Sketchbook History of Designed Landscapes - ABPL20045 Ella Anderson - 757195
CONTENTS CHAPTER ONE
CHAPTER TWO
CHAPTER THREE
CHAPTER FOUR
CHAPTER FIVE
Boboli Gardens
Japanese Tea Gardens
Carlton Gardens
Gardens of the Mughal Empire
Giverny
The Florentine
The Art of Tea-Making
The Colonial
Renaissance Garden
1
4
Claude Monet’s
Australian Garden
7
References
15
List of Figures
16
in Islamic India & Pakistan 10
Impressionist Garden
13
CHAPTER ONE
Boboli Gardens The Florentine Renaissance Garden Neptune’s Fountain
The Boboli Gardens in Florence typify the gardens of the Italian
the architect Bartolomeo Ammannati as landscape designer, overseeing
Renaissance era and were designed as an elaborate pleasure garden to
significant renovations transforming Boboli Gardens.4
express the wealth of the banking family, the Medici’s.1 The Boboli family
were the namesake of the gardens, who were a prestigious 13th century
Florence and the Arno River. It is characterised by an extensive geometric
Florentine family.2 Yet the Pitti family bought the property in the 15th
and axial layout, composed of theatrical spaces, mythical fountains,
century and commissioned Palazzo Pitti, an embodiment of the Italian
Roman sculptures and parterres.5 Boboli Gardens act as an assertion of
Renaissance palazzo with its ‘rusticated façade’.3 The wife of Cosimo
power by the influential Medici family.
Boboli Gardens is situated on a hillside overlooking the city of
Medici, Eleanor of Toledo, acquired the property in 1549 and employed Garden of the Cavalier Labyrinth
Viottolone Avenue
Forte di Belvedere
Amphitheatre
Grotticina di Madama
Isolotto
Limonaia
Grotta di Buontalenti Pitti Palace Figure 1: Vascellini, G. (1789). Boboli Gardens 1 Francesco Gurrieri & Judith Chatfield, Boboli Gardens (Florence Italy: Editrice Edam, 1972), 17, 19. 2 Gurrieri & Chatfield, Boboli Gardens, 18. 3 Maria Ann Conelli, “Boboli Gardens: fountains and propaganda in sixteenth-century Flor-
ence,” Studies in the History of Gardens & Designed Landscapes 18, 4 (2012): 301-302., doi: 10.1080/14601176.1998.10435554 4 Gurrieri & Chatfield, Boboli Gardens, 19.
5 JC Shepherd & GA Jellicoe, Italian Gardens of the Renaissance (New York: Princeton Architectural Press, 1993), 29.
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The Amphitheatre from Palazzo Pitti (View A) Italian Renaissance gardens were often designed in relation to a palazzo or villa, therefore the immediate view out of Pitti Palace reflects a rigid symmetry.6 The courtyard, or cortile, acts as a threshold between the palazzo and the garden.7
The Amphitheatre The amphitheatre is a grand theatrical space, echoing the form of the Roman circus and intended as an exhibition space for the Medici family.9 The top level of the amphitheatre is lined with statues depicting Roman mythology set within hollowed arched structures.10
Figure 2: Guerini, F & Chatfield, J. (1972). View of the Fountain Artichoke and the Amphitheatre from the back of the Palace.
Forte di Belvedere
The Viottolone (View B) The Viottolone is a grand axis lined with cypress and laurel trees as well as Roman sculptures, stretching from the amphitheatre to the Isolotto.8 This avenue is of immense scale and grandeur and links the overall scheme together. Palazzo Pitti
A
Neptune’s Fountain
Amphitheatre
cortile
B
Figure 4: Shepherd, JC & Jellicoe, GA. (1993). Plan of Upper Terraces: Approach from Palace to Theatre.
Figure 3: Guerini, F & Chatfield, J. (1972). View of the ‘Viottolone’ from the bottom of the hill.
6 Charles Platt, Italian Gardens (London: Thames & Hudson, 1993), 15. 7 Conelli, “Boboli Gardens,” 302. 8 Gurrieri & Chatfield, Boboli Gardens, 51.
9 Gurrieri & Chatfield, Boboli Gardens, 45. 10 Gurrieri & Chatfield, Boboli Gardens, 45.
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The Isolotto
The Isolotto, accessed through the Viottolone and a grand
gateway, is a ‘little island’ composed of parterres set within a pond, evoking the classical Roman Hadrian’s Villa.11 In the centre is the Fountain of the Oceans, while it is surrounded by ‘monstrosities’ including sculptures of part-men part-beasts and grotesque looking creatures in poses.12 Boboli Gardens originally featured an aqueduct to supply the fountains with spectacular displays, evoking a sense of delight.13
Figure 9: Guerini, F & Chatfield, J. (1972). Plan of the Fountain in the Moses Grotto.
Figure 5: Lost Story. (n.d.). Ocean Fountain on Isolotto, representing the Nile, Euphrates & Ganges.
Figure 7 & 8: Guerini, F & Chatfield, J. (1972). Andromeda & Augure (Viottolone).
