SKETCHBOOK OF VARIOUS TIME AND PLACE
ABPL20039 History of Designed Landscape 2017 Name: Hui Yuan Koh (Rachel) Student 1D: 799168 Tutor: Anna Hooper Tutorial Time: Friday 11 a.m.
CONTENT
Chapter 1: Persian Garden
Chapter 2: Japanese Garden
Chapter 3: French Picturesque Garden
Chapter 4: American Public Park
Chapter 5: Australian Garden
Garden of Isfahan
Jisho-ji
Garden of Monceau
Prospect Park
RBG Cranbourne
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Bibliography . . . p22 List of Figures . . . p13
Chapter 1 Persian Garden:
GARDEN CITY OF ISFAHAN Typology: Palace Garden
Created by: Shah Abbas I of Persia (1571-1629) Location: Isfahan, Iran Year: 17th Century
13 12 Chahar Bagh Avenue links the country’s through a north-south axis
Persian garden is an expression of supreme values and concepts and form a connection between the two world of matter and meaning. The four sacred elements of water, wind, fire and soil are the basis in the philosophical design concept of Persian gardens.1
Isfahan is the first post-medieval open city, oriented towards the surrounding natural landscape with no fortification2. The city’s plan was designed in three phases. In the first phase (1591-1595), the imperial square, the marketplace and its monumental entrance were built. In 1596, second phase began and focused mainly on the conceiving of Chahar Bagh avenue2. This phase of construction also decide the future position of garden palaces, the selection of land and axis of canals2. Lastly, the third phase took another seven years for the finishing of residence construction and moving of the king and his officials to Isfahan2. Leila Mahmoudi Farahani, Bahareh Motamed and Elmira Jamei, “Persian Gardens: Meanings, Symbolism, And Design”, Landscape Online, 2016, 1-19, doi:10.3097/lo.201646.
Nasrine Faghih and Amin Sadeghy, “Persian Gardens And Landscapes”, Architectural Design 82, no. 3 (2012): 38-51, doi:10.1002/ad.1403. 2
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Main footpaths are perpendicular to the Chahar Bagh Avenue.
1. Chahar Bagh Avenue 2. Aviary 3. Lion House
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Fountain locate at the center of 4 gardens
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Typology: Fruit Garden (Food supply and source of economy)
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4. Garden of the Dervish 5. Garden of the Dervish 6. Garden of the Vineyard 7. Garden of the Mulberries
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8. Garden of the Throne 9. Garden of the Octagon 10. Garden of the Donkey 11. Garden of the Nightingles 12. Chehel Sutun 13. Imperial Square (Maidan) 14. Ali Qapu
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Purpose: - Provide green spaces for inhabitant - Creating opportunity for further interaction between the human and nature - Creating various ranges of functions - Promoting Persian culture using various design elements Characteristic: - Geometrical design - Wide application of thick brick wall - Application of perpendicular angles and straight lines - Highlight the scenic landscape view - Consideration of focal - Ponds and pool to supply water - Simultaneous use of evergreen and deciduous trees - Planting of various types of plants
Entrance to the palace grounds and gardens
15. Mosque of Sheikh Lutfullah 16. Imperial Mosque (Masjid-i-Shah)
Zayandeh R
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Typology: Zoological Garden (keep wild animals given to the king as gifts)
Fig 1: Plan of the garden city of Isfahan
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HASHT BIHESHT GARDEN (GARDEN OF NIGHTINGLE)
CHETUL SUTUN GARDEN
Built by: Shah Sulayman Year: 1669 Function: Used for royal ceremonies during hot summer days.
Built by: Shah Abbas II Year: 1640s Function: Used for royal ceremonies and official receptions
Fig 2: Engraving: Exterior of the Hasht Bihesht (Coste)
Water fountains help to increase humidity during hot days.
Pavilion as the focal point
Fig 3: Lithograph: View from porch of the Chehel Sutun; dome and minarets of the Masjid-i-Shah in the distance. (Flandin)
Open perspective to the landscape
Large pool avoid blocking the garden main view
Chahar Bagh (Four Garden) Pattern: geometrical quadripartite divisions
Pavilion Characteristics
Being enclosed by wall - Introversion feature
- Extroverted structures - Located at the intersection of axes with several viewpoints to the garden.
Symmetry Based on pure unity and integrity Central plan Irrigation system as a factor of geometric garden formation.
