CHAPTER 1 ROYAL BOTANIC GARDEN, MELBOURNE
Guilfoyle’s Design Concepts The site of the Botanic Gardens was selected by Charles La Trobe in 1846 and originally designed by Baron Ferdinand von Muller, but it was William Guilfoyle’s directorship(1876-1909) that brought picturesque and tropical beauty into the Gardens. Well-designed Lake Curvilinear paths
Fern Gully
Balance between gardens and lawns
Fig. 2 1909 plan of the Botanic Gardens.
Fig. 1 The origin of Guilfoyle’s interest in South Pacific islands. Spotted planting
The plan and aerial view illustrate the characteristics of the Gardens as a typical English style landscape. It is essential that Guilfoyle combined the ideas of Pope, Kent, ‘Capibilty’ Brown and Repton in his design1
Guilfoyle’s Volcano
Conifers on skyline
Guilfoyle's interest in tropical region also influences the design significantly. This idea informed the construction of Fern Gully and Guilfoyle's Volcano. The surprising similarity of the sketches on the left shows how successfully Guilfoyle reproduced a sense of South Pacific islands.
Ornamental Lake
Fig. 4 The grand vista framed by the Lions Head gum.
Another notable picturesque characteristic is the vistas in The Gardens, are carefully arranged. Among which, the dramatic landscape formed by the ornamental lake and marginal planting become the grandest vista of Guilfoyle's design2. Fig. 3 Arial view from Government House to Guilfoyle’s Volcano.
Fern Gully - Fantacy of Tropical Region The idea of Fern Gully was created at the beginning of Guilfoyle’s directorship3. Inspired by his travel in South Pacific islands, Guilfoyle combined the existing topography and canopy of trees to provide shade, created a micro climate perfect for rainforest plant species. By 1881, a system comprised of Tree-fern, Ground-fern, trees and climbing plants was accomplished4.
Dramatic level change
Creek Fig. 5 Guilfoyle’s early idea of Fern Gully in section. Palms
Tree-fern
Rest House
Groud Fern
Figs
Rockery
Fig. 6 Plan of recently proposed Fern Gully.
Fig. 7 Climbing Fig at the bottom edge of Fern Gully.
The dense and varied plants are stunning even drawn symbolically in a plan view. Although suffered from drought, roosting flying foxes and failing infrastructure5, Fern Gully is still a subtropical paradise with over 237 plant species growing in it until today6.
The use of climbing plants is also an important characteristic of Fern Gully. It reflects Guilfoyle’s inspiration from tropic regions rather than native fern gullies. As shown in Fig.8, the climbing fig blurred the boundary of Fern Gully and brought mystery atmosphere into it.
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Fig. 8 Paranorma of Fern Gully showing Light and shadow.
Dense foliage in Fern Gully not only created variable and contrasted light and shade but also gave “welcome relief from the fierce glare of summer sun7”. There, We can have a glimpse of the beauty of nature itself.
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Endnotes 1. R.T.M. Pescott, The Royal Botanic Gardens, Melbourne : a history from 1845 to 1970 (Melbourne : Oxford University Press, 1982), 147. 2. Anne Marie Graham, et. al., A garden for all seasons : an artist's view of the Royal Botanic Gardens(North Ryde, NSW : Craftsman House, 1998), 38. 3. R.T.M., The Royal Botanic Gardens, Melbourne, 116. 4. Royal Botanic Gardens, Melbourne, Royal Botanic Gardens, Melbourne : master plan(South Yarra, Vic. : Royal Botanic gardens Melbourne, 1997), 14. 5. “Plant Collections Fern Gully,”Royal Botanic Gardens Victoria, https://www.rbg.vic.gov.au/visit-melbourne/attractions/plant-collections/fern-gully 6. “Living Collection Census,”RBG Census, last modified September 17, 2016, http://library.unimelb.edu.au/recite/chicago/electronic-source 7. Royal Botanic Gardens, Royal Botanic Gardens, Melbourne, 14.