The Grotto
The Grotto of Moses features an oval pool within a cavern,
influenced by classicism as is evident by the columns, podiums and
Figure 10: Guerini, F & Chatfield, J. (1972). Interior prospects of the Moses Grotto.
sculptures yet with a Baroque concave form. Italian Renaissance grottoes sought to bring together ‘art and nature’ as it was believed the integration of these elements had a transcendent quality.14 Figure 6: Shepherd, JC & Jellicoe, GA. (1993). Plan of the Isolotto.
11 Gurrieri & Chatfield, Boboli Gardens, 54. 12 Luke Morgan, “The monster in the garden: the grotesque, the gigantic, and the monstrous in Renaissance landscape design,” Studies in the History of Gardens & Designed Landscapes 31, 3 (2011): 174, doi: 10.1080/14601176.2010.530389 13 Conelli, “Boboli Gardens,” 301. 14 Morgan, “The monster in the garden,” 173.
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CHAPTER TWO
Japanese Tea Gardens The Art of Tea-Making
The popularity of the Japanese tea ceremony, during the
distracting adornment, counteracting contemporary lavish garden styles.4
Momoyama era of the late 1500s, led to the development of a specific
The tea garden was designed to evoke a meditative state of mind,
garden setting for the tea ceremony.1 The practice of Zen monks, who
through the process of entering the garden, moving through and arriving
used tea to stay awake for long periods while meditating, influenced the
at the tea house.5 The tea garden is also called the roji, literally meaning
formation of the tea ceremony.2 In Japanese culture the sacred ritual of
the mossy pathway leading to the tea house.6 Tea gardens were often
the tea ceremony was believed to be an art and this approach was also
set within existing gardens, such as the Zen and stroll gardens, and were
applied to the architecture of the tea house and the garden design.3 The
restricted by these confines resulting in an intimate scale.7
principles of the tea garden were ‘reserve and humility’ through avoiding Uchihashi-tei Tea House
Ka
naz
aw
aC
Seven Lucky Gods Hill
ast
le
Kasumigaike Pond
Yugao-tei Tea House
Hisagoike Pond
Flower Viewing Bridge
Seison-kaku Villa
Shigure-tei Tea House Entrance Figure 1: Young, David and Michiko. (2011). Kenrokuen Gardens. & Ishikawa Prefecture. (n.d.). Kenrokuen Park Map.
1 Natsumi Nonakia, “The Japanese Garden: The Art of Setting Stones,” A Journal of Place 4, 1 (2008): 7. http://www.jstor.org/stable/24889320 2 Helena Attlee, The Gardens of Japan (London, United Kingdom: Frances Lincoln Publishers, 2010), 8. 3 Alison Main and Newell Platten, The Lure of the Japanese Garden (South Australia: Wakefield Press, 2002), vii-viii. 4 Marc Keane, Japanese Garden Design (U.S.: Turtle Publishing, 2012), 67. 5 Attlee, The Gardens of Japan, 8. 6 Keane, Japanese Garden Design, 67. 7 Keane, Japanese Garden Design, 67.
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Sotomon
A
This gateway separates the garden from its surrounds and only allows a glimpse of the inside garden, acting as a threshold into the process of the tea ceremony.8
Ishi-doro
B
The lantern provided a sculptural feature in the garden and could also offer light a night time.11 Rusticated lanterns create a sense of character through weathering and age, evoking the sentiment of wabi-sabi, meaning simplicity combined with the beauty of age.12
C D E
Figure 2: Sen. (1959). Gateway.
Roji This ‘dewy path’ is constructed by purposefully placed stepping stones, intending to slow down one’s walking pace and create an intermediate zone between the worries of everyday and the pensive experience of the ceremony.9 The path is tactile, as the old stones are surrounded by green mossy plantings, and the pathway is splashed with water before the tea ceremony to signify the event, as well as freshness.10
F G I
Figure 5: Deane, Andrew R. (2015). The Tea Garden: Tsukubai.
Tsukubai The water basin is purposefully low to imitate the washing of hands in a ‘mountain stream’ and is important as it functions as a place to cleanse and purify before the tea ceremony. 13
H
Figure 4: Sen. (1959). Model Plan of a Roji.
Figure 3: Keane, Marc P. (2012). Design Materials.
8 Despina Sfakiotaki, “Analysis of Movement in Sequential Space: Perceiving the traditional Japanese tea and stroll garden,” (Dissertation, University of Oulu, 2005), 110. http://jultika.oulu.fi/files/isbn9514276531.pdf 9 Main and Platten, The Lure of the Japanese Garden, 25.
Circulation A - Gate (Sotomon) B - The Waiting Area (Machiai) C - Outer Garden (Sotoroji)
D - Lantern (Ishi-doro) E - Middle Gate (Chumon) F - Inner Garden (Uchiroji)
G - Washbasin (tsukubai) H - Tea House (Chatshitsu) I - Stepping Stones (Tobi-ishi)
10 11 12 13
Attlee, The Gardens of Japan, 8. Sfakiotaki, “Analysis of Movement in Sequential Space”, 15. Main and Platten, The Lure of the Japanese Garden, 26. Sfakiotaki, “Analysis of Movement in Sequential Space”, 117.