Fig 4: Plan of Hasht Bihesht Garden
Footpaths are always perpendicular straight lines and coincident with the garden axes.
Water fountain and basins with both functional and aesthtic purpose
- Where the residents or visitors live in and enjoy the garden
Large pool reflects the image of the building and sky connecting the earth and the heaven.
Function of wall: - Boundary - Internal paradise - Interface between hot outer area and shady inner area
Being enclosed Pavilion located at the intersection of the primary axis
Symmetry
- Usually located on the one third of the longitudinal axis. Central plan Straight networks surrounded by tall trees - provide a desirable perspective - defining the path from the entrance to the pavilion. Fig 5: Plan of Chetul Sutun Garden
Straight networks provide access to vegetation plots.
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Fig 7: Char Bagh Isfahan and Mosque Shah Sultan Hussein (Flandin)
Irrigation system: Qanat
Fig 6: Qanat
Essential system to provide sufficient water for the gardens and residents.
Plants
Flexibility in composition
Shades helps to prevent water from evaporating.
Shade provide cooling effect in the hot climate Creating outdoor recreation
Aesthetic function
Healing landscape created by aroma of flowers and the planting of herbal plants
Upper Story: Ornamental, shady, tall trees.
Middle Story: Ornamental, fruit trees.
Middle Story: Ornamental, flowering plants. Sycamore tree
Poplar tree
Grape tree
Peach Tree
Rose
Poppies
Violet
Fig 8: Elevation of Utilitarian and pleasure plants in Gardens of Isfahan.
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Chapter 2 Japanese Garden:
JISHO-JI Other name: Ginkaku-ji (Silver Pavilion), Higashiyama-den Created by: Ashikaga Yoshimasa the eighth shogun (1436-1490) Location: Kyoto, Japan Year: Muromachi period, 1483
It took 8 years for Yoshimasa to build the Higashiyama-den on the site of Jodo Temple, which after his death became a Zen temple as he wished1, named after his Zen Buddhist name2. Jisho-ji resemble Saiho-ji which Yoshimasa take fond of. During the Tenbun War, the temple was burned. It was then reconstructed into its present form in 1615 by Sokoku-ji which later owns it3. Zen Buddhism is influence by the Chinese practitioners of Chan. It focuses on how a person controls their mind through meditation and experience the ‘no-ness’. The abstraction of Japanese Zen garden often holds a hidden symbolic message of the Zen teaching4.
Fig. 1: View of the Silver Pavilion
Pine: symbol of longevity and immortality Ho-Oo (Phoenix) is the symbol of the imperial house
The Silver Pavilion houses the image of Buddhist deity, Kannon but the name of its lower story floor, Shinko-den (SoulEmptying Hall) indicated that it also used as a sanctuary for Zen meditation5.
Lush green dotted with red and orange
Pond symbolize ocean
Seiko Goto and Naka Takahiro, Japanese Gardens (Florence: Taylor and Francis, 2015). 2 Loraine E Kuck and Iwamiya Takeji, The World Of The Japanese Garden (New York: Weatherhill, 1968). 3 Seiko Goto and Naka Takahiro, Japanese Gardens 4 Charles Chesshire, Practical Illustrated Guide to Japanese Gardening and Growing Bonsai ([S.I.]: Lorenz Books, 2017). 5 Loraine E Kuck and Iwamiya Takeji, The World Of The Japanese Garden 1
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Fig. 2: Ginshadan and Kogetsudai
The shape of the sand mound is constantly maintained but has no definite purpose. There is many speculation such as a representation of the sacred Mount Fuji6, a pavilion beside a lake7 and an evolution from the mounds of gravel to maintain the pattern of Ginsadan after being erased8.
Ginsadan is a karesansui (dry garden) landscape popularized during Muromachi period. The gravel in dry garden symbolises water9. Gravel also represent ‘the Japanese reverence for the permanence of the past’10 and the Zen teaching of ‘the changeability of life’11. The same wave-like patterns have been created since Edo era and best viewed under a full moon12.