List of Figures Figure 1: Angas, George French. circa 1866. ‘Engraving of the active volcano on the island of Tanna.’ In Landscape in time, accessed September 10, 2016, http://landscapes.314.net.au/media/image/Guilfoyle's%20Volcano_slide3.jpg Figure 2: Nettleton, Charles1878. ‘View east from Government House showing volcano reservoir in context of the Botanic Gardens.’ In Landscape in time, accessed September 13, 2016, http://landscapes.314.net.au/media/image/Guilfoyle's%20Volcano_slide2.jpg Figure 3: Lang, A.B. Surveyor General, 1909, ‘Plan No. 2, Botanic Gardens, Showing Alterations and Additions effected since 1873 by W.R. Guilfoyle, Director.’ In Landscape in time, accessed September 16, 2016, http://landscapes.314.net.au/media/image/Historic_Maps_6.jpg Figure 4: Postcard. circa 1911, ‘Government House, Botanic Gardens, Melbourne.’ In State Library of Victoria. accessed September 10, 2016, http://digital.slv.vic.gov.au/view/action/nmets.do?DOCCHOICE=4137686.xml&dvs=1474351291182~292&locale=zh_CN&search_terms=&adjacency=&VIEWER_URL=/view/action/nmets.do?& DELIVERY_RULE_ID=4&divType=&usePid1=true&usePid2=true Figure 5: Guilfoyle, William. 1846, ‘The section plan across the proposed Fern Gully.’ In The Royal Botanic Gardens, Melbourne : a history from 1845 to 1970, R.T.M. Pescott, 116. Melbourne : Oxford University Press, 1982. Figure 6: Landlaw, Andrew. 2015, ‘Fern Gully Project.’ Photograph by Kunpeng Wang, Figure 7: Marie Graham, Anne. circa 1995, ‘Climbing fig.’ In A garden for all seasons : an artist's view of the Royal Botanic Gardens, Anne Graham, Jane Clark, Helen M Cohn, and Juliet Peers, 61. North Ryde, NSW : Craftsman House, 1998. Figure 8: Jha, Nimish. 2015, ‘Fern Gully - Royal Botanic Gardens Melbourne.’ In Thousand Wonders, accessed September 17, 2016, http://www.thousandwonders.net/Royal+Botanic+Gardens+Melbourne Word count: 327
CHAPTER 2 PERSIAN GAREN AND ISLAMIC PATTERN
Principles of Persian Garden Throughout the Islamic countries, the high regard, even worship, of the flowing pool exists even today1. As the most important resource of water, qanat systems, promoted by Cyrus the great around 550 BC, become the foundation of the existence of Persian gardens. Since the need of water was fulfilled, the Persian arranged their gardens based on their understanding of the world - the ancient division of the world into four quarters. This idea formed the standard plan of Persian garden under the name of Chahar-bagh2, illustrated in garden carpets(Fig. 2). Fig 1. An aerial view of the qanat system in the Yazd region showing the massive scale. "French geologist Henri Goblet describe it as "one of the greatest civil engineering projects5." The agriculture pattern around it is unique and beautiful.
Fig.4 the massive wall protects Bagh-e Shahzadeh from wind and sand. They are crucial not only spiritually but also physically in Persian gardens.
The inward of the gardens can be seen as a "promise of divine order, of ever-renewing life in the face of mortality3.", in other words, enclosed paradise. Therefore, the gardens are always walled. An excellent example of the sense of the turning point from outward to inward is Bagh-e Shahzadeh. The idea of a garden as a paradise was to be as vital in the history of spiritual Muslim garden as they influenced the gardens of Renaissance Europe and Western civilisation4.
Fig. 2 One-quarter of a garden carpet woven in the 17th century, echoes the famous 6th century "Spring of Khosrou"carpet. It abstracted the main spirit of Persian gardens, as walls are used to enclose the garden, plants are collected in different parts. The fruit tree represents life and fertility6.
Fig. 3 A view from Summer Pavilion to the Governer's House in Bagh-e Shahzadeh showing the vista framed by the tall cypress and the main axis with water. The garden was built in the 1880s by the Naser ad-Douleh in Mahan. The cypresses that line the main channels symbolise the death and eternity7.
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Language of Islamic Pattern
A. trangle, human couscious(soul), three king dom of nature Fig.5 The traditional form of symbolism. These symbols are not only the foundation of Islamic pattern but also recurs throughout the major religious and philosophical traditions of mankind8.
Islamic pattern is a significant part of Persian gardens. Their form varies from Calligraphy, foliation and geometry, and often combined. As we know, the calligraphy and foliation can be translated into verbal language to some extent. As for geometry, Crichlow argued in his book Islamic Patterns that they can also be explained or even translated. I will try to summarise some of the meanings of Islamic geometry patterns based on Crichlow's research.
B. Square: earth and four "mothers", ie. four elements
Islamic pattern, in particular, number patterns illustrate the unity of traditional Islamic cosmology. They can be seen as the language of archetypal law that bring balance to the universe9. The primal circle around the pattern is a symbol of cosmic unity. The intervals that form the patterns indicate periods of time and direction in space. For example, a year can be seen as a circle which was divided into four seasons. If link the division point together in a certain sequence, it will form a square - the archetype of four. The square illustrates four periods of time and the sequence of them. We can have a sense of how patterns can become language through this simple example.
C: pentagon, human(the five)
D. Six days of creation.
E. Heptagon, seven fathers, ie. plants
F. Octagon, 'eight bearer of the throne'(Quran)
G. The nine-pointed star, serves as a tripling of three primary force. Nine also represents qudrah(the one power) Fig.6. A brief summary of the relationship between basic polygons and the Islamic pattern. As we can see, diagram A, B and D fit the traditional form of symbolism. Other basic polygons(in green) can be generated using the three basic shape in Fig 5(except C and E). However, their meanings are varied.(gathered from Crichlow, 1989). Table. 1 The relationship between numbers and "heavens". The heavens are believed to have different levels of intellengence.