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View of the Sotoroji
Machiai
WAITING AREA
Guests can take shelter and wait in the machiai, to recollect themselves before entering the tea room or as protection from harsh weather. 14 BAMBOO FENCING
PURPOSEFULLY PLACE ROCK MOSSY PLANTINGS
Figure 7: Sfakiotaki, Depina. (2005). Jizo-in.
Chashitsu The tea house is an understated structure where the tea ceremony takes place and is the end point of the journey. The pathway uses the miegakure technique, meaning hide and reveal, to indirectly lead to the chatshitsu and create a sense of mystery and intrigue. 15
HUMBLING ENTRANCE
Figure 6: Sen. (1959). Waiting Arbour.
DIVERTED VIEW
14 Sfakiotaki, “Analysis of Movement in Sequential Space”, 111. 15 Sfakiotaki, “Analysis of Movement in Sequential Space”, 21.
Figure 8: Sfakiotaki, Depina. (2005). Daitoku-ji Koto-in.
Figure 9: Deane, Andrew R. (2015). The Tea Garden: The roji of Sunshoro.
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CHAPTER THREE TREE-LINED PATHWAYS
Carlton Gardens The Australian Colonial Gardens
FOLLOWING THE CITY GRID BATEMAN’S PARABOLIC PATHWAYS
Carlton Gardens were established in the 1850s and originally designated for ‘public recreation’ yet experienced many design iterations fuelled by Melbourne’s growing wealth due to the gold rush.1 Edward La Trobe Bateman first designed the gardens in 1856, with a symmetrical plan featuring a central fountain and ‘parabolic’ pathways connected to
Annex Extension
surrounding streets. Carlton Gardens were redesigned by prominent 2
architects Reed & Barnes and horticulturalist William Sangster, to support the grandness of the new Royal Exhibition Building, whilst incorporating some of Bateman’s design.3 Construction began in 1879 for the purpose of hosting the 1880 Melbourne International Exhibition, which attracted global attention.4 The gardens reflect elements of the gardenesque and picturesque styles, in keeping with colonial Melbourne’s British heritage, while also illustrating the exhibition building’s golden age of ‘palatial style
Royal Exhibition Building
garden settings’. 5
CENTRALLY SITED BUILDING PARTERRE GARDEN
Hochgurtel Fountain
STRONG
ORNAMENTAL POND
SYMMETRY DOLPHIN
STRUCTURE
FOUNTAIN 1 Janine Major, Charlotte Smith and Richard Mackay, “Reconstructing Landscape: Archaeological Investigations of the Royal Forecourt, Melbourne,” International Journal of History and Archaeology 22 (2017): 46. 2 Anna Neale, “The Gardens Designs of Edward La Trobe Bateman (1816-97),” Garden History 33, 2 (2005): 235. 3 Elizabeth Willis, The Royal Exhibition Building, Melbourne: A Guide (Melbourne, Victoria: Museum Victoria, 2004), 5. 4 Willis, The Royal Exhibition Building, 5. 5 Major, Smith and Mackay,
GRAND PROCESSIONAL AVENUE
CURVING PATHWAYS
Figure 1: Howard, Christopher. (2005). Reconstruction of Bateman’s Original (1856-57) Design for Carlton Gardens.
Figure 2: Reed & Barnes. (1880). The Melbourne International Exhibition 1888: Plan of Gardens.
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The Avenue (View A)
The Lake (View C) An ornamental lake, with water jets, creates a picturesque vista framing the building with tree branches, yet also functions as a reservoir in the event of fire.8
C
ie
’o ed
tt
Pa
Figure 4: By author. (2018). The Avenue.
The plan was based on patte d’oie, or a goose’s foot, comprised of three avenues extending from a central fountain.6 The main axis, lined with trees and 24 metres in width, acts as a ceremonial avenue from
A
B
Parliament House through Carlton Gardens to the Royal Exhibition Building’s main entrance.7 The symmetrical and radial garden layout demonstrates the command of the centrally cited building.
The Exhibition Building from the Avenue (View B)
Pa
tte
d’o
ie
Figure 6: By author. (2018). Ornamental Pond.
Figure 3: Reed & Barnes. (1880). The Melbourne International Exhibition 1888: Plan of Gardens.
Figure 5: Frith, Jamie. (2012). Carlton Gardens.
“Reconstructing Landscape,” 44. 6 Lovell Chen, Royal Exhibition Building, 35. 7 Willis, The Royal Exhibition Building, 6.
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Hochgurtel Fountain German artist Josef Hochgurtel won the fountain design competition with his 10 metre tall three tiered fountain.12 The design incorporates native Victorian plants and animals and also metaphorical representations of ‘commerce, industry, science and art’ through sculptures of four boys interlocking hands.13
Figure 7: Museum Victoria Collection. (n.d.). “Exhibition Annexes in 1888”.
FOUR BOYS commerce, industry, science and art
Figure 8: Hill, Angela. 2009. “Parterre”.