Around 1m high sand bed
Michael S Yamashita and Elizabeth Bibb, In The Japanese Garden (Golden, Colo.: Fulcrum Pub., 1996). Gisei Takakuwa et al., Japanese Gardens Revisited (Rutland, Vt.: C.E. Tuttle, 1973). 8 Michael S Yamashita and Elizabeth Bibb, In The Japanese Garden 9 Michael S Yamashita and Elizabeth Bibb, In The Japanese Garden
Raked sand
Around 2m tall truncated cone-like sand mound
Michael S Yamashita and Elizabeth Bibb, In The Japanese Garden Michael S Yamashita and Elizabeth Bibb, In The Japanese Garden 12 Michael S Yamashita and Elizabeth Bibb, In The Japanese Garden
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Fig. 4: Sengetsusen waterfall
Fig. 3: Main gate of Jisho-ji.
Somon, main entrance of the temple ‘Carp stone’ symbolized spiritual and mental effort
Ginkaku-ji fencing Coins thrown on the stone
Crane island symbolise longevity
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1. Main Gate
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2. Ginkaku-ji Fence 3. Middle Gate 4. Kuri (Warehouse) 5. Higashiyama Culture Institute
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6. Shoin (Audience Room)
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7. Hoshokan Gate
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8. Hondo (Main Hall)
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9. Roseitei (Rooms for Incense Ceremony)
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10. Togudo Hall 7
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13. Hachiman Shrine 15. Senninsu Island 16. Kinkyochi Pond
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12. Kogetsudai (Moon Viewing Sand Mound) 14. Kannonden (Silver Pavilion)
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11. Ginshadan (Silver Sand Sea)
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17. Hakkakuto (white crane) Island 18. Sengetsusen Waterfall 19. Benzaiten Shrine 20. Ochanoi (Well for Tea Ceremony) 21. Sosentei Vestige 22. Tsukimachiyama Hill 23. Overlook Spot
Fig. 5: Map of Jisho-ji
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Chapter 3 French Picturesque Garden:
GARDEN OF MONCEAU Created by: Commissionned by: Location:
Louis Carrogis Carmontelle (1717-1806) Louis-Philippe-Joseph d’Orleans, duc de Chartres (1747-1793) Monceau, Paris
Carmontelle is known as a social entertainer under the Orleans patronage who can draw, perform, and garden design. By adding more plantings, curvy road and landforms on the site, Carmontelle transformed the original flat terrain into a more picturesque setting. Furthermore, he also brought in decorative element with classical, medieval, rustic, Islamic, and Chinese themes which provide an experience unknown to the previous French garden design1. He wanted to present the concept of ‘all times and all places’ using the diversity of theme2. Comparing with the English landscape which relate closely to nature, Carmontelle stated that the garden was design in French style because it emphasized on variety of buildings and entertaining effect3.
Mirka Beněs and Dianne Harris, Villas And Gardens In Early Modern Italy And France (New York: Cambridge University Press, 2001). 2 Jennifer Milam, “Cosmopolitan Time In The Jardin De Monceau”, Studies In The History Of Gardens & Designed Landscapes 36, no. 4 (2016): 282-296, doi:10.1080/1460 1176.2016.1161295. 3 Dora Wiebenson, The Picturesque Garden In France (Princeton, N.J.: Princeton University Press, 1978). 4 David Hays, “Carmontelle’s Design For The Jardin De Monceau”, Eighteenth-Century Studies 32, no. 4 (1999): 447-462, doi:10.1353/ecs.1999.0035. 1
Hays suggested that the Geometric Garden is related to French Freemasonry and the Grand Orient4. Fig. 1: Plan of Garden of Monceau
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The ruined chateaux can be found in many properties owned by the Orleans family. This realistic setting by Carmontelle may even have similar territorial meaning of their patrimony5.
Fig. 2: Carmontelle handing the keys for the pleasure grounds at Monceau to the Duc de Chartes, c.1775.
Carmontelle passing key of the garden to duc de Chartres
Fig. 3: The temple in Garden of Monceau.
Workers planting plants.
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Mirka BeneĚŒs and Dianne Harris, Villas And Gardens In Early Modern Italy And France
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Design influenced by theatre play
Trees that symbolise death and mourning.
Fig.4: The Wood of Tombs literally suggests the setting of Pyramus and Thisbe. The inspiration for pyramidal tomb was from a dreary stage set drawn by Carmontelle in 17666.
Fig.5: At the north of Island of Boulders was where the main source of water locate in Monceau7.
The servant who dressed up in exotic costume is an Orientalist scheme to allow duc de Chartres to experience the power of controlling multination9.