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Spicemen Pattern in Persian Gardens Nine-pointed star
Nine-pointed star
Twelve-pointed star
Twelve-pointed star
Fig.9 Once again the archetypes of nine and twelve, this time, the conjunction of them forms five-pointed star and arrows(blue shade). This pattern means human within the universal cosmic cycles. The red triangle was added by myself. Arguably, the pattern has a hiding six-pointed star. According to Critchlow, sixpointed star alone "has infinite potential12"(right bottom of Fig.8).
Fig.10 The door into the first courtyard of The mausoleum of Ne' matollah Vali showing the decoration of geometry patterns. The twelve-pointed star implied Zodiac10; the nine-pointed star means the one power beyond everthing11. When combined, the geometry may represent the universal cosmic cycles.
Symetrical pattern within the geometry.
Fig.8 Pattern on the door of the shrine of Ne' matollah Vali in Mahan. With the sacred name Muhammad around the five-pointed star, the pattern indicates the connection between prayer, sound repetition, significant numbers and symmetrical "order"13.
Fig.7 sixteen-pointed star on the ceiling of the dome in Hafez's tomb garden. It shows how pattern spreads. The sixteen-pointed star comes from the archetype of four; it implies the dynamic of the four elements. I also tried to find a pattern of the decoration inside the geometry.
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Endnotes 1. Donald Newton Wilber, Persian Gardens And Garden Pavilions(Washington: Dumbarton Oaks, 1979), 1 2. Newton Wilber, Persian Gardens And Garden Pavilions, 1. 3. Mehdi Khansari, M. Reza Moghtader, and Minouch Yavari, The Persian Garden: Echoes Of Paradise(Washington: Mage Publishers, 1998), 12 4. Penelope Hobhouse, Erica Hunningher, and Jerry Harpur, The Gardens Of Persia([San Diego]: Kales Press, 2004), 7. 5. Khansari, Moghtader, Yavari, The Persian Garden, 25 6. Jellicoe, Geoffrey and Susan Jellicoe, The Landscape Of Man(New York: Viking Press, 1975), 30. 7. Ibid, 30. 8. Keith Critchlov, Islamic Patterns(New York: Viking Press, 1975), 150. 9. Ibid, 57. 10. Ibid, 42 11. Ibid, 60 12. Ibid, 151. 13. Ibid, 83.
Bibliography Critchlov, Keith. Islamic Patterns. London: Thames and Hudson, 1989. Hobhouse, Penelope, Erica Hunningher, and Jerry Harpur. The Gardens Of Persia. [San Diego]: Kales Press, 2004. Jellicoe, Geoffrey and Susan Jellicoe. The Landscape Of Man. New York: Viking Press, 1975. Khansari, Mehdi, M. Reza Moghtader, and Minouch Yavari. The Persian Garden: Echoes Of Paradise. Washington: Mage Publishers, 1998. Wilber, Donald Newton. Persian Gardens And Garden Pavilions. Washington: Dumbarton Oaks, 1979.
List of figure Fig. 1 "Aerial view of a qanat crossing the fields in the region of Yazd." in The Persian Garden: Echoes Of Paradise, Mehdi Khansari, M. Reza Moghtader, and Minouch Yavari, 27. Washington: Mage Publishers, 1998. Fig. 2 "The garden carpet. Woven in 17century."In The Gardens Of Persia, Penelope Hobhouse, Erica Hunningher, and Jerry Harpur, 62. [San Diego]: Kales Press, 2004. Fig. 3 "A view up the garden from the summer pavilion." In The Gardens Of Persia, Penelope Hobhouse, Erica Hunningher, and Jerry Harpur, 136. [San Diego]: Kales Press, 2004. Fig. 4 "Massive walls." In The Gardens Of Persia, Penelope Hobhouse, Erica Hunningher, and Jerry Harpur, 134. [San Diego]: Kales Press, 2004. Fig. 5 Islamic Patterns, Keith Critchlov, 150. London: Thames and Hudson, 1989. Fig. 6 Islamic Patterns, Keith Critchlov, 171. London: Thames and Hudson, 1989. Fig. 10 "The sixteen-pointed star on the ceiling of the dome." In The Gardens Of Persia, Penelope Hobhouse, Erica Hunningher, and Jerry Harpur, 88. [San Diego]: Kales Press, 2004. Fig. 9 "A reflecting pool in the shrine of Ne' matollah Vali" In The Gardens Of Persia, Penelope Hobhouse, Erica Hunningher, and Jerry Harpur, 69. [San Diego]: Kales Press, 2004. Fig. 9 Islamic Patterns, Keith Critchlov, 84. London: Thames and Hudson, 1989. Fig. 10 Islamic Patterns, Keith Critchlov, 79. London: Thames and Hudson, 1989.
CHAPTER 3 ARTISTIC PRINCIPLES BEHIND LIU YUAN
Lingering Garden(Liu Yuan) The Lingering Garden(Liu Yuan) is built by Liu Shu at the beginning of 19th century(Qing Dynasty). It was on the site of East Garden, Built by Xu Taishi in Ming Dynasty(1368-1644). Later, the garden was rebuilt and renamed Golden Green Villa. Afterwards, it was reconstructed again when Liu Shu became the owner. The name was tricky, "lingering" pronounce exactly the same with the owner's family name "Liu". It not only tells Liu's name in a poetic way but also wish the visitor lingering Fig. 1 The chinese character "Yuan", between the landcape1. meaning garden. It sybolise the plan of Chinese garden - a place surrouded by wall.
