17.06.2026

Prairie Garden: Planning, Species, and Practice

Building design

A blooming meadow landscape with wildflowers and grasses – Photo: sayakaganz22 / Unsplash

The prairie garden is neither a passing fad nor a romantic evocation of the American wilderness, but rather a well-thought-out design concept based on the ecological principles of North American grasslands while also responding to the conditions of the Central European urban climate. Anyone planning a prairie garden works with a plant system that does not merely tolerate drought, nutrient-poor soil, and intense sunlight—it requires them. The result is a landscape of extraordinary vitality, long flowering periods, and high ecological value that self-regulates as it matures, requiring less maintenance than conventional perennial beds.

What a prairie garden is and how it differs from other perennial plantings
What ecological and historical principles shape the concept
What site conditions are absolutely essential for a prairie garden
Which grasses, perennials, and bulb plants have proven successful for Central European prairie gardens
How prairie gardens are planned, established, and structured
What maintenance and pruning routines ensure longevity and stability
What mistakes typically occur during establishment and maintenance, and how to avoid them
How the prairie garden fits into urban open-space planning, climate adaptation, and biodiversity conservation

What is a prairie garden? Definition, origin, and scope

The term “prairie garden” refers to a planting style modeled after the plant communities of the North American prairies: open, grass-dominated landscapes interspersed with flowering perennials, which have developed on deep, nutrient-poor to moderately nutrient-rich, well-drained soils under a continental climate. The concept transfers this plant community into landscaped outdoor spaces without creating a naturalistic replica. Rather, the aim is to translate the structural and ecological principles of the prairie—namely, the balance between grasses and herbs, self-regulation through competition, and adaptation to stress—into a planting scheme that can be planned and maintained.

The prairie garden differs fundamentally from the classic perennial bed in its logic. The perennial bed is a composition of individual plants whose structure is maintained through care. The prairie garden, on the other hand, functions as a plant community in which species compete with one another, support one another, and develop a dynamic equilibrium over the long term. Grasses play a key structural role, while flowering perennials are interspersed to provide color accents and ecological resources. This basic idea links the prairie garden to the broader concept of naturalistic planting, as further developed by designers such as Piet Oudolf, Cassian Schmidt, and the concept of “Sichtungsgärten” (exhibition gardens) in Germany.

The prairie garden must be distinguished from the wildflower meadow on the one hand and the steppe garden on the other. The wildflower meadow is an extensively mowed grassy area interspersed with meadow herbs; it relies on mowing as a maintenance measure and does not develop a permanent perennial structure. The steppe garden is modeled after the plant communities of the Eurasian steppes and utilizes different genera, different soil types, and a different vegetation structure. The prairie garden specifically features North American genera such as Echinacea, Rudbeckia, Liatris, Baptisia, Sorghastrum, Panicum, and Schizachyrium, although in practice it is often supplemented with compatible European and Asian species.

Ecological and Historical Foundations of the Prairie Garden

The North American prairie originally stretched across large parts of central North America and formed one of the most species-rich grassland ecosystems on Earth. Its vegetation was the result of an interplay of low annual precipitation, extreme temperature fluctuations, periodic fires, and grazing pressure from large herbivores. These stress factors selected plants with deep root systems, high drought tolerance, and the ability to quickly regrow after disturbances. The roots of many prairie grasses extend several meters into the soil, enabling them to access water even during long dry spells.

Horticultural interest in prairie species began in the late 19th century, when North American wild perennials were increasingly introduced into European gardens. However, a systematic exploration of the prairie garden as a design concept did not develop until the 20th century. The American landscape architect Jens Jensen is considered an early proponent of a design approach modeled on native prairie communities. In Germany and the Netherlands, the concept was further developed through the work of Karl Foerster, who introduced many North American grasses and perennials to European gardens, and later by Piet Oudolf and Urs Walser. The Hermannshof demonstration garden in Weinheim and the work of the Federal Horticultural Shows have established the concept in German-speaking landscape architecture.