Fig. 6: Visitors entertained by Chinese-themed Merry-Go-Round.
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Mirka Beněs and Dianne Harris, Villas And Gardens In Early Modern Italy And France Mirka Beněs and Dianne Harris, Villas And Gardens In Early Modern Italy And France
Fig.7: The farm was an authentic representation of rural life8.
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Mirka Beněs and Dianne Harris, Villas And Gardens In Early Modern Italy And France Mirka Beněs and Dianne Harris, Villas And Gardens In Early Modern Italy And France
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Chapter 4 American Public Park:
PROSPECT PARK Created by: Location: Year:
Fig. 4: Narrative of Prospect Park
Frederick Law Olmsted (1822 - 1903) and Calvert Vaux (1824 - 1895) Brooklyn, America 1867
Prospect Park consists of many characteristics of the English picturesque landscape and parks built in 18th century, especially Birkenhead Park which Olmsted and Vaux greatly admire. The three main elements – meadow, wood, and water are used in their design separately to create various experiences and a sense of space isolated from the busy city1.
The two colour on Endale Arch showed Syrio-Egyptian influence6.
Fig.3: This Lincoln statue situated at the main entrance of the park by Henry Kirke Browne is the first Lincoln statue in United States built after the Civil War4.
To Olmsted, the unfolding of Long Meadow’s pastoral scenery has a therapeutic effect and the ‘indefiniteness of edge’ is what he’s aiming for park scenery5.
Fig. 1: (left) John Y. Culyer’s tree-moving machine made transplanting large trees easier in Prospect Park2. Fig.2: (right) A park gardener designed extension ladder for pruning the tall trees3. David Colley, Prospect Park (New York: Princeton Architectural Press, 2013). 2 David Colley, Prospect Park 3 David Colley, Prospect Park 4 Justin Martin, Genius Of Place (Cambridge, MA: Da Capo Press, 1
2012). 5 Charles E Beveridge, Paul Rocheleau and David Larkin, Frederick Law Olmsted
Many activities were held in Prospect Lake such as boating and skating.
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Fig. 7: Waterfall at Ravine Section.
Fig. 5: (left) The musical detail at Concert Groove was designed by architect Thomas Wisedell8. Fig. 6: (bottom) Plan of the Concert Groove.
Fig. 8: Sheep which are used to maintain the meadows add a sense of tranquillity 10
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There is many small waterfall and stream because the sound of water in nature is an important part in their design. The effect of abundance created with high density of plants and ground cover was the key feature of Olmsted’s work in the ‘picturesque’ style9.
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Concert Groove was designed for large gathering and faced the Music Pavilion where musician will carry out the concert7.
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12 1. Grand Army Plaza 2. Meadowport Arch 3. Endale Arch 4. Long Meadow 5. Bandshell 6. Friends or Quaker Cemetery (Private) 7. Quaker Hill 8. Ravine 9. Sullivan Hill 10. Midwood David Colley, Prospect Park Charles E. Beveridge, Meier Lauren and Irene Mills, Frederick Law Olmsted: Plans And Views Of Public Parks (JHU Press, 2015). 8 David Colley, Prospect Park
11. Nethermead 12. Lookout Hill 13. Lullwater 14. Music Island 15. Concert Groove 16. Oriental Pavilion 17. The Peristyle 18. Mount Prospect Park 19. Brooklyn Botanic Garden
David Colley, Prospect Park David Colley, Prospect Park 11 Charles E Beveridge, Paul Rocheleau and David Larkin, Frederick Law Olmsted (New York: Rizzoli International, 2012).
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The pathways in the park are never straight so that it constantly surprises visitors with new views11. They also designed pathways for both pedestrian and horse carriage so accident will not happen.
Fig. 9 : Map of Prospect Park , 2013.
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Chapter 5 Australian Garden:
ROYAL BOTANIC GARDEN CRANBOURNE Created by: Location: Size: Year:
Fig. 1: Lilypad inspired bridge.
Landscape architect Taylor Cullity Lethlean, associated with plant designer Paul Thompson Cranbourne, Victoria 25 hectares 2012
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First stage Visitor Centre commenced by Kerstin Thompson Architects was constructed.
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First stage open
Second Stage commenced.
Second stage finished.
