25.06.2026

Prairie Perennial: Species, Habitat, and Uses

Building design

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

Prairie perennials are among the most defining plant elements in contemporary landscape design. Their origins in the North American grasslands have shaped them into specialists in extreme site conditions: drought, heat, nutrient-poor soils, and intense sunlight are not stress factors for them, but rather prerequisites for optimal development. Those who use prairie perennials correctly in planning and planting will achieve robust, species-rich stands with high ecological value and an aesthetic appeal that goes far beyond the classic perennial border.

What distinguishes prairie perennials botanically and ecologically, and where they come from
Which species are particularly relevant for open-space planning and how they differ
What site conditions prairie perennials require and which they cannot tolerate
How prairie perennials are incorporated into plant communities and design concepts
What role prairie perennials play in urban climate adaptation and biodiversity conservation
What to consider during planting, establishment, and maintenance
What common mistakes are made when using them and how to avoid them
How prairie perennials fit into the broader concept of natural and dynamic plantings

What Is a Prairie Perennial? Definition, Origin, and Ecological Characteristics

The term “prairie perennial” refers to herbaceous perennials that are native to the grasslands of North America—specifically, the tall-grass prairies of the Midwest, the mixed-grass prairies of the Great Plains, and the drier short-grass prairies further west. These landscapes are characterized by a continental climate: hot, dry summers, cold winters, intense sunlight, and often nutrient-poor, well-drained soils. The plants that have thrived under these conditions have been selected for stress tolerance over thousands of years. They develop deep, extensive root systems, store water and nutrients efficiently, and exhibit a characteristic above-ground growth pattern: slow growth in spring, vigorous flowering in mid- and late summer, and a decorative seed-bearing phase in fall and winter.

For open-space planning, this ecological character is of direct practical importance. Prairie perennials are not plants that must be coaxed into performance through intensive care, but rather ones that will virtually fail if cared for incorrectly—that is, with too much water, too much fertilizer, or soil that is too heavy. Their strength lies in their ability to thrive under difficult conditions, which makes them particularly well-suited for urban sites with compacted, nutrient-poor, or heat-stressed soils. The planning term “prairie perennial” is not strictly defined botanically, but rather functionally: it encompasses species that, in terms of their origin and site requirements, correspond to the North American prairie, regardless of whether they occur there as dominant species or as accompanying species.

It is important to distinguish them from European steppe vegetation. Species such as Salvia nemorosa, Stipa grasses, or Eryngium campestre originate from Eurasian dry habitats and share many site requirements with prairie perennials, but belong to a different origin in botanical and phytosociological terms. In landscape design practice, they are often combined with prairie perennials in so-called prairie-steppe plantings because their ecological profiles are compatible. This mixture is creatively productive and ecologically sound, but should be handled with care in terms of terminology.

Key Species: Key Perennials, Companion Perennials, and Grasses of the Prairie

The range of prairie perennials relevant to open-space planning is broad. The key species—that is, those plants that define the character of a planting scheme and dominate its structure—include, above all, Rudbeckia fulgida (black-eyed Susan), Echinacea purpurea (purple coneflower), and Echinacea pallida, Helenium hybrids (sun bride), Agastache foeniculum (anise hyssop), Penstemon species (beardtongue), and Liatris spicata (blazing star). These species bloom in mid- and late summer, are generally hardy, and show a high tolerance for drought once established. Their flowers are highly valuable to bees, bumblebees, and butterflies, and their seed heads provide food for birds in winter.

Companion perennials that enrich the garden’s appearance without dominating it include species such as Veronicastrum virginicum (Virginia speedwell), Baptisia australis (indigo lupine), Amsonia tabernaemontana (blue star bush), Silphium perfoliatum (perforate cup plant), and various ornamental sage species. Baptisia australis is particularly interesting: it forms deep taproots, is extremely long-lived, and tolerates even summer droughts without any loss of quality. Silphium perfoliatum, on the other hand, is one of the few prairie perennials that also thrives in moister, nutrient-rich soils and provides structural support due to its height of up to two meters.

Grasses are not mere accessories in prairie vegetation but form its structural foundation. The most important prairie grasses for landscape design are Panicum virgatum (switchgrass), Sorghastrum nutans (Indian grass), Schizachyrium scoparium (small bluegrass), and Sporobolus heterolepis (prairie sporobolus). Panicum virgatum is the most versatile of these grasses: There are numerous varieties with varying heights and fall colors; it tolerates both drought and occasional wet conditions and forms stable, upright clumps. Schizachyrium scoparium is smaller, more elegant, and particularly well-suited to dry, poor sites, where it impresses with its vibrant red color in the fall. Finally, Sporobolus heterolepis is considered a premium grass for sophisticated plantings: It grows slowly, has a fine texture, and emits a characteristic popcorn scent in the fall.