The two hectares garden can be divided into four parts. As shown in the plan(Fig.1), Part A in the middle is mostly the remain of East garden. It was considered as the most well-constructed and wellmaintained part. Part B is famous for its Grand Artificial Hill while Part C is known for its architecture. Part D is rather empty; the reason will be analysed in page 5. Despite Lingering Garden is famous for its architecture and rockeries, it was also considered as an apt example of making Chinese garden in an artist manner. Instead of introducing the pavilions and rockeries one by one, which was often done in the historical books, I will try to find the artistic principles, i.e., the principles used in Chinese landscape painting, hiding behind traditional Chinese gardens using Lingering Garden as an example. The principles I mentioned in this chapter will also be used in producing the sketches. Fig 2. Plan of Lingering Garden. The plans of chinese gardens are arguably not very distinctive. Plans of Suzhou gardens are similar because they are built in almost the same manner. But the plan is still the best way to make a Chinese garden readable.
Fig. 3 Section AA, showing the balance between architecture, plants, rockery and water feature.
7
Artistic Principles Landscape painting and Chinese gardens, in particular, private gardens have been influencing each other since the beginning. Their connection is considered to get increasingly stronger since Nothern Song Dynasty(960-1127)2 when the quality of garden scenes was appraised and criticised by the same standard as that used in poem and art3. Fine art, no matter which kind, is responsible for linking objective of the reality with subjective and emotional results. To achieve this in garden making, "Designers"(poets and painters) must have followed the artistic principles. The story of begins, like all other stories in China, in the theory of Yin-Yang. Most of the artistic principles are about balance. They include: 1. Balance the real and the false4: The real, or the true, implies the things can be touched; while the false indicated reflection in the water. I would argue such a balance only exists in a view that is set for viewers(see Fig. 7). 2. Set off5: The idea is about two things enhancing each other. A simple example lies in the Tai-chi pattern(Fig.5). In gardens, setting off is about the relationship between nature and architecture.(see Fig.6) 3. Balance Assembling and spreading6: When things are assembled(e.g. rockery), they give us a "solid". feeling. When they are spread, space is rather empty(e.g., spotted planting). The balance between "solid" and "empty" exists not only in views but also in plans(see Fig.4)
Fig. 4 A simplified plan, showing the emptiness in the garden. Every part contains a "solid" part and an "empty" part except Part D. Part D serve as the emptiness of the whole garden. Its name Another Village implies another world to "allow spectators imagination to roam7."
Fig. 5 Tai-Chi pattern showing the white part and the black part "set off" each other. Also, the black part makes the white dot inside it brighter, same with the black part.
Fig. 6 Nature(rockeries as imitations of nature) and pavillions enhance each other in the courtyard of Yi Feng Xuan(1 on plan). It is the rockery that makes the pavilion more elegant, and the pavilion makes the rockery more distinctive. This is about "set off".
Fig. 7 A view from across the Huanyun pool(2 on plan) to Cloud Capped Peak(3 on plan). Even the Cloud Capped Peak is taller than any pavilions in the garden(5 meters), there is still enough space for its reflection in the water. Thus, the balance between the "true" and the "false" determines the shape of water bodies in a garden to some extent.
8
The origin of This set of drawings is in The Art of Chinese Garden, 1982. It is interesting that the author labelled nothing but "Liu Yuan, Suzhou" for every photo in this set. I believe the author is trying to maximum the visual impact and let readers understand the photos in their way. Back to the principles. Symbolization: The tradition of placing mountain mimicking stone in gardens dates from at least ten century8. The tradition is, of course, from Chinese artist's high regard, even worship of the magnificent mountains. Here in Liu Yuan, the designers even produced a living landscape painting for us(see fig.9) Light and shadow: liturally, Yin-Yang means "shadow" and "light". Therefore the balance between them is significant. It is influential not only in courtyards(Fig. 10) but also in the arrangement of trees. Interior and exterior: This idea is also about the contrast between light and shadow(bright outside and dark inside). But the unique part is "frame" (see Fig.9) Fig. 9 A view framed by a hexagon-shaped window. In Chinese gardens, Windows and doors often serve as a "frame". The framed view become more vivid with the enhancement of dark interior.
Fig. 8 A living landscape painting in the courtyard of Huan Bu Xiao Zhu. The calligraphy on top of this image tells us the name of the courtyard. Use calligraphy as a decoration is common in Chinese gardens, they often illustrate the name of the place or the emotional results from the scene9. Here, The rockery implies mountain and the plants are pruned to look like old trees.
Fig. 10 With the shade under the roofs, the centre part become brighter in the sketch. In the real world, we can image the shade under the roofs will make the small piece of sky extremely blue on a sunny day(without haze of course).