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In the mid-1950s, nationalism in Australia created a new interest in the natural environment and the native flora and fauna. To respond to this awareness, the Royal Botanic Gardens (RBG) in Melbourne created a new kind of botanic garden consists of a diversity of native plants set in the evocative context of the landscapes of this continent. The Australian Garden tells the stories of the significance of native plants to the Aboriginal and European cultures and its central theme of water let the visitors experience a ‘journey of water’ – from the dry, waterless inland to the marshy coastal area – through the gardens1.
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Fig. 2: Circulation of the Garden
Bev Roberts, Helen Vaughan and Janusz Molinski, The Australian Garden (South Yarra, Victoria: Royal Botanic Gardens Board Victoria, 2012). 1
1. Carpark 2. Visitor Centre 3. Red Sand Garden 4. Ephemeral Lake Sculpture 5. Eucalypt Walk 6. Forest Garden 7. Rockpool Waterway 8. Escarpment Wall Sculpture 9. Diversity Garden 10. Water Saving Garden 11. Future Garden 12. Home Garden 13. Kids’ Backyard 14. Serpentine Path 15. Arid Garden 16. Gibson Hill 17. Rockpool Pavilion
18. Cultivar Garden 19. Research Garden 20. Arbour Garden 21. Howson Hill 22. Weird and Wonderful Garden 23. Malaleuca Spits 24. Seaside Garden 25. Gondwana Garden 26. Casuarina Grove 27. The Ian Potter Lakeside Precint 28. Greening Cities Garden 29. Lifestyle Garden 30. Backyard Garden 31. Promenade Plaza 32. How to Garden
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Fig. 3: Plan of the Australian Garden.
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Fig. 4: Aerial view of the Red Sand Garden.
Iconography of the Lake Mungo landform2
The line that indicates the north-south axis symbolises the straight path when the European pioneers cross the continent3.
‘Ephemeral Lakes’ ceramic sculpture created by Mark Stoner and Edwina Kearney represent the salt pans in arid Australia4.
Red Sand Garden clearly shows the ‘conceptualist’ movement of TCL’s works. The garden’s abstraction is formed through ‘direct experiences of Australia landscape, abstract paintings of interior by Australian artist Fred Williams, and TCL principal Perry Lethlean’s – who studied karesansui – in Japan’5. Also, its inaccessible feature links with the European-Australian culture’s current estrangement from the inland6. Julian Bolleter, “Postcards From The Edge: A Critical Reading Of Representations Of The Interior In Australian Landscape Architecture” Julian Bolleter, “Postcards From The Edge: A Critical Reading Of Representations Of The Interior In Australian Landscape Architecture” 4 Julian Bolleter, “Postcards From The Edge: A Critical Reading Of Representations Of The Interior In Australian Landscape Architecture”, Journal Of Landscape Architecture 12, no. 1 (2017): 74-85, doi:10.1080/18626033.2017.1301290.
Julian Bolleter, “Postcards From The Edge: A Critical Reading Of Representations Of The Interior In Australian Landscape Architecture” Julian Bolleter, “Postcards From The Edge: A Critical Reading Of Representations Of The Interior In Australian Landscape Architecture”
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Fig. 5: The scribbly white partition in the Scribbly Gum garden is inspired by the pattern on the Eucalypt bark 7.
Fig. 6: The ‘Escarpment Wall’ steel sculpture by Greg Clark beside Rockpool Waterway represents the rocks in central Australia8.
Queensland Bottle Tree
Fig. 7: The giant eucalyptus carcasses are innovatively used to build a play structure in the Children’s Backyard Garden design by Mark McWha, he innovatively used. 9 Rosalind Walcott, “Royal Botanic Gardens Cranbourne: Australian Garden Stage 2”, Australian Native Plants Society Journal, 2015. Bev Roberts, Helen Vaughan and Janusz Molinski, The Australian Garden 9 Catherin Bull, “A New Formalism”, Landscape Architecture Australia, no. 111 (2006).
Fig. 8: The weird and wonderful garden consists of Pyrenees Quartzite rocks to provide a habitat for a variety of rare flora.
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BIBLIOGRAPHY CHAPTER 1
CHAPTER 4
Fadaie, Honey, and Shemirani Seyed Majid Mofidi. “A Comparative Study On Gardens Of Isfahan And Shiraz From Sustainability View”. International Journal Of Architecture And Urban Development4, no. 1 (2014). http://ijaud.srbiau.ac.ir/article_2497_cc86e32de9ede11daac50df058a076b0.pdf.