Selection Based on Site Profile

The selection of species must be consistently based on the site profile. Echinacea pallida, Penstemon digitalis, Schizachyrium scoparium, and Agastache species are particularly well-suited for very dry, sunny sites with well-drained soils. On moister but well-drained soils, Rudbeckia fulgida, Helenium hybrids, Veronicastrum virginicum, and Panicum virgatum thrive. For sites with occasional flooding or high groundwater levels, Lobelia cardinalis (cardinal lobelia), Vernonia noveboracensis (vernonia), and certain Panicum varieties are suitable. This distinction is crucial for the long-term success of a prairie perennial planting: Planting species in the wrong locations will not result in a stable plant community, but rather in a stand that requires constant replanting.

Site Requirements: What Prairie Perennials Need and What They Cannot Tolerate

The most important site factor for prairie perennials is light. Nearly all species require full sun—that is, at least six hours of direct sunlight daily. Partially shaded sites are suboptimal for most prairie perennials: While they will grow there, they become leggy, tend to bolt, and bloom less profusely. Only a few species, such as Lobelia cardinalis or Amsonia tabernaemontana, tolerate light shade without a significant loss of quality.

The soil should be well-drained and rather poor. Heavy, loamy, or waterlogged soils are problematic for most prairie perennials, especially in winter: Many species that survive summer drought without difficulty are sensitive to waterlogging during dormancy. Soils with high nutrient content promote lush foliage growth at the expense of flowering and make the plants more susceptible to lodging and fungal diseases. On nutrient-rich soils, it is therefore advisable to deliberately reduce the nutrient content by mixing in sand or gravel before planting prairie perennials. In urban planning, this is often the case anyway: Many urban sites—such as roadside greenery, traffic islands, embankments, or green roofs—naturally have nutrient-poor, well-drained substrates.

Prairie perennials generally tolerate temperature extremes well. Most species are sufficiently hardy for Central European climatic conditions (USDA Hardiness Zones 4 to 6), provided there is no waterlogging. Heat waves—which occur more frequently in urban settings due to the heat island effect—are not a problem for established prairie perennials; rather, they provide conditions under which these plants can outcompete more aggressive, moisture-loving species. It is precisely this characteristic that makes them a valuable component of urban climate adaptation strategies.

Use in Open Space Planning: Planting Concepts, Typologies, and Scales

Prairie perennials are used in various conceptual frameworks in contemporary open-space planning. The best-known concept is “prairie planting,” which is based on structurally mimicking natural prairie vegetation: grasses form the matrix, flowering perennials are interspersed as accents, and the species composition is designed for self-regulation and longevity. This concept was significantly shaped by landscape architects such as Piet Oudolf, who brought it to international prominence through large-scale projects such as the High Line Park in New York and the Lurie Gardens in Chicago. Oudolf’s approach emphasizes the quality of the plants throughout the entire season, including winter structure provided by seed heads and dead stems.

In German open-space planning, the concept of “life zones” developed by Richard Hansen and Friedrich Stahl has proven effective as a conceptual framework. Prairie perennials are assigned to the “open space, steppe, and heath” life zone, which describes their use in open, sunny, dry locations. The further development of this concept by the trial garden network and the perennial nursery industry has led to a nuanced understanding of the site requirements and combinability of individual species, which has now been incorporated into planting lists and planning recommendations.

In an urban context, prairie perennials are particularly well-suited for the following types of open spaces: roadside greenery and traffic islands, slope greening, green roofs (extensive to intensive), city squares with tree pits and planting beds, park areas with extensive sections, as well as commercial and industrial sites where low-maintenance, robust plantings are required. In all these contexts, prairie perennials thrive in the often challenging site conditions that would pose problems for conventional perennial plantings.

Plant Communities and Mix Ratios

For a stable prairie perennial planting, a three-layer structure is recommended: a grass matrix (about 40 to 60 percent of the planting area), focal perennials with high recognition value (20 to 30 percent), and companion perennials and fillers (20 to 30 percent). The grass matrix serves as ground cover, suppresses weeds through dense growth, and provides the basic structure of the plant composition. Key perennials create seasonal highlights and are responsible for the visual impact from a distance. Accompanying perennials enrich the view up close and extend the flowering period. This layering principle is not rigid but rather a planning framework that can be adapted depending on the site and design intent.

Ecological Value: Biodiversity, Insect Conservation, and Climate Adaptation

Prairie perennials make a demonstrable contribution to urban biodiversity. Their flowers are highly valuable to native and naturalized pollinators: Echinacea species, Agastache, and Liatris are among the most nectar-rich perennials of all and are visited by a wide range of bees, bumblebees, hoverflies, and butterflies. The long blooming periods of many prairie perennials, which can extend from June through October, fill foraging gaps that frequently occur in conventional green spaces. Seed heads of Echinacea, Rudbeckia, and Panicum are utilized by goldfinches, chickadees, and other seed-eaters in winter.

