Introduction 6; The Plan How to divide up a plot to maximize the space; Creating an axis 12; Creating a feeling of spaciousness in a small area 18; Dividing a plot diagonally 24; A series of garden rooms of different character 30; A garden on different levels 36; The Elevation; Methods of enlivening the perimeter; Creating a series of receding screens 44; Hiding unpleasant objects 50; Adding height to a screen wall 62; Regularizing a messy elevation with trellis 74; Dissolving the perimeter 90; Light and Shade; Making the most of light; Reflecting the daylight into dark spaces 100; Contrasting light against dark 108; Low key artificial lighting of plants 116; Architectural lighting 124; Lighting a vista 130; Ground Surfaces; Inventing substitutes for grass and paving; Substitutes for grass in town gardens 140; Inventive use of gravel 148; Pattern in hard surfaces 158; Planting for overhead effects 166; Water used as a reflective surface 174; Theatrical Effects; Ideas taken from stage designs for dramatic gardens; Rearranging a garden for a party 180; A theatrical coup d'oeil or view stopper 186; Scenery flats applied to gardens 190; The use of false perspective 196; Distorting scale to achieve greater depth 200; Index 204; Acknowledgments 208
George Carter is one of Britain's leading garden designers, whose work can be seen in Europe and the USA. In 1999 he won a RHS Gold medal at the Chelsea Flower Show. His work has been featured in House and Garden, The World of Interiors, and Gardens Illustrated. His books include The Garden as Theatre, Gardening with Herbs, Formal Gardens, Gardening with Containers, Projects for Small Gardens, and Living with Plants, and The New London Garden (both Mitchell Beazley).