Parterre A formal parterre garden borders the building, with a terraced design of flower beds, shrubs and a scroll garden.9 The parterre was best viewed from the now disused ‘promenade deck’, surrounding the building’s dome, as
TRITONS half-human, half-fish
the raised view showcased the perfect geometric design.10 The original design, in the Gardenesque style, was accented with colourful flowers such as lobelias and geraniums.11
MORETON
TURKEY OAK
BAY FIG
(INTRODUCED)
(NATIVE)
Figure 10: By author. (2018). The Hochgurtel Fountain.
Figure 9: (2018). Trees of Carlton Gardens.
8 Willis, The Royal Exhibition Building, 6. 9 Angela Hill, “Reconstructing the scrolls and parterres of Melbourne’s Carlton Gardens,” Australian Garden History 21, 2 (2009): 15. 10 Lovell Chen, Royal Exhibition Building, 34. 11 Lovell Chen, Royal Exhibition Building, 34. 12 Willis, The Royal Exhibition Building, 9. 13 Lovell Chen, Royal Exhibition Building, 36.
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CHAPTER FOUR
CHAR-BAGH LAYOUT The char-bagh is a quadripartite garden layout, divided by either water or pathways, that originated in the Middle East based on Islamic ideas of paradise. 6 Humayun’s Tomb created by the emperor Akbar incorporated
Gardens of the Mughal Empire
the Persian style through the nine char-baghs, and the Indian mandala style through raising the central tomb square.7
in Islamic India & Pakistan GEOMETRY Mughal gardens follows strict geometric rules, believed to create the perfect ordering of nature.5
The gardens of the Mughal Empire were an assertion of an emperor’s power and control. The Mughals were ethnically Central Asian and came from Persia, yet conquered and ruled India and Pakistan in the 1500s-1800s. 1 A distinctive identity was formed in Mughal garden design, as it combined their ethnic origins with the climate, geography and culture of the Indian subcontinent.
2
WATER CHANNELS
The pleasure garden was as a luxurious paradise for the display of the Mughal Court, while the mausoleum garden illustrated the Mughal’s reverence for the dead.3 Gardens was believed to connect heaven and earth, which was of paramount importance in the Mughal’s Islamic faith.4
PATHWAY Main axis leading up to the tomb
WALLED GARDEN High walls offered privacy and protection from unwanted people and harsh sandy winds, while grand gateways illustrated the prominence of what was contained within.8
TOMB OR PAVILION Figure 2: Michell, George. (2011). Plan of Humayun’s Tomb, Delhi, India.
Architecture and the garden functioned as one entity, as indoor space flowed into the outside. Figure 1: Crowe, S. et al. (1972). Interior of Humayun’s Tomb, Delhi, India.
1 Jonas Benzion Lehrman, Earthly Paradise: Garden and Courtyard in Islam (California, USA: University of California Press, 1980), 140. 2 S. Crowe et al., The Gardens of Mughal India: A History and Guide (London, United Kingdom: Thames and Hudson, 1972), 25. 3 James L. Jr Westcoast & Joachim Wolschke-Bulmahn, Mughal Gardens: Sources, Places, Representations & Prospects (Washington D.C.: Dumbarton Oaks, 1996), 263.
4 Lehrman, Earthly Paradise, 140. 5 Westcoast & Wolschke-Bulmahn, Mughal Gardens, 262. 6 George Michell, Mughal Architecture and Gardens (Martlesham, Suffolk, United Kingdom: Antique Collector’s Club, 2011), 30. 7 Michell, Mughal Architecture and Gardens, 30. 8 Michell, Mughal Architecture and Gardens, 32.
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Figure 3: Crowe, S. et al. (1972). Section of Shalamar Bagh, Kashmir, India.
3rd Terrace: Garden That Bestows Plenty
2nd Terrace
1st Terrace: Garden That Bestows Pleasure
Terracing Shalimar Bagh was terraced into the natural topography of the hillside, with an intended descending progression for the emperor from private to public areas.9
Figure 4: Michell, G. (2011). Plan of Shalimar Bagh, Lahore, Pakistan.
Pavilion
Water Fountains & Cascades
The focal point and monumental scale of
Water allowed the garden to exist and
the tomb illustrated the importance of the
symbolised a connection to heaven.13 Water
dead and the Mughal legacy. 10 Alternatively,
was elaborately engineered with wells,
the Mughal court would enjoy the open air
tanks and channels while the movement
of the pavilion (barandari), sited as a central
of cascades and fountains animated the
feature. 11 The barandari, a garden pavilion
pleasure garden.14
Figure 6: Crowe, S. et al. (1972). Perspective of Nishat Bagh, Sringar, India.
with exactly 12 openings, was inspired by the Mughal’s nomadic past and tent encampments.12
9 Michell, Mughal Architecture and Gardens, 296. 10 Michell, Mughal Architecture and Gardens, 44. 11 Crowe et al., The Gardens of Mughal India, 44.
Figure 5: Naeem Ghuari, Muhammad. (2010). Shalimar Bagh Barandari, Lahore, Pakistan.