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Endnotes
1. Xiaofeng Fang, The Great Gardens of China([New York]: Monocelli Press, 2010), 197. 2. Fang, The Great Gardens of China, 30 3. Lifang Chen and Sianglin Yu, The Garden Art Of China(Portland, Or.: Timber Press, 1986), 32. 4. Chen and Yu, The Garden Art Of China, 37. 5. Ibid, 37 6. Ibid, 37 7. Fang, The Great Gardens of China, 201 8. Elizabeth Barlow Rogers, Landscape Design([New York]: Monocelli Press), 285. 9. Wah Nan Chung, The Art Of Chinese Gardens([Hong Kong]: Hong Kong University Press), 92.
Bibliography
Chung, Wah Nan. The Art Of Chinese Gardens. [Hong Kong]: Hong Kong University Press, 1982. Rogers, Elizabeth Barlow. Landscape Design. New York: Harry N. Abrams,2001. Chen, Lifang and Sianglin Yu. The Garden Art Of China. Portland, Or.: Timber Press, 1986. Fang, Xiaofeng. The Great Gardens of China. [New York]: Monocelli Press, 2010.
List of Figure
Fig. 2 "Yuan." In The Art Of Chinese Gardens, Wah Nan Chung, preface. [Hong Kong]: Hong Kong University Press, 1982. Fig. 2 "Site plan of Lingering- Here Garden." In Chinese Classical Gardens of Suzhou, Chen Lixian and Joseph C. Wang, 355. China: Architecture and Building Press. Fig. 3 "General sectional and elevational drawing of the middle architectural group of Liu Yuan Garden in Soochow." In The Garden Art Of China, Lifang Chen and Sianglin Yu, 168. Portland, Or.: Timber Press, 1986. Fig. 4 "Locations of the section drawings of Lingering-Here Garden." In Chinese Classical Gardens of Suzhou, Chen Lixian and Joseph C. Wang, 356. China: Architecture and Building Press. Fig. 5 Image, http://pacificwavejiujitsu.com/blog/tag/taichi/(accessed October 22, 2016) Fig. 6 "The small-sized courtyard of Yi Feng Xuan of Liu Yuan Garden in Soochow." In The Garden Art Of China, Lifang Chen and Sianglin Yu, 162. Portland, Or.: Timber Press, 1986. Fig. 6 "The tall and elegant Cloud-Capped Peak rock in the Lingering Garden." In The Great Gardens of China, Xiaofeng Fang, 200, [New York]: Monocelli Press, 2010. Fig. 7 "Liu Yuan, Suzhou." In The Art Of Chinese Gardens, Wah Nan Chung, 94. [Hong Kong]: Hong Kong University Press, 1982. Fig. 8 "Liu Yuan, Suzhou." In The Art Of Chinese Gardens, Wah Nan Chung, 59. [Hong Kong]: Hong Kong University Press, 1982. Fig. 9 "Liu Yuan, Suzhou." In The Art Of Chinese Gardens, Wah Nan Chung, 69. [Hong Kong]: Hong Kong University Press, 1982.
CHAPTER 4 SACRO BOSCO BARMAZO
Bosco Sacro Barmozo Bosco Sacro, this wonderful park lies near the family seat of Prince of Orsini in Bomarzo, Italy. It was designed by Pier Francesco "Vicino" Orsini(1513 - 1585) around the middle of the sixteenth century. The gardens were created to amuse himself and to astonish others1. The name "Sacro Bosco", meaning sacred grove, indicated that the garden was dedicated to Orsini's deceased wife, Giulia Farnese.
"Who dose not pass this way wide-eyed will neither marvel at the seven famous wonders of the world."
The world of monsters The world of civilization
Vicino Orsini attended various military campaigns. But as Francesco Sansovino describes him, "he loved arms but letters even more2". As a Patron of the arts, he was in good terms with Annibale Caro, Claudio Tolomei and Francesco Sansovino. Regarding education, his interests varied from contemporary authors such as François Rabelais and Torquato Tasso to ancient traditions and mythology. Orsini spent nearly thirty years to perfect the place into a remarkable sculpture park from 1558(the end of his imprisonment) to his death in 1585. But the site was neglected until 1949 when Salvador Dalà rediscovered this world of monsters. But the fountains and the artificial like, once rather famous, was dried up3. However, the lack of maintenance made Bomarzo a ruin of lost worlds. Sacro Bosco is an exclusive product of the new Mannerism 4 . Unlike other Renaissance garden, it manifests an appreciation of the wildness of nature. As the plan(Fig.1) shows, the arrangement of the sculptures does not follow a symmetrical pattern. It is also unique that Orsini used a set of ideas to narrate the visitors on both image and words.
'Leave every care, you who enter here'
6 7
4
3
8 1
5 2
1 Leaning House 2 The theatre 3 Ceres 4 African War Elephant 5 Drangon fighting lions 6 Hell's Mouth 7 Temple 9 Original entrance 10 Artificial lake
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"You who enter here, gather your thoughts and tell me whether such wonders are delusion or art." "You who go wandering about the world in search for sublime and fearful wonders, come here and look upon horrendous faces, elephants, lions, bears, man-eaters and dragons." Fig.1 plan of Sacro Bosco Barmazo. The stuctures in the garden do not follow a symmetrical plan, which is not common conparing to other Renaissance garden. In my view, the narritive text(in red) carved on sculptures are crucial. It forms a narrative process that illustrate the designer standing on the perspective of his audiens, which makes the garden much playful.