Beveridge, Charles E, Paul Rocheleau, and David Larkin. Frederick Law Olmsted. New York: Rizzoli International, 2012.
Faghih, Nasrine, and Amin Sadeghy. “Persian Gardens And Landscapes”. Architectural Design 82, no. 3 (2012): 38-51. doi:10.1002/ad.1403. Hobhouse, Penelope. Plants In Garden History. London: Pavilion, 1997. Mahdi Nejad, Jamal-e-Din, Hamidreza Azemati, Esmaeil Zarghami, and Ali Sadeghi Habib Abad. “The Role Of Water In Persian Gardens”. Open Journal Of Ecology 07, no. 01 (2017): 41-54. doi:10.4236/oje.2017.71004. Mahmoudi Farahani, Leila, Bahareh Motamed, and Elmira Jamei. “Persian Gardens: Meanings, Symbolism, And Design”. Landscape Online, 2016, 1-19. doi:10.3097/lo.201646. “The Productive Landscape In Persian Gardens; Foundations And Features”. Bagh-E Nazar 13, no. 38 (2016). https://eds-aebscohost-com.ezp.lib.unimelb.edu.au/eds/pdfviewer/pdfviewer?vid=0&sid=6042971c-f122-4867-94c4-c2820334b32c%40sessionmgr4009. “TRANSFERRING AND TRANSFORMING THE BOUNDARIES OF PLEASURE: MULTIFUNCTIONALITY OF GARDENS IN MEDIEVAL PERSIA”. Garden History 39, no. 2 (2011). http://www.jstor.org.ezp.lib.unimelb.edu.au/stable/pdf/41411812.pdf?refreqid=excelsior%3A31bb2ef3f3ba048b7b294b850d787d5d.
Beveridge, Charles E., Meier Lauren, and Irene Mills. Frederick Law Olmsted: Plans And Views Of Public Parks. JHU Press, 2015. Colley, David. Prospect Park. New York: Princeton Architectural Press, 2013. Martin, Justin. Genius Of Place. Cambridge, MA: Da Capo Press, 2012.
CHAPTER 5 Bolleter, Julian. “Postcards From The Edge: A Critical Reading Of Representations Of The Interior In Australian Landscape Architecture”. Journal Of Landscape Architecture 12, no. 1 (2017): 74-85. doi:10.1080/18626033.2017.1301290. Bull, Catherin. “A New Formalism”. Landscape Architecture Australia, no. 111 (2006). Freeman, Kornelia, and Ulo Pukk. Parks & Gardens Of Melbourne. Melbourne, Vic: Melbourne Book, 2015. Gamble, Kate. “The Australian Garden: This Spectacular Garden Designed By Taylor Cullity Lethlean And Paul Thompson Provocatively Explores The Contested Nature Of Australian Identity”. Landscape Architecture Australia, 2014.
Wilber, Donald Newton. Persian Gardens And Garden Pavilions. Washington: Dumbarton Oaks, 1979.
Roberts, Bev, Helen Vaughan, and Janusz Molinski. The Australian Garden. South Yarra, Victoria: Royal Botanic Gardens Board Victoria, 2012.
CHAPTER 2
Shenton, Shira. “Australian Garden - Landscape: Taylor-Cullity-Lethlean”. Architecture Of Israel, 2008.
CHESSHIRE, CHARLES. PRACTICAL ILLUSTRATED GUIDE TO JAPANESE GARDENING AND GROWING BONSAI. [S.l.]: LORENZ BOOKS, 2017.
Walcott, Rosalind. “Royal Botanic Gardens Cranbourne: Australian Garden Stage 2”. Australian Native Plants Society Journal, 2015.
Goto, Seiko, and Naka Takahiro. Japanese Gardens. Florence: Taylor and Francis, 2015. Kuck, Loraine E, and Iwamiya Takeji. The World Of The Japanese Garden. New York: Weatherhill, 1968. Takakuwa, Gisei, Kiichi Asano, Frank Davies, and Hirokuni Kobatake. Japanese Gardens Revisited. Rutland, Vt.: C.E. Tuttle, 1973. Yamashita, Michael S, and Elizabeth Bibb. In The Japanese Garden. Golden, Colo.: Fulcrum Pub., 1996.