The ecological significance of the prairie garden lies in its function as a habitat for insects, particularly specialized wild bees, hoverflies, and butterflies. Many prairie perennials offer nectar- and pollen-rich flowers over a long period from early summer through fall. The standing seed heads and stalks of the grasses provide food for birds in winter and overwintering structures for insects. These characteristics make the prairie garden a valuable component of urban biodiversity strategies, far beyond its aesthetic value.

Site Requirements: What a Prairie Garden Really Needs

The most important planning requirement for a successful prairie garden is nutrient-poor to moderately nutrient-rich, well-drained soil in full sun. In practice, this requirement is often underestimated or deliberately ignored, which regularly leads to failure. Prairie plants depend on nutrient-poor conditions, not because they cannot absorb nutrients, but because under nutrient-rich conditions they are outcompeted by more vigorous, fast-growing species. Garden soil enriched with compost favors nettles, thistles, and aggressive grasses, not the delicate prairie perennials.

The soil reaction should be neutral to slightly acidic; the pH should ideally be between 6.0 and 7.0. Heavy, waterlogged clay soils are unsuitable for most prairie species, as their roots are sensitive to oxygen deficiency. In such soils, drainage can be improved by incorporating gravel or crushed stone, though this is labor-intensive and only makes economic sense for smaller areas. Sandy and gravelly soils, such as those commonly found on urban brownfields, railroad yards, and in new development areas, are, by contrast, ideal starting conditions for a prairie garden.

Sunlight is another non-negotiable basic requirement. Prairie gardens need at least six hours of direct sunlight daily. In partial shade, the grasses lose their characteristic sturdiness, the perennials become etiolated, and the planting loses its structure. In urban settings with high building density, the choice of location must therefore be carefully considered. Suitable sites include south-facing areas adjacent to buildings, open spaces, slopes, and green roofs with sufficient substrate depth.

Water supply is not a critical factor in an established prairie garden, as the species used are adapted to drought. In the first one to two years after planting, while the root systems are not yet fully developed, watering is advisable during prolonged dry spells. After that, watering should be avoided as much as possible, since regular watering favors nutrient-loving competitors and undermines the stress tolerance of prairie species.

Species Selection: Grasses, Perennials, and Bulb Plants for the Prairie Garden

The selection of species for a prairie garden follows a clear structural logic. Grasses form the framework of the planting and typically account for thirty to fifty percent of the planting area. Flowering perennials provide seasonal color and ecological diversity. Bulb plants complement the spring display and fill in gaps before the main vegetation sprouts. These three layers overlap in time and space, creating the characteristic density and depth of a prairie garden.

Among the grasses, the following have proven particularly successful under Central European conditions: Panicum virgatum (switchgrass) in varieties such as ‘Shenandoah’ or ‘Heavy Metal,’ which combine an upright growth habit with fall color; Schizachyrium scoparium (small bluegrass), which offers a fine texture and intense fall color; Sorghastrum nutans (Indian grass), a tall, late-blooming grass with golden-brown fall color; and Sporobolus heterolepis (prairie drop grass), which captivates with its anise-like scent and fine texture. European grasses such as Molinia caerulea, Deschampsia cespitosa, or Stipa species can be used as complementary plants, provided they are compatible with the site conditions.

Among flowering perennials, North American genera form the core of the assortment. Echinacea purpurea and its relatives (purple coneflower) bloom from July through September and provide resources for insects and birds alike. Rudbeckia fulgida (black-eyed Susan) is hardy, long-lived, and self-seeding. Liatris spicata (blazing star) blooms from top to bottom and is an important resource for butterflies. Baptisia australis (blue false indigo) develops deep roots and is extremely long-lived, but takes several years to reach full maturity. Agastache species, Penstemon species, and Silphium perfoliatum (perforate silphium) round out the selection for larger areas. Species from Europe and Asia, such as Salvia nemorosa, Nepeta varieties, Perovskia atriplicifolia, and Verbascum species, can be incorporated provided they share the same site conditions.

