History of Designed Landscapes Sketchbook

HISTORY OF DESIGNED LANDSCAPES ABPL20039 SKETCHBOOK QU JIANG 364407

TABLE OF CONTENTS

ISLAMIC GARDENS

1

RENAISSANCE GARDENS

5

BAROQUE GARDENS

9

CHINESE GARDENS

11

JAPANESE GARDENS

14

BIBLIOGRAPHY

11

I

ISLAMIC GARDENS

Alhambra Gardens,

Granada, Spain

The massive formidable, fotress like Toree de Comares stands on the north end with a reddish brown color changes accordiing on the hour or the season. On the groud level, seven slender columns supporting the delicate, marble colonettes and elaborate capitals to form a fantastic arcade.

The mirror-like still waterbody reflects the Court of the Myrtles to the best extent. The textures of the wall, the shadows and darkness of the interior, the hedges and human figure are mirrow in this perspective looking towards the court.

B

H

1.2 The Torre de Comares, majestic above the still Court of Myrtles

1.1 Detailed plan of Alhambra A Court of the Myrtles B The Hall of Ambassadors within the Torre de Comares C Court of Machuco H The Court of the Lions

The expansion of Islam into Spain in AD 711 triggered the emergence of new social and cultural structures particularly in south of Spain. Those changes shaped and developed the design based on climate.1 The palace of Alhambra began in 1248 and was governed by the Moors before the Christians took over in 1492.

In the harsh local landscapes which is characterized as lack of water and plants, Persian gardens were created as an oasis for the abundant of water and vegetation.

In Alhambra, uses of vegetation in the

Jeoffrey, Jellicoe, The landscape of man, London: Thames and Hudson, 1975, p40 Jeoffrey, Jellicoe, landscape, 1975, p40

yards, use of pool and fountains are predominant.

“Alhambra Plalace” means “The red city“ in arabic for the red brick materials used on the buildings. The present Alhambra palace is a accumulation of buildings done from Yusuf I and Mohammed V between 1333 and 1391. After the founder of Nasride dynasty used it as a royal palace, his successors continued to expand the palace.2 The approach to the palace starts from an rather open, formless plazza.

1.3 The Court of Lions interior

1.4 The bronze fountain in the court of lions

Decorative surfaces, delicate to perfection, are carved with plaster. The water device in this court is the central fountain with water running out from vivid animal sculptures.

2

1.5 Looking outwards from the Hall of the Ambassadors

1.6 Looking inwards towards the Garden of Daraxa

3

Generalife Gardens Granada, Spain

water steps: Distinguished water staircase goes down from the treed hillside. The small fountains and balustrades filled with running water cools the air along the journey and delights the sight.

This was a summer retreat for the Moorish kings built 300 years later than the Alhambra.

Adjacent to the Alhambra, it is located on top of the steep slopes. The advantage of the prospect provides overlooking views of the surrounding landscape. The garden was an direct extension from the Alhambra Palace and beyond which prefigures to the development of latter Italian Renaissance villas.

The gardens are placed delicately on the countours with intentionally undistrupted views to the surrounding landscapes.3

1.9 Plan of Generalife Gardens

Court of canal: canal runs along a central line from the house to the gate lodge. It demonstrate the Moor’s talent to make efficient use of water. The springs of water along the two sides into the canal again give people a cooling sense in both visual and audio enchantment.4

1.8

1.7 The ground level view of the Court of the Canal

3. Jeoffrey, Jellicoe, landscape, 1975, p42 4. Newton, Norman, Design on the land, Cambridge: Belknap Press. 1971, 49

4

RENAISSANCE GARDENS

Located in Bagnaia, Italy, Villa Lante is regarded as the finest villa of all. The medieval town, Bagnaia located five miles east of Viterbo, has been a summering place for bishopric for over a century in the medieval town. The superb Villa Lante came to exposure in its current form in approximately 1566. Originated by the nephew of Pope Sixtus IV, park was created with enclosure of woods above the village in 1475. In 1475, a hunting lodge was added and later an aqueduct was added in 1532. Finally Cardinal Gianfrancesco Gambara executed the construction of Villa Lante’s presentant form: the pair of palaces. After a couple more additions and restorations, Villa Lante presents us with the image of a dense central hillside complex with intimate composition. The whole property is surrounded by walls and situated within a larger wooded park.1

Villa Lante, Bagnaia, Italy

Fig 2.4 Lower Gardens

Fig 2.1 Water Chain: Long sloping cascade. Water slides down a channel from a stone crayfish at top.

