Naturalistic gardens are abundant with flowers, tightly planted, and designed in layers of mostly native plants. Punctuated by soft, swaying grasses, they use groundcovers as a foundation, with structure provided by mounding and upright perennials. In photos, they’re often captured backlit by the sun or rising out of the fog and cropped to show sections alive with color or teeming with pollinators. They feel atmospheric and exquisitely beautiful and can make you long to be part of the ethereal landscape. Zoom out to see more, or wander through them in person, and the feeling can change. What looks calm and inviting in a slice may seem undecipherable, with foreground and background indistinguishable. The scene becomes confusing rather than meditative.
I love the idea of native and naturalistic gardens and am one hundred percent behind their installation in as many places as possible. Yet often when I see them, I feel a bit puzzled and disappointed. I want these pollinator havens to work, to feed the birds and bees and also to be aesthetically transformative. Why, from my perspective, do they often fall short on aesthetics?
As I watch native plant webinars, attend lectures on horticulture, and read garden blog posts, it’s clear the fan base for native and naturalistic gardening is growing. It’s also clear that webinar speakers and other educators feel a need to address the look of these gardens by suggesting techniques for making them feel less overgrown and more controlled. Gardeners uncertain about planting native and naturalistic gardens may want to support wildlife, but they’re concerned about a garden style that feels wild.
One way to reduce the wildness is by using native cultivars, which often are shorter and have tidier foliage than the straight species. Being less exuberant, they’re more recognizable as individual plants within a mass. Walkways, walls, patios, and other hardscape design elements may help restrain native and naturalistic plantings. Mowed paths or swaths of turf separating garden beds put a bit of distance between the viewer and the plants. All of these features make it easier to see and process what is being seen, and they introduce a concept that could make native and naturalistic gardens more visually appealing — the concept of empty space.
Japanese gardens are exemplars of using empty space as a design element, incorporating areas of raked stone and stretches of water to create a pause in botanical abundance that allows for focus and appreciation. These empty spaces slow perception, frame plantings, and allow the mind to rest as well as to wander. By not packing the visual frame, it’s possible to see and feel more. Empty space allows the viewers of a garden to relax, visually, and absorb what they’re seeing.

Look beyond the garden, and you’ll find empty space frequently in natural and cultural spaces. It’s part of the landscape on the Eastern Shore of Maryland, where the alternation of calm inlet and vibrant marsh results in scenes so entrancing they’re difficult to leave. It also can be part of interior spaces in performance halls and museums, creating a surrounding that is distraction-free and allows the audience to focus on works of music and art. I remember watching pianist Leon Fleisher alone on a stage that could accommodate an orchestra. The empty space seemed to clarify the sound and emphasize the movement of his fingers on the keys. The attention of the audience could only be on him. A more crowded setting would produce a different effect.
The Rothko Room at The Phillips Collection in Washington, D.C. is a small space that feels boundless. The infinite possibility of each of Rothko’s four paintings fills the room and little else vies for attention. The walls are white and include a single narrow window, the ceiling is white, and a bench is placed in the middle of the room on a hardwood floor. The empty space is deliberate, and the result is total absorption in the works hung on the walls, a kind of giving up to wherever the paintings take you. The best gardens evoke a similar transcendence.
Make the principle of empty space a priority in naturalistic and native garden design, and perhaps these gardens will become the predominant garden style in the landscape. The idea is not to mimic Japanese garden design, but to adapt one of its key elements by allowing empty space to include areas of mulch, turf, uniform groundcovers, or other materials that create a noticeable visual pause. The pause is as intentional as every other aspect of design, and as variable in shape and substance as a particular location demands. Empty space becomes an aesthetic factor in its own right, co-equal with planting design.
Critics may argue that empty space will reduce the number of pollinators in an individual garden or that this approach is out of sync with the movement to limit the amount of turf in gardens and to plant densely with perennials. These are valid points, but if empty space makes native and naturalistic gardens more appealing and more likely to be installed, pollinator habitat overall will expand. Empty space as a design principle provides a different route to the goal of widespread ecological gardening. It enables the creation of gardens that captivate by being wild and contained.
If you’d like to learn more . . .
Designing Nature: Learn About Design Principles That Go Into Making Japanese Gardens. Portland Japanese Garden. Accessed January 6, 2026. https://www.youtube.com/watch?v=DRp30FDK7m4 (See minute 3:12 of the video for a description of Ma no Bi, “The beauty of empty space.”)
Edouard, Alex. “From “Niwaki Field Report”: Portland Japanese Garden and the Pacific Northwest.” Portland Japanese Garden. November 19, 2025. Accessed January 5, 2026. https://japanesegarden.org/2025/11/19/niwaki-field-report/
Lerner, Will. “The Distinction of Japanese Gardens as Told by the Experts Who Create and Maintain Them.” Portland Japanese Garden. February 25, 2025. Accessed January 5, 2026. https://japanesegarden.org/2025/02/05/pacific-horticulture-distinction/
“Ma (negative space).” Wikipedia: The Free Encylopedia. Accessed January 5, 2026. https://en.wikipedia.org/wiki/Ma_(negative_space)
“The Rothko Room.” The Phillips Collection. Accessed January 5, 2026. https://www.phillipscollection.org/curation/rothko-room