12 Michell, Mughal Architecture and Gardens, 34. 13 Crowe et al., The Gardens of Mughal India, 30. 14 Lehrman, Earthly Paradise, 144.
Figure 7: Kapur, Varun Shiv. (2010). Waterfal at Achabal Gardens, Kashmir, India. Ella Anderson - 757195
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Materials The emperor Akbar believed the natural Indian red sandstone evoked a royal presence, and it was widely used for carving elaborate patterns into.17
Figure 8: Michell, G. (2007). Mughal Flower Motif. Figure 11: By author. (2018). Chinar Tree in Autumn
Ornamentation The flower motif expressed ‘delight in the natural world’ while
Planting
arabesque, often used in jail screens, combined geometry with Indian
Plants were collected from beyond the Mughal Empire, such as the
nature.
chinar and the cypress trees, which often accented the main axis.15
16
Figure 12: By author. (2018). Cypress Trees Figure 9: Michell, G. (2007). Arabesque.
Figure 10: Crowe et al. (1972). Jahangir’s Tomb, Lahore, Pakistan. 15 Lehrman, Earthly Paradise, 145. 16 George Michell, Mughal Style; The Art and Architecture of Islamic India, (Mumbai, India: India Book House Pvt Ltd., 2007), 108, 162. 17 Michell, Mughal Architecture and Gardens, 48.
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CHAPTER FIVE
Giverny
Main House
Second Studio Grande Allee
Orchid greenhouse
Claude Monet’s Impressionist Garden The French Impressionist painter Claude Monet moved to Giverny, west of Paris in 1883, where he fulfilled the artistic endeavours of his later
Clos Normand Flower Garden
life.1 Monet was also a gardener, and meticulously planned and planted his garden intending on creating an ‘outdoor studio’ with each element
Nusery Garden
placed with artistic sensibility.2 Throughout his career, Monet was particularly fascinated by the idea of temporality of nature, such as the changing light each day and colours over seasons.3 This idea informed Cherry Blossoms
his garden design choices, such as the feature pond with its reflective
Road
and irridescent qualities, as well as particular species of flowers and trees that shed leaves and bloom at different times of the year. 4 This theme is Japanese Footbridge
evident in Monet’s series of waterlilies painting and affirms the sentiment
Pond
Vi
ew
B
of the garden as art. The garden adjoining the house, the Clos Normand, is laid out in a linear
Waterlilies
Vie
wA
arrangement composed of many individual flower beds, complementing the geometric structure of the building.5 The formal layout of the flower
The Waterlily Garden
Bamboo grove
garden allowed Monet to create beds bursting with an abundance of ‘variations and contrasts of colour’.6 While, the lower water lily garden Figure 1: Giverny Organisation. (2015). Maps of the gardens at Giverny.
was inspired by Japanese garden aesthetics, evident in the stylised Japanese bridge and use of bamboo.7 1 Marine Feretti Bocquillon, ed., Monet’s Garden in Giverny: Inventing the Landscape (Giverny, France: Musee des Impessionnismes Giverny, 2009), 11. 2 Bocquillon, Monet’s Garden, 12. 3 Gordon Hayward, Art and the Gardener: Fine Painting as Inspiration for Garden Design (U.S.: Gibbs Smith, 2009), 153, 157. https://books.google.com.au/books?id=E5Hp_4VmVQIC&dq=Art+and+the+Gardener:+Fine+Painting+as+Inspiration+for+Garden+Design&lr=&source=gbs_ navlinks_s 4 Elizabeth Murray, Monet’s Passion: Ideas, Inspirations and Insights from the Painter’s Gardens (U.S.: Pomegrante, 1989), 3. https://books.google.com.au/books?id=3lVWOxujiCAC&dq=The+magic+of+Monet%27s+garden+his+planting+plans+and+colour+harmonies&lr=&source=gbs_navlinks_s 5 Hayward, Art and the Gardener, 153. 6 Murray, Monet’s Passion, 9. 7 Bocquillon, Monet’s Garden, 12.
Main House
Grande Allee
Road
Japanese Footbridge
Bamboo
Fields
Figure 2: Murray, Elizabeth. (1989). Axis View of Claude Monet’s Giverny Estate.
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Clos Normand Flower Garden
The Grand Allee
View A
A grand allee extends from the central doorway of the house through the Willow trees
garden, framed by the flower arches, and leading to the waterlily garden beyond. Monet created flower beds of varying tones, textures and colours through specific plant groupings, including native plants such as local poppies and foreign Japanese peonies and lilies.8 Monet was influenced contemporary approaches, such as the Arts and Crafts movement in the English cottage garden.9 This is evident at Giverny, which is an interpretation of nature integrated with the garden design.
Figure 3: By author. (2016). The Grand Allee at Giverny.
A
A - CLIMBING ROSES Yellow, red or orange (shrubs)
D - RED ORIENTAL POPPIES (Perennials)
B - SUNFLOWERS Helianthus multiflorus (perennials)
E - LAVENDER/VIOLET (Perennials)
C - ASTERS Violet or purple (perennials)
F - NASTURTIUM Figure 5: Hayward, Gordon. (2009). The lily pond at Giverny.