In the context of urban climate adaptation, prairie perennials are relevant for several reasons. Their deep root systems improve soil structure and promote rainwater infiltration, which can help mitigate the effects of heavy rainfall events. Their tolerance to heat and drought makes them resilient elements in climate change scenarios, where more frequent and intense summer droughts are expected. On green roofs, prairie perennials contribute to evaporative cooling and thus to the reduction of the urban heat island effect, provided the substrate has sufficient water-holding capacity.

The ecological impact of prairie perennial plantings is not limited to individual sites. In urban planning, contiguous or interconnected areas of prairie perennials can function as stepping-stone habitats, enabling the movement of insects and other small animals through the city. This aspect is gaining increasing importance in the discussion of green infrastructure and habitat connectivity and is explicitly taken into account in open-space concepts developed by forward-thinking municipalities.

Planting, Establishment, and Maintenance: What Matters in Practice

The timing of planting significantly influences the success of establishment. Prairie perennials are best planted in the spring or early fall, when soil temperatures are favorable for root growth and the plants can become sufficiently established before the first winter. Container-grown plants can generally be planted year-round, but they require regular watering in the first few weeks after planting until they are well-established. Once established—which can take one to two growing seasons, depending on the species and location—most prairie perennials rely largely on natural precipitation and do not require additional watering.

Planting distances depend on the species’ mature size and the desired degree of coverage. As a general guideline, medium-sized prairie perennials (50 to 80 centimeters in height) should be spaced 40 to 60 centimeters apart, while large-growing species such as Silphium perfoliatum or Veronicastrum virginicum should be spaced 60 to 80 centimeters apart. Grasses in the matrix are planted more densely to quickly achieve closed ground cover. A layer of mulch made of mineral material (gravel, crushed stone) three to five centimeters thick suppresses weeds during the establishment phase without impairing drainage and corresponds to the natural habitat characteristics of the prairie.

Maintenance of established prairie perennial plantings is intentionally extensive. The most important maintenance task is pruning in late winter or early spring, before new growth begins. Pruning too early in the fall deprives the planting of its winter structure and removes overwintering habitats for insects in the stems and seed heads. Fertilization is generally counterproductive and should be avoided. Weed control is particularly important in the first two years but decreases significantly as plant density increases. Individual species such as Rudbeckia fulgida can spread through self-seeding, which is desirable in some planning contexts but undesirable in others and can be controlled through targeted thinning.

Common Mistakes and Misconceptions in the Use of Prairie Perennials

The most common mistake is planting prairie perennials in soil that is too nutrient-rich, heavy, or waterlogged. In such sites, the plants initially grow vigorously but become unstable, tend to lodge, and show significant die-off after a few years. The solution lies not in more intensive care, but in consistently improving the site conditions before planting or, where that is not possible, in selecting species that tolerate drier conditions.

Another mistake is underestimating the establishment phase. Prairie perennials, especially deep-rooted species such as Baptisia australis or Echinacea pallida, show little above-ground growth in the first year after planting because they invest their energy in developing their root systems. Planners and clients who are disappointed after one season and demand replanting are thus often jumping the gun on a process that would have developed positively on its own in the second and third years. Clear communication about the developmental dynamics of prairie perennial plantings is therefore part of a professional planning service.

Finally, the importance of species composition is often underestimated. A prairie perennial planting consisting of only a few dominant species is less stable than a species-rich community because it is more vulnerable to the loss of individual species due to disease, drought, or competition. The diversity of the natural prairie is not a random aesthetic occurrence, but rather the result of ecological stabilization processes. Planting concepts that mimic this diversity are more robust in the long term and require less maintenance than simplified, monostructural plantings.

Prairie Perennials as a Planning Philosophy: Dynamism, Resilience, and Design Maturity

Using prairie perennials in open-space planning means adopting a specific planning philosophy. It means accepting dynamism as a design quality: plantings change; species establish themselves or recede; the landscape looks different in spring than in midsummer, and yet again in winter. This dynamism is not a shortcoming, but rather the very essence of nature-inspired plantings. It requires planners, clients, and users to be willing to view change not as a mistake, but as a process.

The design maturity that prairie perennial plantings develop over time is one of their greatest qualities. While conventional perennial plantings often need to be replaced after just a few years, well-planned prairie perennial plantings gain stability and expressiveness as they age. Deep-rooted species such as Baptisia australis can remain in the same location for decades, improving with each passing year. This longevity is an economic and ecological argument that should be emphasized more strongly in planning consultations.

In the broader context of open-space planning, prairie perennials represent a paradigm shift that has been underway for several decades: away from high-maintenance, short-lived plantings toward robust, site-adapted plant communities that provide ecological benefits while also being aesthetically pleasing. This approach is not a passing fad, but a response to real challenges: rising maintenance costs, climate change, biodiversity loss, and the need for resilient green infrastructure in growing cities. In this context, prairie perennials are not an exotic niche material, but a well-founded, versatile planning tool with proven effectiveness.

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.