Bulb plants play an often-underestimated role in the prairie garden. Allium species (ornamental garlic) of various heights and flowering times extend the season into spring and add structure with their spherical flower clusters. Camassia species, native to North American wet prairies, are suitable for sites with occasional spring wetness. Tulipa species in botanical varieties and Narcissus species can enrich the spring season without interfering with summer vegetation.

Planning and Design: From Concept to Completed Planting

Planning a prairie garden begins with a detailed analysis of the site. Soil testing, light measurements, and an inventory of existing vegetation provide information about nutrient content, soil structure, water balance, and potential competing vegetation. On nutrient-rich soils, it is necessary to deplete the soil by removing topsoil or by growing nutrient-depleting plants as a perennial precursor crop before a prairie community can be stably established. This step is often skipped in practice, leading to persistent problems with weed pressure.

The planting scheme does not follow a strictly geometric logic but is based on the natural distribution of prairie communities: grasses form a uniformly distributed base structure, while perennials are arranged in groups of three to seven plants that are repeated and staggered relative to one another. This repetition creates rhythm and coherence without becoming monotonous. For larger areas of approximately two hundred square meters or more, a matrix planting is recommended, in which one or two dominant grass species form the basic matrix and perennials are interspersed at defined densities. This concept, which became particularly well-known in German landscape architecture through the work of Cassian Schmidt and the Hermannshof, reduces the planning effort and increases ecological stability.

The ideal planting time is in the spring or early fall. Spring plantings benefit from the season’s growth energy but require watering during dry spells. Fall plantings allow for good root development before winter but are less suitable for late-sprouting species such as Panicum virgatum, as these become active only when soil temperatures exceed ten degrees Celsius. Planting distances depend on the mature spread of the plant and range from thirty to sixty centimeters for most prairie perennials. Planting too closely together may accelerate ground cover, but it increases competitive pressure and can displace more sensitive species.

After planting, a layer of mulch made of gravel or crushed stone with a grain size of eight to sixteen millimeters is recommended. This layer suppresses weed seedlings, retains soil moisture, and mimics the mineral surfaces found in many prairie habitats. Organic mulch made from bark mulch or wood chips is unsuitable for prairie gardens, as it releases nutrients and alters the soil structure.

Care and Pruning: What a Prairie Garden Needs and When

An established prairie garden is not a maintenance-free garden, but it does require minimal care. The main maintenance task is pruning in late winter or early spring, before new growth begins. This timing, which in Central Europe is usually between late February and mid-March, is ecologically important: The standing stalks and seed heads provide food for birds and overwintering structures for insects until then. Pruning too early in the fall or winter destroys this function and significantly reduces the ecological value of the planting.

Pruning is done to a height of about ten to fifteen centimeters above the ground. For clump-forming grasses such as Panicum or Schizachyrium, the clippings can be bundled and removed as a whole. It is important to remove the clippings from the area, as they otherwise return nutrients to the soil and increase weed pressure. An exception is made for areas where self-seeding is desired, such as with Rudbeckia or Echinacea, where some of the clippings can be left on the ground briefly to encourage spread.

Weed control is the most important maintenance task, especially in the first two to three years after establishment. Annual weeds can be controlled by hoeing or hand-pulling as long as the prairie vegetation has not yet fully closed in. More problematic are perennial root weeds such as couch grass, field thistle, or sorrel, which must be thoroughly removed before planting, as they are nearly impossible to control once the prairie garden is established. After three to four years, the planting usually closes in enough that weed pressure decreases significantly.

Fertilization should generally be avoided in prairie gardens. Fertilizing shifts the balance in favor of fast-growing competitors and jeopardizes the stability of the plant community. Watering, too, should be limited to exceptional situations after the establishment phase. It is advisable to occasionally check for invasive species such as Solidago canadensis or Fallopia japonica, as these species can invade prairie gardens and disrupt their structure.