B
View B
The Waterlily Garden Monet went to great lengths to create the waterlily garden, purchasing
C
Bamboo Wisteria
the adjacent land, convincing locals of his grand design and excavating a large pond.10 He was inspired by the waterlilies he saw at The World’s Fair in Paris in 1889, and made them an integral part of his design,
D
complemented them with irises, wisteria, willows and bamboo.11 Unlike the flower garden, the water lily garden favours meandering pathways, naturalistic clusters of plants and drooping willows, creating a picturesque
E
vista. Monet aimed to design ‘a view to motifs for painting’. 12
F E
Figure 4:Murray, Elizabeth. (1989). The Allee: Summer/Fall Planting.
8 Murray, Monet’s Passion, 6. 9 Bocquillon, Monet’s Garden, 39. 10 Bocquillon, Monet’s Garden, 16. 11 Dominique Lobestein, Claude Monet’s Gardens at Giverny (Paris, France: Abrams Book, 2013), 62, 69, 72. 12 Hayward, Art and the Gardener, 154.
Figure 6: Gilson, Jean-Pierre. (2013). The Water Garden.
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References CHAPTER ONE Conelli, Maria Ann. “Boboli Gardens: fountains and propaganda in sixteenth-century Florence.” Studies in the History of Gardens & Designed Landscapes 18, 4 (2012): 300-316. doi: 10.1080/14601176.1998.10435554 Gurrieri, Francesco & Chatfield, Judith. Boboli Gardens. Florence, Italy: Editrice Edam, 1972. Morgan, Luke. “The monster in the garden: the grotesque, the gigantic, and the monstrous in Renaissance landscape design.” Studies in the History of Gardens & Designed Landscapes 31, 3 (2011): 167-180. doi: 10.1080/14601176.2010.530389
CHAPTER THREE Hill, Angela. “Reconstructing the scrolls and parterres of Melbourne’s Carlton Gardens.” Australian Garden History 21, 2 (2009): 1519. https://search-informit-com-au.ezp.lib.unimelb.edu.au/ documentSummary;res=IELAPA;dn=200911130 Lovell Chen. Royal Exhibition Building and Carlton Gardens. Melbourne, Victoria: Heritage Victoria, n.d. https://www.heritage.vic.gov.au/__data/ assets/pdf_file/0013/55201/Vol-1-2.0_Part3.pdf
Platt, Charles. Italian Gardens. London: Thames & Hudson, 1993.
Major, Janine, Charlotte Smith and Richard Mackay. “Reconstructing Landscape: Archaeological Investigations of the Royal Forecourt, Melbourne.” International Journal of History and Archaeology 22 (2017): 4366. doi: 10.1007/s10761-017-0414-5
Shepherd, JC & Jellicoe, GA. Italian Gardens of the Renaissance. New York: Princeton Architectural Press, 1993.
Neale, Anna. “The Gardens Designs of Edward La Trobe Bateman (181697).” Garden History 33, 2 (2005): 225-255. doi: 10.2307/25434180
CHAPTER FIVE Bocquillon, Marine Ferretti, ed. Monet’s Garden in Giverny: Inventing the Landscape. Giverny, France: Musee des Impessionnismes Giverny, 2009. Hayward, Gordon. Art and the Gardener: Fine Painting as Inspiration for Garden Design. U.S.: Gibbs Smith, 2009. https://books.google.com.au/ books?id=E5Hp_4VmVQIC&dq=Art+and+the+Gardener:+Fine+Painting+as+Inspiration+for+Garden+Design&lr=&source=gbs_navlinks_s Lobestein, Dominique. Claude Monet’s Gardens at Giverny. Paris, France: Abrams Book, 2013. Murray, Elizabeth. Monet’s Passion: Ideas, Inspirations and Insights from the Painter’s Gardens. U.S.: Pomegrante, 1989. https://books. google.com.au/books?id=3lVWOxujiCAC&dq=The+magic+of+Monet%27s+garden+his+planting+plans+and+colour+harmonies&lr=&source=gbs_navlinks_s
Willis, Elizabeth. The Royal Exhibition Building, Melbourne: A Guide. Melbourne, Victoria: Museum Victoria, 2004.