CHAPTER 3 Beněs, Mirka, and Dianne Harris. Villas And Gardens In Early Modern Italy And France. New York: Cambridge University Press, 2001. Hays, David. “Carmontelle’s Design For The Jardin De Monceau”. Eighteenth-Century Studies 32, no. 4 (1999): 447-462. doi:10.1353/ecs.1999.0035. Milam, Jennifer. “Cosmopolitan Time In The Jardin De Monceau”. Studies In The History Of Gardens & Designed Landscapes 36, no. 4 (2016): 282-296. doi:10.1080/14601176.2016.1161295. Wiebenson, Dora. The Picturesque Garden In France. Princeton, N.J.: Princeton University Press, 1978.
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LIST OF FIGURES CHAPTER 1
CHAPTER 4
Fig.1: Plan of the garden city of Isfahan. Sourced: Persian Gardens & Garden Pavilions by Donald N. Wilber. 1962.
Fig. 1: John Y. Culyer’s tree-moving machine made transplanting large trees easier in Prospect Park. Sourced: Prospect Park by David Colley, 2013.
Fig.2: Coste, Pascal. 1840. Engraving: Exterior of the Hasht Bihesht (Coste). Sourced: Persian Gardens & Garden Pavilions by Donald N. Wilber. 1962. Fig.3: Flandin, Eugene. 1840. Lithograph: View from porch of the Chehel Sutun; dome and minarets of the Masjid-i-Shah in the distance (Flandin) Sourced: Persian Gardens & Garden Pavilions by Donald N. Wilber. 1962. Fig.4: Plan of Hasht Bihesht Garden. Sourced: Persian Gardens & Garden Pavilions by Donald N. Wilber. 1962. Fig.5: Plan of Chetul Sutun Garden. Sourced: Persian Gardens & Garden Pavilions by Donald N. Wilber. 1962. Fig.6: Modified by author. Qanat. Accessed on September 21, 2017 from https://www.mei.edu/content/harvesting-water-and-harnessing-cooperation-qanat-systems-middle-east-and-asia Fig.7: Flandin Eugene. 1840. Char Bagh Isfahan and Mosque Shah Sultan Hussein (Flandin). Accessed on September 20, 2017 from https://en.wikipedia.org/wiki/List_of_paintings_and_plots_by_Pascal_Coste_and_Eug%C3%A8ne_Flandin#/media/File:Char_Bagh_Isfahan_and_Mosque_Shah_Sultan_Hussein_by_Eug%C3%A8ne_Flandin.jpg
Fig. 2: A park gardener designed extension ladder for pruning the tall trees. Sourced: Prospect Park by David Colley, 2013. Fig. 3: The Lincoln Statue. Sourced: Prospect Park by David Colley, 2013. Fig. 4: Narrative of Prospect Park. Sourced: Illustrated History of Landscape Design by Boults Sullivan, 2010. Fig. 5: The music detail at Concert Groove. Sourced: Prospect Park by David Colley, 2013. Fig. 6: Plan of Concert Groove. Sourced: , Frederick Law Olmsted: Plans And Views Of Public Parks by Beveridge et al., 2015. Fig. 7: Waterfall at Ravine Section. Photography. Sourced: Prospect Park by David Colley, 2013. Fig. 8: Sheep grazing at Long Meadow. Photography. Sourced: Prospect Park by David Colley, 2013. Fig. 9: Map of Prospect Park, 2013. Sourced: Prospect Park by David Colley, 2013.
Fig.8: Hui Yuan, Koh. 2017. Elevation of Utilitarian and pleasure plants in Gardens of Isfahan. Ink and watercolour.