Prairie Gardens in Open Space Planning: Climate Adaptation, Biodiversity, and Urban Development

The prairie garden has gained considerable importance in professional open-space planning over the past few decades because it simultaneously meets several current planning requirements. As a drought-tolerant planting scheme, it is a suitable tool for climate adaptation in cities facing increasing heat waves and periods of drought. On sealed or heavily compacted urban soils, on rooftops, slopes, and in residual areas unsuitable for conventional greening, the prairie garden can function sustainably with minimal resource use.

The prairie garden’s role in promoting biodiversity is well documented. The long flowering period from May to October, the variety of flower forms, and the structure of the standing winter vegetation create habitats for a wide range of insects, including many specialized wild bee species that depend on specific plant genera. Echinacea, Liatris, and Agastache are among the prairie perennials most frequently visited by wild bees. In urban contexts, where near-natural habitats are rare, prairie gardens can serve as stepping-stone habitats within a network of green spaces.

From an urban planning perspective, prairie gardens are particularly suitable for areas that are difficult to maintain or where conventional lawns can no longer be sustained due to cost considerations. Green belts along roads, embankments, industrial areas, and public spaces offer potential for large-scale prairie landscapes that require only a single annual pruning. Communicating the purpose of these areas to the public is a planning challenge in itself: prairie gardens are sometimes perceived by uninformed observers as unkempt, especially during the winter months. Information signs, clear borders, and well-maintained pathways help make the planting recognizable as a design choice.

Prairie gardens open up new possibilities on rooftops and in extensive green roof systems. With a suitable substrate composition of mineral components and a substrate depth of at least twenty to thirty centimeters, many prairie species can also be cultivated on rooftops. The combination of rainwater retention, thermal insulation, promotion of biodiversity, and aesthetic value makes prairie roof gardens a sustainable element of building greening.

Common Mistakes and How to Avoid Them

The most common mistake when establishing a prairie garden is underestimating the site requirements. If you plant prairie perennials in nutrient-rich, fresh garden soil, you won’t end up with a prairie, but rather a perennial border with increasingly aggressive weed competition. Soil depletion is not an optional measure, but a fundamental requirement. Equally common is the mistake of incorporating shade-tolerant species into the planting; while these may be aesthetically pleasing, they undermine the site-specific logic of the prairie garden.

Another common mistake is choosing the wrong grasses. Many designers opt for Miscanthus sinensis, which, while impressive, grows too vigorously and is too competitive for prairie gardens, eventually overgrowing the accompanying perennials. Miscanthus is a grass native to the wet meadows of East Asia, not a prairie grass. Grasses suitable for prairie gardens are significantly more delicate and do not form rhizomes that spread uncontrollably.

Choosing the wrong time to cut is also a common mistake. Pruning in the fall destroys the winter structure and robs the planting of its ecological function. Pruning too late—that is, after new growth emerges in April or May—damages the new shoots and weakens the plants. The window for pruning is narrow, and it’s worth adhering to it consistently.

The Prairie Garden as a Planning Task with a Future

The prairie garden is not a niche concept for private gardeners interested in botany, but a serious tool for professional landscape planning. Its strengths lie precisely where conventional planting concepts reach their limits: on dry, nutrient-poor soils; in hard-to-reach areas; in climate zones with increasing periods of drought; and in urban contexts that demand biodiversity and reduced maintenance. The combination of structural beauty, ecological performance, and low resource requirements makes it one of the most compelling planting concepts in contemporary landscape architecture.

A prerequisite for success is a consistent planning approach: the prairie garden works only if its basic ecological conditions are respected. Compromises regarding the site, the soil, or the choice of species will backfire in the long run. Those who take these basic conditions seriously will end up with a planting that stabilizes over time, renews itself, and improves in quality rather than becoming outdated. This is a characteristic that is rare in open-space planning and should therefore be particularly valued.

