Located in Eaglemont, in the northern suburbs of Melbourne, the property is part of Mount Eagle Estate – a subdivision originally designed by Water Burley Griffin and Marion Mahony Griffin in 1914. When the clients bought it in 1992 there were already a number of established trees in the garden – lending the space a valuable sense of timelessness as well as influencing the direction of the design.

The garden has been developed over many years. There was no grand design masterplan but a series of interventions – some big, some small – in response to the changing needs and desires of the client.

This garden is all about longevity,” Sharon tells me. “Its success lies in staying the course. It’s constantly added to and fine tuned.”

There are a series of different spaces within the garden, each with a different aspect and microclimate, allowing for a wide variety of plant types to be used.

Framed by mature copper beech (Fagus sylvatica), liquidamber (Liquidambar styraciflua), atlas cedar, the woodland garden features broad swathes of planting – designed to contrast texturally rather than florally. There’s liriope (Liriope muscari), Korean box (Buxus microphylla var microphylla), with curvaceous gravel pathways winding between the beds.

The pool garden is a bit younger than the neighbouring woodland – it’s around 15 years old and showcases a loose and sculptural planting of ornamental grasses including Miscanthus sinensis ‘Sarabande’, Calamagrostis ‘Karl Foerster’, and the incredible Miscanthus giganteus, which reaches a whopping three metres tall!

Then there’s the succulents at the other end of the pool – Sharon has incorporated all sorts of interesting drought tolerant plants into this space and her client has been more than happy to oblige her experimentation. “My client has always been willing to be adventurous,” she tells me, “We often go on plant buying visits together.”

“This garden is very different to a lot of other designed spaces,” Sharon tells me. “Yes, it started on paper, but it’s evolved as a result of conversations between myself and the owner.” This is a wonderful thing. From my experience, without consistent dialogue between a designer and a client, the integrity of a garden design can easily be compromised.

Whilst its important that a client takes on ownership of a space, the gentle hand of a designer can help steer the ship – guiding a client towards the best reflection of themselves within their garden space.”

Gardens can, however, feel too designed – the hand of the designer may be clearly visible but the heart of the owner is nowhere to be seen. This garden is a brilliant example of the magic that can occur as a result of a long term creative partnership between owner and designer.

“I feel immense pleasure being in this garden,” Sharon says. “But I never feel that it’s mine. Everything in it is a result of the relationship I have with the clients. Ultimately the garden is fully theirs and I’m just lucky to be involved.”

–

Check out more of Sharon’s work on her WEBSITE / INSTAGRAM

This story was photographed by Caitlin Mills and produced as part of our monthly collaboration with The Design Files.