CHAPTER 2 Fig. 1: GajinPot Travel, n.a. View of Silver Pavilion. Photography. Accessed on October 15, 2017 from https://travel.gaijinpot. com/ginkakuji-silver-pavilion/
CHAPTER 5 Fig. 1: Gollings, John. Lilypad inspired bridge. Accessed on October 15, 2017 from https://www.archdaily.com/393618/ the-australian-garden-taylor-cullity-lethlean-paul-thompson/51c8dd75b3fc4b9dc7000189-the-australian-garden-taylor-cullity-lethlean-paul-thompson-photo
Fig. 2: GajinPot Travel, n.a. Ginshadan and Kogetsudai. Photography. Accessed on October 15, 2017 from https://travel.gaijinpot.com/ginkakuji-silver-pavilion/
Fig. 2: Taylor Cullity Lethlean. Circulation of the garden. Accessed on October 15, 2017 from https://www.archdaily. com/393618/the-australian-garden-taylor-cullity-lethlean-paul-thompson/51c8deadb3fc4bf9e4000199-the-australian-garden-taylor-cullity-lethlean-paul-thompson-diagram
Fig. 3: Japan’s Travel Manual, 2016. Main gate of Jisho-ji. Photography. Accessed on October 15, 2017 from http://jpmanual. com/en/ginkakuji
Fig. 3: Taylor Cullity Lethlean. Plan of Australian Garden. Accessed on October 15, 2017 from http://www.tcl.net.au/projects/ cultural-interpretative/australian-garden
Fig. 4: Japan’s Travel Manual, 2016. Sengetsusen Waterfall. Accessed on October 15, 2017 from http://jpmanual.com/en/ ginkakuji
Fig. 4: Gollings, John. Aerial view of Red Sand Garden. Accessed on October 15, 2017 from https://www.archdaily. com/393618/the-australian-garden-taylor-cullity-lethlean-paul-thompson/51c8ddfbb3fc4b29c100017c-the-australian-garden-taylor-cullity-lethlean-paul-thompson-photo
Fig. 5: Map of Jisho-ji. Accessed on October 15, 2017 from http://www.susanspann.com/a-visit-to-ginkakuji-part-1/
CHAPTER 3 Fig.1: Carmontelle. 1700 c. Plan of Garden of Monceau. Mational Library of France. Accessed on October 20, 2017 from http:// gallica.bnf.fr/ark:/12148/btv1b8444455r.r=Jardin%20de%20Monceau?rk=64378;0 Fig.2: Carmontelle handing the keys for the pleasure grounds at Monceau to the Duc de Chartes, c. 1775. Sourced: Paris, Camavalet Museum. Fig.3: The Temple in Garden of Monceau. National Library of France. Accessed on October 20, 2017 from http://gallica.bnf.fr/ ark:/12148/btv1b84566130.r=Jardin%20de%20Monceau?rk=85837;2 Fig.4: Carmontelle, 1779. View of Wood of Tombs. Sourced: Jardin de Monceau, Pres de Paris.
Fig. 5: Gollings, John. The scribbly white partition in the Scribbly Gum garden is inspired by the pattern on the Eucalypt bark. Accessed on October 15, 2017 from https://www.archdaily.com/393618/the-australian-garden-taylor-cullity-lethlean-paul-thompson/51c8dd79b3fc4b9dc700018a-the-australian-garden-taylor-cullity-lethlean-paul-thompson-photo Fig. 6: Taylor Cullity Lethlean. The ‘Escarpment Wall’ steel sculpture by Greg Clark beside Rockpool Waterway represents the rocks in central Australia. Accessed on October 15, 2017 from http://www.tcl.net.au/projects/cultural-interpretative/australian-garden Fig. 7: Ward, Craig. N.a. The giant eucalyptus carcasses are innovatively used to build a play structure in the Children’s Backyard Garden design by Mark McWha, he innovatively used. Accessed on October 15, 2017 from http://mapio.net/ place/40856358/ Fig. 8: Gollings, John. The weird and wonderful garden consists of Pyrenees Quartzite rocks to provide a habitat for a variety of rare flora. Sourced from: ‘The Australian Garden: This Spectacular Garden Designed By Taylor Cullity Lethlean And Paul Thompson Provocatively Explores The Contested Nature Of Australian Identity’ by Kate Gamble, 2014.
Fig.5: Carmontelle, 1779. View of the Island of Boulders and the Butch Windmill. Sourced: Jardin de Monceau, Pres de Paris. Fig.6: Carmontelle, 1779. View of the Main Pavilion and the Merry-Go-Round. Sourced: Jardin de Monceau, Pres de Paris. Fig.7: Carmontelle, 1779. View of the Farm. Sourced: Jardin de Monceau, Pres de Paris.
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ABPL20039 History of Designed Landscape 2017 Name: Hui Yuan Koh (Rachel) Student 1D: 799168 Tutor: Anna Hooper Tutorial Time: Friday 11 a.m.