22.01.2025

Project

Co-creation instead of participation

Building design

Management

Participation versus co-creation: Would the Superkilen work better today if citizens had been integrated into the process from the outset?

Superkilen in Copenhagen has failed. The citizens as a whole use the square more as a place to pass through than to linger, even though they were integrated into the planning process through participation – according to a long-term analysis by students at the Danish Institute for Study Abroad. During the design and development process, the Superkilen planners asked citizens to suggest artifacts from their countries of origin for the new city square. Holistic planning with co-creation and prototypes would have been one way of increasing acceptance of the square.

Co-creation

Co-creation originally comes from the business world, which began to involve consumers in the product development process in the 1990s. The Leading Cities research group defines co-creation in urban development as “the active flow of ideas and information between five sectors: government, business, academia, non-profit organizations and citizens that promotes participation, engagement and development.”

What is the difference to citizen participation? Public participation is a means for planners to learn more about the attitudes and opinions of local residents and to develop new ideas. They increase acceptance for a project. Co-creation, on the other hand, involves the most important sectors of society on an equal footing from the outset.

It therefore offers citizens and citizens’ organizations a better opportunity to be truly heard and gain more influence in planning processes. Co-creation views users as proactive citizens rather than consumers, and focuses on long-term cultural change and the whole community rather than individual user groups. Where citizen participation seeks to integrate citizens’ opinions into an already prescribed program, co-creation helps future users to shape and enforce their own decisions. Co-creation is an endless process in the best sense of the word, with regular exchanges taking place between those involved.

Co-creation has a number of advantages. The public provides input and feels equal, citizens feel they are taken seriously. They become much more aware of their living environment. In return, the government has to be much more responsive and responsive to citizens and other sectors. In return, however, it saves costs because only what is actually needed and used is implemented and the risk of a new project is correspondingly low.

Prototypes

In large design projects such as Superkilen, it is extremely important to test ideas in advance before they become a permanent part of the landscape or city. It is a long way from the abstract idea, analysis and public participation to the concrete installation. The prototype should be seen as a learning tool that can be optimized and changed in the next step. Prototypes are a democratic way of dealing with public space, they also reduce the risk of a failed project and unnecessary expenditure.

The holistic approach

Combining co-creation with the prototyping approach makes it easier to explore the potential of a space. This holistic approach leads to more sustainable and vibrant places in the city. However, the Superkilen started with an assumption that co-creation and prototyping would have led to a different design. Users would accept the space better and make it more their own. Perhaps a more critical examination of the initial idea would also have been achieved.

You can read Bianca Hermannsen’s current analysis of the square here.
Robert Schäfer visited Superkilen in 2012, directly after the opening. You can read his review of the new city square in Copenhagen here.
Watch the video here to see how BIG travels with local residents to their countries of origin to select artifacts for Superkilen.

19.12.2024

Design

Heavyweight with a message

Building design

The Globo Uovo sculpture is an impressive work by stone sculptor Marc Reist and is currently on display at the Dürrenmatt Center in Neuchâtel, Switzerland. The artist made the 6.5-ton “global egg” out of white marble. In an interview with STEIN, the Swiss artist explains what message he wants to convey with his sculpture, why he only uses white marble and […]

The Globo Uovo sculpture is an impressive work bystone sculptorMarc Reist and is currently on display at the Dürrenmatt Center in Neuchâtel, Switzerland. The artist made the 6.5-ton “global egg” out of white marble. In an interview with STEIN, the Swiss artist explains the message hewants to conveywith hissculpture, why he only works with white stone and why he launched an appeal to collect eggshells before the opening.

Marc Reist: It’s a logical consequence of my artistic work and how I reflect on my surroundings by observing them. I notice how certain rules and mechanisms are similar on both a small and large scale. I never consciously came up with the topic, it just developed. I think it started in 2005.

The Globo Uovo symbolizes the world and the origin of life. Was there a specific reason for this idea?

