyscrapers of lower Manhattan dwarfed by the towers in the forefront, and all of it seemingly floating on a frozen marsh. Nature below, manmade above. You can see the Freedom Tower catching the sunset. I think the design is simple but very elegant, and I really like how the light plays on its different sides.

From Connecticut, we took the train into Manhattan for a day and our first destination was the High Line, a public park and garden with planting design done by my favorite garden designer, the Dutchman Piet Oudolf. The High Line used to be an abandoned, overgrown elevated railway until the Friends of the High Line got together in 1999 and garnered enough public support for the park that in 2004 New York City granted $50 million for the project.

The park has been completed in sections since then, and it’s achieved worldwide recognition for its success at transforming urban blight into public greenspace, and revitalizing a formerly decrepit area of the city. Chicago, Philadelphia and St. Louis are studying the High Line as a potential model for their cities.

All this to say that although I’ve followed this project for years, I hadn’t actually gotten the chance to visit until last week. And I was so impressed. The hardscape materials—steel, glass and concrete—were combined with enough weathered wood to warm up the garden without losing touch with its urban environment. I loved the little alcoves that jutted off the main path. They formed garden rooms that would give a gathered group of friends a sense of intimacy while still allowing them to be part of the action.

And of course, the plantings were awesome. I know enough about Oudolf’s work to expect a lot of grasses and dried seedheads this time of year, and the High Line didn’t disappoint. Oudolf designs for four-season interest, and I suspect that the dried plant material and stark, berried bushes we saw in winter might be even more interesting than the abundant but overplayed flowers of summer. A blanket of snow threw all the plants into beautiful relief and was an extra bonus.

I know “naturalistic,” “new perennial,” and “meadow” planting are so trendy in garden design right now, and I also know just how much work and knowledge it takes to put together a garden design that replicates a natural meadow. But I was really struck, as I walked the High Line, by how it looked like one could have just transplanted a section of my front yard right into Manhattan. If that was Oudolf’s intention, and I believe it was, no doubt he succeeded. And maybe I succeeded too, by setting up my home in a natural, beautiful meadow without having to plant it first! Art imitates life, life is—if we keep our eyes open—art.