10
The World of Monsters
Art and wild nature co-exist in these rustic sculptures. The rustic style was used in ancient ages, when nature, human and culture were not so separate. The scale of the sculptures is also determined by nature as the living rock provide inspiration in both shape and size. Orsini's personal contribution to Bomarzo lies in the use of sophisticated artistic source such and the implication of violence and death(Fig. 2 and 3)5.
Fig.3 African war elephant with a tower on its back and a dead soldier in its trunk. The inspiration came from an image of victory depicted on ancient Roman vases.
Fig.2 Dragon fighting lion. The sculpture get inspiration from Leonardo da Vinci's drawing. The pair of animals might be read as strength and vigilance6. The mighty dragon has lost none of its power even today.
Fig.4 Hell's Mouth, sculpted from a living rock. It resmeble a ancient Roman grotosque head, an Etruscan tomb and a medievel Christain Hell's Mouth7. The horrible mask become a grotto with alarming word's around it. But the inside is a proper grotto with a dinning table that appears to be the monster's tone. The contrast lead to laughter. ..................
Fig.5 Ceres, the goddess of agricultrue in Roman myth(Demeter in Greek). This sculpture represent the seasonal change(sowing and harvest).
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The World of Civilization
Octagonal dome, compared 11 by Orsini to Florence cathedral
The ornamental architecture in Bomarzo is raletively mordern. Unlike other sculptures in the gardens, they do not pretend to be ruins for rediscovery. The theater and the leaning house are both linked to a reintaining wall. It seems Orsini wanted to create a contrast between human civilazation and the world of monsters by hiding the sculptures behind the wall.
Tuscan ordered portico inspired by Etruscan temple
Fig.8 The cornerstone of the Leaning House, a live size bear holding a shield with Orsini's arms.
Fig.6 The temple in Scro Bosco stands as a monument of Orsini's wife, Giulia Farnese. It was "built by him from the foundation8." The temple might represent salvation from these terrible forces9. However, Orsini seems to enjoy his gardens; maybe the salvation is for others.
First floor carved from stone
Fig. 7 Leaning house at the possible original entrance of the Barmozo. The house seems to freeze in the moment of collapse. The house and the cornerstone is a monumental play on Orsini da Castello coat of arms10. Leaning house symbolised the instability of fortune in Renaissance context. Here it implied the mixed fortune of the house of Orsini. Fig.10 Bramante's theatre in Belvedere.
Fig.9 The theatre near the leaning house which takes a similar form from the one designed by Bramante in Belvedere Court(Fig.3). The centre court of the theatre originally functioned as a fountain.
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Endnotes
1. Torsten Olaf Enge et al.,Garden Architecture In Europe, 1450-1800(Köln: Benedikt Taschen, 1990),76. 2. Marella Agnelli et al., Gardens Of The Italian Villas(New York: Rizzoli, 1987), 54. 3. Olaf Enge et al., Garden Architecture In Europe, 76. 4. Geoffrey Jellicoe and Susan Jellicoe, The Landscape Of Man(New York: Viking Press, 1975), 116. 5. Claudia Lazzaro, The Italian Renaissance Garden(New Haven: Yale University Press, 1990), 6. Ibid, 138. 7. Ibid, 142 8. Ibid, 130 9. Jellicoe and Jellicoe, The Landscape Of Man, 166. 10. Lazzaro, The Italian Renaissance Garden, 129. 11. Ibid, 130
Bibliography
Enge, Torsten Olaf, Carl Friedrich Schröer, Martin Classen, and Hans Wiesenhofer. Garden Architecture In Europe, 1450-1800. Köln: Benedikt Taschen, 1990. Lazzaro, Claudia. The Italian Renaissance Garden. New Haven: Yale University Press, 1990. Agnelli, Marella, Luca Pietromarchi, Robert Emmett Bright, and Federico Forquet. Gardens Of The Italian Villas. New York: Rizzoli, 1987. Jellicoe, Geoffrey and Susan Jellicoe. The Landscape Of Man. New York: Viking Press, 1975.
