As the interviewer stepped out fromT2 at the Bangalore International Airport into the arrival zone at the landside, a striking figure in green seemed to meld seamlessly with the vertical green walls towering on either side of the main entry area. Dressed from head-to-toe in botanical prints, complemented by green shoes, socks, eyeglasses and one hand sporting an extremely long thumbnail,an artist stood beside his creation, fully lost in giving final touches. The artist-botanist lookedinseparable from his art.
Patrick Blanc is a renowned French botanist and the pioneering mind behind the concept of vertical gardens. With a deep passion for plant biology and an artistic approach to integrating greenery into urban spaces, Blanc has transformed cityscapes worldwide with his signature living walls. Known as the "father of the vertical garden", Blanc’s projects incorporate diverse plant species that thrive on walls without soil, using innovative hydroponic systems.
Drawing inspiration from his childhood when he learned that his mother's philodendrons benefited from dangling their roots in his little aquarium, Blancgot obsessed with the idea of growing plants without soil. As a teen, he started studying plants in their natural environments. Blanc has been particularly interested in studying plants thriving in extreme conditions like tropical rainforests. His lifelong work has led to a unique system for growing plants vertically on structures, blending art, architecture, ecology and sustainability.
Blanc’s work has not only revolutionized urban horticulture but has also played a significant role in promoting sustainability and improving the quality of urban environments. His iconic works include the Quai Branly Museum in Paris, where a vibrant green façade captivates visitors and the Central Embassy in Bangkok, which showcases his unique approach to sustainable urban landscaping. Blanc’s projects demonstrate how nature can be seamlessly integrated into cityscapes, reducing pollution and enhancing biodiversity in dense urban areas. His latest offering being ‘Tiger Wings’, which was recently inaugurated at the Bangalore International Airport and is the largest such vertical garden in India by Blanc.
Excerpts of the conversation:
Q. You have often spoken about the ‘freedom of plants’ in your interviews.Can you explain how plants adapt to different habitats and how this impacts their growth habits?
A. Plants are incredible at adapting to their environment. For example, if a plant grows on a limestone cliff, it’s adapted to poor, basic soil that isn’t acidic. Similarly, plants growing on rocks covered with moss or in dry, cliffside habitats will often have thicker leaves or even reduce their leaves in dry seasons to conserve water. The way plants evolve to survive in such conditions is fascinating and serves as a source of inspiration. They can adapt in many ways, whether by developing tubers, having bigger, softer leaves in shaded areas, or even shedding leaves in times of drought.
Q. Your work stands out for its simplicity. Also, you started very early as a child in your experimentation of vertical gardens. What advice would you give to young botanists, especially those in urban environments, who want to explore vertical gardening?
A. My advice to young botanists is to focus on learning the diversity of plants. Don’t just study the species, understand the diversity of natural habitats too. It's important to know how plants grow in different environments and to learn about plant families. Unfortunately, many botanical programs around the world teach plant species without enough focus on the habitats they come from. So, for young botanists, gaining a deep understanding of natural habitats is key to improving your work, especially if you’re working in urban spaces.
Q. You’ve mentioned about being inspired by the Western Ghats of India. Do you have any particular favourite spots?
A. My favourite places are those where nature is still in its best, most protected state. For instance, in the Nilgiri Hills, close to Munnar, there’s a beautiful spot near a small river with rocks emerging from the water. Despite the surrounding tea plantations, the area still has a wonderful, unique species of plants with bright orange flowers growing on the rocks. I’ve also discovered a rare species, which is like a pink flower with three petals, which was recently classified and was only known from that specific waterfall area. Even in places that are disturbed, you can still find fascinating plants if you look carefully.
Q. Vertical gardens have gained popularity worldwide. What species do you think are ideal for these gardens, and what considerations should be made by botanists in light of climate change?
A. It’s a shame that so few species are used in vertical gardens. Often, people stick to a small group of species that aren’t always the best for long-term growth. My advice is to experiment and observe what works best in different conditions. For instance, I’ve installed vertical gardens in car parks, where there's high CO2 and pollution, and the plants thrive in that environment as long as there’s sufficient light. The difference in air quality around the garden was noticeable—you could feel it was fresher the closer you got. When considering climate change, vertical gardens are a great way to improve air quality and reduce pollution, as I experienced in both car parks and even our small apartment in Paris, where plants helped us manage indoor air quality despite smoking indoors. Plants really do purify the air, and that effect is real, not just marketing.
Q. Is there a dream project that you’ve always wanted to pursue but haven’t yet?
A. I don’t really have a "dream project." For me, a good project is simply one that excites me, whether it's big or small. I’ve worked on some large projects, like the vertical garden in Sydney that’s 200 meters tall, but I also love smaller, more intimate projects. One of my favorites was a vertical garden made entirely of mosses. For me, it’s not about the scale—it’s about the joy of working on a project that feels meaningful.