CHAPTER TWO Attlee, Helena. The Gardens of Japan. London, United Kingdom: Frances Lincoln Publishers, 2010. Keane, Marc P. Japanese Garden Design. U.S.: Turtle Publishing, 2012. https://books.google.com.au/books?id=jw_RAgAAQBAJ&dq=japanese+tea+garden&lr=&source=gbs_navlinks_s Main, Alison, and Newell Platten. The Lure of the Japanese Garden. South Australia: Wakefield Press, 2002. Nonakia, Natsumi. “The Japanese Garden: The Art of Setting Stones.” A Journal of Place 4, 1 (2008): 5-8. http://www.jstor.org/stable/24889320 Sfakiotaki, Despina. “Analysis of Movement in Sequential Space: Perceiving the traditional Japanese tea and stroll garden.” Dissertation, University of Oulu, 2005. http://jultika.oulu.fi/files/isbn9514276531.pdf
CHAPTER FOUR Crowe, S., S. Haywood, S. Jellicoe and G. Patterson. The Gardens of Mughal India: A History and Guide. London, United Kingdom: Thames and Hudson, 1972. Lehrman, Jonas Benzion. Earthly Paradise: Garden and Courtyard in Islam. California, USA: University of California Press, 1980. https:// books.google.com.au/books?id=WwH5L6u6tu0C&dq=Earthly+Paradise:+Garden+and+Courtyard+in+Islam&source=gbs_navlinks_s Michell, George. Mughal Style; The Art and Architecture of Islamic India. Mumbai, India: India Book House Pvt Ltd., 2007. Michell, George. Mughal Architecture and Gardens. Martlesham, Suffolk, United Kingdom: Antique Collector’s Club, 2011. Westcoast, James L. Jr and Joachim Wolschke-Bulmahn. Mughal Gardens: Sources, Places, Representations & Prospects. Washington D.C.: Dumbarton Oaks, 1996. https://books.google.com.au/books?id=96ec98LieGsC&dq=Mughal+Gardens:+Sources,+Places,+Representations+%26+Prospects&lr=&source=gbs_navlinks_s Ella Anderson - 757195
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List of Figures CHAPTER ONE
CHAPTER TWO
CHAPTER THREE
1: Vascellini, G. (1789). “Boboli Gardens”. In F. Gurrieri & J. Chatfield, Boboli Gardens (fig.12). Florence Italy: Editrice Edam, 1972.
1: Young, David and Michiko. Kenrokuen Gardens. 2011. Plan. https://sequinsandcherryblossom.com/2014/09/09/book-review-the-art-of-the-japanese-garden/ Ishikawa Prefecture. Kenrokuen Park Map. n.d. Map. http://www.pref. ishikawa.jp/siro-niwa/kenrokuen/e/course.html
1: Howard, Christopher. “Reconstruction of Bateman’s original (1856-57) design for Carltons Gardens, Melbourne”. In “The Gardens Designs of Edward La Trobe Bateman (1816-97),” Anna Neale, 235. Garden History 33, 2 (2005). doi: 10.2307/25434180
2: Guerini, F & Chatfield, J. Boboli Gardens. Florence, Italy: Editrice Edam, 1972, fig.42. 3: Guerini, F & Chatfield, J. Boboli Gardens. Florence, Italy: Editrice Edam, 1972, fig.12. 4: Shepherd, JC & Jellicoe, GA. Italian Gardens of the Renaissance. New York: Princeton Architectural Press, 1993, 30. 5: Lost Story. Ocean Fountain on Isolotto. Photograph. No date. https:// www.loststory.net/content/boboli-gardens 6: Shepherd, JC & Jellicoe, GA. Italian Gardens of the Renaissance. New York: Princeton Architectural Press, 1993, 31. 7: Guerini, F & Chatfield, J. Boboli Gardens. Florence, Italy: Editrice Edam, 1972, fig.122. 8: Guerini, F & Chatfield, J. Boboli Gardens. Florence, Italy: Editrice Edam, 1972, fig.124. 9: Guerini, F & Chatfield, J. Boboli Gardens. Florence, Italy: Editrice Edam, 1972, fig.49. 10: Guerini, F & Chatfield, J. Boboli Gardens. Florence, Italy: Editrice Edam, 1972, fig.50.
2: Sen, “Gateway”. In “Analysis of Movement in Sequential Space: Perceiving the traditional Japanese tea and stroll garden,” Depina Sfakiotaki, 110. University of Oulu, 2005. http://jultika.oulu.fi/files/isbn9514276531.pdf 3: Keane, Marc P. Japanese Garden Design. U.S.: Turtle Publishing, 2012, no page number. https://books.google.com.au/books?id=jw_RAgAAQBAJ&dq=japanese+tea+garden&lr=&source=gbs_navlinks_s 4: Sen, “Model Plan of a Roji”. In “Analysis of Movement in Sequential Space: Perceiving the traditional Japanese tea and stroll garden,” Depina Sfakiotaki, 109. University of Oulu, 2005. http://jultika.oulu.fi/files/ isbn9514276531.pdf
2: Reed and Barnes. “The Melbourne International Exhibition 1880: Plan of Gardens.” In Royal Exhibition Building and Carlton Gardens, Lovell Chen, 33. Melbourne, Victoria: Heritage Victoria, n.d.. https://www.heritage.vic. gov.au/__data/assets/pdf_file/0013/55201/Vol-1-2.0_Part3.pdf 3: By author. (2018). Section of the Avenue. 4: Reed and Barnes. “The Melbourne International Exhibition 1880: Plan of Gardens.” In Royal Exhibition Building and Carlton Gardens, Lovell Chen, 33. Melbourne, Victoria: Heritage Victoria, n.d.. https://www.heritage.vic. gov.au/__data/assets/pdf_file/0013/55201/Vol-1-2.0_Part3.pdf 5: By author. (2018). The Avenue.