List of figure
Fig.1 Drawn-to-scale Plan of Sacro Bosco, image, https://nanquick.com/2015/01/11/two-mannerist-gardens-in-northern-lazio-italy/(accessed October 18, 2016) Fig.2 "Drangon and its animal attacker." In Garden Architecture In Europe, Torsten Olaf Enge, Carl Friedrich Schröer, Martin Classen, and Hans Wiesenhofer, 78. Köln: Benedikt Taschen, 1990. Fig.3 Rabellino, Fiorella L'elefante che stritola il soldato, image, 2015, http://www.naturaeartificio.it/giardini/Bomarzo.html(accessed October 15, 2016). fig. 4 Fiorella Rabellino, L'elefante che stritola il soldato, image, 2015, http://www.naturaeartificio.it/giardini/Bomarzo.html(accessed October 15, 2016). Fig. 5 Theodore Liasi, Statue in the unusual gardens of Sacro Bosco in Parco dei Mostri, Bomarzo, Lazio, Italy, Stock Photo, 2009, http://www.alamy.com/stock-photo-statue-in-the-unusualgardens-of-sacro-bosco-in-parco-dei-mostri-bomarzo-31713607.html(accessed October 16, 2016). Fig. 6 5, image, http://www.sacrobosco.it/eng/image/bg/5.jpg(accessed October 17, 2016). Fig.7 "Leaning House, Sacro Bosco, Bomarzo." In The Italian Renaissance Garden, Claudia Lazzaro, 127. New Haven: Yale University Press, 1990. Fig.8 Sacro Bosco-Bomarzo: Casetta pendente, image, http://www.panoramio.com/m/photo/17014290(accessed October 17, 2016). Fig.9 Valentine, Sam, Theatre, image, http://www.botanicaatlanta.com/apps/blog/categories/show/1400011-garden-history(accessed October 18, 2016). Fig.10 Serlio, Sebastiano, "Bramante's Theater in the Belvedere Court." In The Italian Renaissance Garden, Claudia Lazzaro, 116. New Haven: Yale University Press, 1990.
CHAPTER 5 DONNELL GARDEN
Donell Garden The story of Donnell Garden begins in 1947, at the curving river that feeds the northern San Francisco Bay. The designer was Thomas Church. Lawrance Halprin was an important part of it too. The site of the garden was a favourite picnic spot for the Donnell family, an ideal client at that time. To achieve a masterpiece like this, designers, funding and environment should be satisfied. Apparently, the funding was fulfilled by Donnell family. Thus, the other two can be considered. Thomas Dolliver Church(1902-1978) was, no doubt, one of the greatest landscape architecture. His childhood in Southern California and experience in landscape architecture are equally important for this project. When the project begins, Lawrence Halprin(1916-2009) just ended military service and started his career in Thomas's firm. His talent was vital in the designing as well.
1. Parking 2. Car shelter 3. Service area 4. Kitchen 5. Dining 6. Brick terrance 7. Tewazo paving 8. Grass 9. Lanai 10. Pool 11. Bath house(guests) Fig. 1 The plan of Donnell Garden and the house. The plan is crucial in showing Thoma's design concepts. Lines in the garden are flowing to create pleasant views from all directions. Large paved areas to form "pleasant relation of the garden3.". It too shows rock plays an important role in the garden. I also noticed one tree one the plan was drawn in detail, it might means it was the most useful tree on the site.
California is a desired place for outdoor living with moderate temperate and small numbers of mosquitos. The site provided resources such as boulders and existing vegetations(Oaks, Eucalyptus, etc.)1. One cannot say it is a nice place for a garden because the heavy clay soil, but Thomas eventually found his way to create "a functional plan with an artistic composition"2
Fig. 2 Viewing from the swimming pool to San Fransisco Bay. The pool and the small piece of lawn contrast each other in material, but balance in shape, as well as the sculpture and the boulders. As Thomas said:"the axis still strong but less obvious." I think the "axis" refers to balance. The shape of pool is a recreation of the water body in the distance4. Together, they form a triangle that balances the view, give us a sense of harmony and pleasant. The larger landscape was not denied, it was brought into the site.
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A view of the recreational area after rain. Keeping the frame of oaks at the edge is wise. Physically, it offers wind protection5 and stabilises the soil. Mentally, it provides a sense of safety. The reflection in the pool is incredible, doubling the visual impact and bring balance to the picture.
Fig. 4 The swimming pool under construction. Here, we can see clearly the whole piece of the sculpture in the pool. The sculpture is, in fact, nine feet tall, with holes for people to go through. It looks similar to Adaline's another sculpture called Dark Mountain(Fig. 5). The pool is constructed without any angle that can hurt people; even the stairs are in free form.
The most celebrated part, also most influential, is the swimming pool. The pool was built, even under the wartime restriction, because it can serve as a reservoir if the land is threatened by fire6. The shape equally comes from the marsh(Fig. 2) and the biomorphic shape that is already in American7. The idea of putting a rock in the pool came from Halprin, to create a sense of "swimming in a mountain lake8". Thomas improved the idea to a sculpture and invited Adeline Kent to design it. Kent's contribution added the finishing touch to the garden. There are many images of people using the pool as well as the garden All of them, no matter where they stay, are happy. Perhaps this why Donnell garden becomes an icon of modern gardens. Not for its beautiful form, nor its techniques of taking advantage of existing condition. The reason is it is a "garden for people", a perfect place for people to not only look at but also to live in. Fig. 5 The Dark Mountian by Adline Fig. 6 Children play on the sculpture. An example of how people using the garden. It also shows the Kent in 1945. sculpture in detail. Normally, the sculpture is "floating" with only one in third above water. The swimming pool is playful too. It was designed for all kinds water activity(children, unobstructed swimming and diving).