Yes, that was in 2011. I was invited by a newspaper in Switzerland to write a few columns. I started to write about resources and food in these texts and about what bothers me: the way we deal with food, the way we deal with our environment. And during this phase, I designed the globe and then the egg. The eggs actually always resonate with me. Regularly for my wife – I only mention this in passing – for her birthday, for Mother’s Day, there are always drawings of chicken and egg. I either start with the chicken or the egg, but the egg always resonates.

Do the many openings in the sculpture also have a meaning?

The openings were created by the lines of longitude and latitude. And I found them very special as soon as I was able to work in the egg. There is a feeling of protection when you are in your human egg and you can see the outside world through these openings. At the same time, it could also be a prison. These feelings arose in me when I was working in the egg.

From a professional point of view – I trained as a stone sculptor and also took the master craftsman’s examination – I know almost all the materials. But even so, I used to only work with black stone for my shapes. And now, for years, I’ve only been working in white. For the small sculptures I make, I use a bright white marble. There is no other solution for me and for my forms. I have never used any materials with textures. They are beautiful, but not for my shapes.

But the marble for the egg has a certain texture. Was a block of 55 tons in pure white not available?

For the Globo Uovo, the stone is a little more marbled. Because this size in pure white – that would have been almost impossible and would have meant such a long wait. And the egg in this size in pure white would almost be a little too beautiful(laughs), almost baroque. That’s impossible. Visually too, it’s almost not rock anymore.

So the egg also looks much more “alive”.

Exactly, that’s what I mean. This methamorphosis of the rock, this mountain, that has to resonate.

How did the change from black to white rock come about?

That’s an interesting question. I have to go back to that. I wanted to make a really big sculpture in the 1990s. I chose a large block in Carrara without knowing what I was going to do with it. I wanted to be inspired by the material, by the block. I normally proceed differently. I have a drawing or a model and then work on the stone. But now I wanted to be influenced by the block. At the time, it was 20 tons in size. And that put an enormous strain on me(laughs). I suddenly realized that the further north the block was transported from Italy, the greater the strain in my head became. I was very blocked! And suddenly I found the solution. I then worked out a light cloth from this block. That was probably my solution, to release this heaviness in me in relation to the block. And since then I’ve only worked with white stone.

Are there purely visual reasons why you like to work with marble a lot, or is it also because of its properties?

Both, actually. My sculptures are also a matter of light. Not only with the large egg, but also with the other sculptures. The way the light passes through the opening and the edges is what makes it so good. And the properties for working are a pleasant side effect. It is easy to work with because it is so even, so homogeneous. But I mainly use marble because light and shadow are important for my sculptures.

You also want to send out a message with your art objects.

Yes, absolutely. I think that’s the greatest task of an artist. That his work is seen and heard, as the case may be. Communication is important. It makes no sense at all if I make an egg like this just to have another beautiful sculpture in a park somewhere. That wouldn’t be enough. It needs a message.

What message is that?

We have great difficulties with resources in general. This is most sensitive when it comes to food. And I really want to draw attention to the fact that people need to deal with the issue of food and resources. That a small train of thought changes.

Your sculpture is currently on display at the Dürrenmatt Center in Neuchâtel, Switzerland. Before the exhibition began, you launched an appeal to collect eggshells. What was the reason?

We had planned a performance with a dancer for the vernissage. I needed a lot of eggshells for that. Over the course of a year, people collected around 35,000 eggshells, washed them and brought them to me. Something you would normally throw away. For the exhibition opening, we laid them out on the floor of the museum and cleared paths, like a labyrinth. The dancer danced her way through it. But every now and then she made missteps on the eggshells, causing them to crack. And at the same time, with every misstep, a part of her body died. Because the shells represent our resources and if they are destroyed, the person dies too. And so she danced through the labyrinth and gradually died a dramatic death after three or four missteps.

Find out more about the project and the natural stone work in the February issue of STEIN. You can also find more information at www.stein-magazin.de/skulptur-des-monats-globo-uovo.