5: Deane, Andrew R. The Tea Garden: A tsukubai. Photograph. 2015. http:// www.japanesegardening.org/site/the-tea-garden/
6: Frith, Jamie. Carlton Gardens. 2012. Photograph. https://www.flickr. com/photos/79688583@N03/7731585492
6: Sen, “Waiting Arbour”. In “Analysis of Movement in Sequential Space: Perceiving the traditional Japanese tea and stroll garden,” Depina Sfakiotaki, 112. University of Oulu, 2005. http://jultika.oulu.fi/files/ isbn9514276531.pdf
7: By author. (2018). Ornamental Pond.
7: Sfakiotaki, Despina. “Analysis of Movement in Sequential Space: Perceiving the traditional Japanese tea and stroll garden.” Dissertation, University of Oulu, 2005, 112. http://jultika.oulu.fi/files/isbn9514276531.pdf
8: Museum Victoria Collection. “Exhibition Annexes in 1888”. In The Royal Exhibition Building, Melbourne: A Guide, Elizabeth Willis, 22. Melbourne, Victoria: Museum Victoria, 2004. 9: By author. (2018). Trees of Carlton Gardens. 10: By author. (2018). The Hochgurtel Fountain.
8: Sfakiotaki, Despina. “Analysis of Movement in Sequential Space: Perceiving the traditional Japanese tea and stroll garden.” Dissertation, University of Oulu, 2005, 120. http://jultika.oulu.fi/files/isbn9514276531.pdf 9: Deane, Andrew R. The Tea Garden: The roji of Shunsoro. Photograph. 2015. http://www.japanesegardening.org/site/the-tea-garden/
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CHAPTER FOUR 1: Crowe, S., S. Haywood, S. Jellicoe and G. Patterson. The Gardens of Mughal India: A History and Guide. London, United Kingdom: Thames and Hudson, 1972, 77.
CHAPTER FIVE 1: Giverny Organisation. Maps of the gardens of Claude Monet at Giverny. 2015. Drawing. http://giverny.org/gardens/fcm/planjard.htm
2: Murray, Elizabeth. Monet’s Passion: Ideas, Inspirations and Insights 2: Michell, George. Mughal Architecture and Gardens. Martlesham, Suffolk, from the Painter’s Gardens. U.S.: Pomegrante, 1989, 4. https://books. google.com.au/books?id=3lVWOxujiCAC&dq=The+magic+of+MonUnited Kingdom: Antique Collector’s Club, 2011,74. et%27s+garden+his+planting+plans+and+colour+harmonies&lr=&source=gbs_navlinks_s 3: Crowe, S., S. Haywood, S. Jellicoe and G. Patterson. The Gardens of Mughal India: A History and Guide. London, United Kingdom: Thames and 3: By author. (2016). The Grand Allee at Giverny. Hudson, 1972, 100. 4: Michell, George. Mughal Architecture and Gardens. Martlesham, Suffolk, 4: Murray, Elizabeth. Monet’s Passion: Ideas, Inspirations and Insights from the Painter’s Gardens. U.S.: Pomegrante, 1989, 89. https://books. United Kingdom: Antique Collector’s Club, 2011, 296. google.com.au/books?id=3lVWOxujiCAC&dq=The+magic+of+Monet%27s+garden+his+planting+plans+and+colour+harmonies&lr=&sour5: Naeem Ghuari, Muhammad. Shalamar Garden (Mughal Garden), Lace=gbs_navlinks_s hore. 2010. Photograph. https://www.flickr.com/photos/naeemghauri/6796638342 5: Hayward, Gordon. Art and the Gardener: Fine Painting as Inspiration for Garden Design. U.S.: Gibbs Smith, 2009, 154. https://books.google.com. 6: Crowe, S., S. Haywood, S. Jellicoe and G. Patterson. The Gardens of Mughal India: A History and Guide. London, United Kingdom: Thames and au/books?id=E5Hp_4VmVQIC&dq=Art+and+the+Gardener:+Fine+Painting+as+Inspiration+for+Garden+Design&lr=&source=gbs_navlinks_s Hudson, 1972, 117. 7: Kapur, Varun Shiv. Mughal Gardens at Achabal. 2010. Photograph. https://www.flickr.com/photos/varunshiv/6741256069
6: Gilson, Jean-Pierre. “The Water Garden”. In Claude Monet’s Gardens at Giverny, Dominique Lobestein, 35. Paris, France: Abrams Book, 2013.
8: Michell, George. Mughal Style; The Art and Architecture of Islamic India. Mumbai, India: India Book House Pvt Ltd., 2007, 162. 9: Michell, George. Mughal Style; The Art and Architecture of Islamic India. Mumbai, India: India Book House Pvt Ltd., 2007, 105. 10: Crowe, S., S. Haywood, S. Jellicoe and G. Patterson. The Gardens of Mughal India: A History and Guide. London, United Kingdom: Thames and Hudson, 1972, 131. 11-12: By author.
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