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Two sides of Lanai was created by glass with steel pipe.
Bench Fireplace
Fig. 7 The Lanai, looking from inside to north-east. The bench and the paving extend from interior to exterior, creating a sense of unity. When the glass door slides open, the Lanai and the garden become one. In winter, the room can be closed and heated. I want to build one if I am rich enough, literally paradise. Fig. 8 The Oaks and the wooden deck at the east edge of the garden. He made holes for the Oaks, trying to keep them alive without occupying too much space. Although some of the holes are made too small for an Oak to grow to its maturity, the idea is valuable for us. Using benches along the edge of the deck is also typical in his design, Providing a "defined edge12" for the deck.
Paving Fig. 9 The special tree in the plan - a magnificent oak(look at the girl in red). The paving underneath the oak is aimed at reducing irrigation to avoid root rot. "A typical Church solution to a common Californian problem9." I think the position the tree stands and its outstanding form makes it the most significant tree in the garden
From this set of sketches, we can analyse Thomas's design in detail. Fig. 7 and 8 illustrate that Thomas emphasis trees greatly. He argued that trees are the greatest element affecting us visually and emotionally10. "Style is about taste, design is about principles11", I have noted most of Church's principles under the images. Some of them, such as a defined edge, might be arguable, but most of them is about designing for people. This made him one of the greatest landscape architectures in twenties century.
rock garden
Fig. 10 The idea of planting design in this project is using low maintenance plants with boulders to build rock gardens. Making a rock garden on such a clay and rocky site is reasonable. Another lesson I learnt from this project is do not be too ambitious.
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Endnotes
1. Marc Treib, Modern Landscape Architecture: a critical review. Cambridge(Mass.: MIT Press, 1993), 167. 2. Thomas Dolliver Church, Grace Hall, and Michael Laurie, Gardens Are For People(New York: McGraw-Hill, 1983), 166. 3. ibid, 31. 4. ibid, 184. 5. ibid, 184. 6. Marc Treib, Thomas Dolliver Church, Daniel Gregory, Thomas Church, landscape architect : designing a modern California landscape(San Francisco : William Stout Publishers, c2003), 103. 7. Treib, Dolliver Church, Gregory, Thomas Church, 108. 8. "Lawrence Halprin Projects: Donnell Garden as Modern, " YouTube video, 3:38, Interviewed by Charles A. Birnbaum, March 2003, https://www.youtube.com/watch?v=twjJ3OHHsaE 9. Dolliver Church, Hall, Laurie, Gardens Are For People,110 . 10. Ibid, 68 11. Ibid, 31 12. Marc, Modern Landscape Architecture,173 .
Bibliography
Church, Thomas Dolliver, Grace Hall, and Michael Laurie. Gardens Are For People. New York: McGraw-Hill, 1983. Treib, Marc. Modern Landscape Architecture: a critical review. Cambridge, Mass.: MIT Press, 1993. Treib, Marc, Thomas Dolliver Church, Daniel Gregory. Thomas Church, landscape architect : designing a modern California landscape. San Francisco : William Stout Publishers, c2003. "Lawrence Halprin Projects: Donnell Garden as Modern." YouTube video, 3:38. Interviewed by Charles A. Birnbaum, March 2003. https://www.youtube.com/watch?v=twjJ3OHHsaE
List of figures
Fig.1 Contresy Micheal Laurie, "Donnell Garden, Sonoa Country." In Thomas Church, landscape architect : designing a modern California landscape, Marc Treib, Thomas Dolliver Church, Daniel Gregory, 106. San Francisco : William Stout Publishers, c2003. Fig.2 Image, Http://tclf.org/landscapes/donnell-garden(accessed October 15, 2016). Fig.3 Contresy Micheal Laurie, In Gardens Are For People, 186. New York: McGraw-Hill, 1983. Fig. 4 Dewey Donnell, "Donnell Garden, Sonoa Country." In Thomas Church, landscape architect : designing a modern California landscape, Marc Treib, Thomas Dolliver Church, Daniel Gregory, 108. San Francisco : William Stout Publishers, c2003. Fig. 5 Adaline Kent, Dark Mountain, 1945, sculpture, https://www.sfmoma.org/artwork/45.2109 Fig. 6 "Lawrence Halprin Projects: Donnell Garden as Modern." YouTube video, 3:38. Interviewed by Charles A. Birnbaum, March 2003. https://www.youtube.com/watch?v=twjJ3OHHsaE. Fig.7 Rondal Partridge, In Gardens Are For People, 184. New York: McGraw-Hill, 1983. Fig.8 Charles Birnbaum, Donnell Garden, Sonoma, 2007, http://tclf.org/landscapes/donnell-garden(accessed October 15, 2016). Fig.9 "cara ruppert", Oak, 2011, https://www.flickr.com/photos/cararuppert/1804407045. Fig.10 "Lawrence Halprin Projects: Donnell Garden as Modern." YouTube video, 3:38, Interviewed by Charles A. Birnbaum, March 2003, https://www.youtube.com/watch?v=twjJ3OHHsaE.