Fig 2.3 Plan and Section

The villa is simple and unambiguous in design according to Newton. The spaces laid out in almost complete bilateral symmetry on a single center-line. However, the central axial line is not designed to walk on. So mostly the views are on diagonal perspective. The central line begins at the gate, the first area approaching is the lower garden, which is assembled at almost quadrilateral symmetry layout with the fountain as the center.2

Fig 2.5 Fountains The pool displays stillness while fountain present vibrance. The chromatic theme plays a crucial role in this Italian villa, the red gravel with contrast to the ever-green hedges and box patterns, whilst the terracotta filled with season vegetation. The transition from terrace to terrace is made by stairways on each side of the fountain.3 Fig 2.2 Lower gardens

1.Newton, 1971, pp99-100 2. Newton, 1971, p 103 3. Newton, 1971, p105 4. Newton, 1971, p105

What really defines Villa Lante as the most exquisite garden is the rhythmic sequence from level to level throughout the journal in the villa: turning left and right, walking up and down along the stairs. Apart from this, the automata is another feature. The novel treatment of water feature in variety of forms demonstrates vivid movements such as water table and fountains and water chain.4 The water progresses, from the wild form at the top of the villa, through several transitional stages to the most delicate condition in the lower garden. The same symbolic presentation also applies in the vegetation. The small but intimate composition is executed through subtle relation between straight line and curve, excellent proportion.

8

Villa Farnese, Caprarola, Italy

Fig2.6 A single jet punctuate the square verstibule of space at the lower end of the Villa Farnese

Fig 2.7 Fanciful caryatids enframe the box garden of the Villa

The villa is small in scale but playful in concept. It is essentially a joyful design, neither so riotous as the Villa d’Este not so stiff as the Villa Medici.

The sight-line established continues as the central spine upon which the entire villa is assembled in virtually complete bilateral symmetry.1 The viale of firs conducts one to the open side of a sqaure vestiblue at the bottom of a series of positive spaces comprising the villa. (Fig 2.1) The square is held in place by rather decorative walls on both sides. A basin with soaring jet shooting water into the air locates in the centre, the sun often touching the white tip with silver, then falls to keep the stone coping continually shining wet.2 The shade of the fir trees and the steady spray pays contribution to the emerald green turf surface on the viale and vestibule.

1. Newton, Design, p107 2. Newton, p108 Geoffrey and Jellicoe, Landscape of man, p108

Fig 2.8 plan and section

Fig 2.9 box garden

7

BAROQUE GARDENS

Versailles Gardens, Paris, France

Fig 3.1

Fig 3.3

Fig 3.2 Plan of Versailles

Versailles is the most famous garden in the world, the eptome of baroque garden design. key features: Grand canal, organgerie, rond-point, pleaching, pollarding.

Fig 3.4 1. Newton, Design, 1732. Geoffrey and Jellicoe, Landscape, 188 2.Newton, 173-175

The layout is simple skeleton consists of two long sight-lines. Of these the dominant one, naturally enought, extends from the center of the chaeteau to seeming infinity eastward and westward. the other, perpendicular to the first, crosses it atop the very first terrace west of the chateau and extends to north and south, parallel to the face of the building.1 Versailles is the most splendid expression of absolute monarchy in history: from the palace of Versailles, the distance passes into infinity. The shape is defined by trees and punctuated by sculpture seen against the cipped charmilles or hedges.2 Versailles has been expanded from its original design but none of those changes affect the core concept. The challenge to landscape authority came when the palace began to expand in size and scale far beyond the original intention. La Notre appears first to have responded by creating the inspired baroque water cross of the canals. epitome of the baroque art of La Notre: large beyond reason; they pass into infinity; and they illustrate his basic conception that landscape should be greater, more heroic, than the buildings it comprehends.2 Fig 3.5 3.6.

9

The Belvedere, Vienna (c1700-1712)

The Belvedere is designed to commemorate the national hero, Prince Eugene of Savoy. The gardens are enclosed by hedges divided into two parts: the upper garden and the lower garden.

The lower garden is domestic, shady and compartmented whilst the upper garden is more granduer in scale and open. In lower gardens, maple trees are used to form green walls. The gardens follows a bilateral symmetry with a central sight-line and one horizontal sight-line cut perpendicularly throught it. For the upper garden, there are two long side sight-lines.

Fig 3.7 Upper garden

Fig 3.9 Ariel view of The Belvedere

Fig 3.8 Lower garden 10

CHINESE GARDENS

拙政园 The Humble Administrator’s Garden, Suzhou, China Moon gate provides fresh air and passage, as well as interesting frame for view.

The different types of structures on the water are reminiscent of dwellings along the Yangtze River.

Fig4.3 The moon gate links the middle and western parts, enframing a zigzag corridor

Fig4.1 The little corridor

The Humble Administrator’s Garden was built in Zhengde Period (1506-1521), regarded as one of the four finest classcial gardens in China.

The garden made it suitable for a retired minor administrator to reside due to its verdant vegetations. The garden consists of three parts: eastern, middle and western part. The main pond takes up one fifth of the garden’s total area.1 Rockeries and waterbody are considered as the soul of the gardens of Suzhou. The overall effect is that of a natural landscape. Vegetations and architecture are composed in an arrangement of different sceneries: contrast, borrowed and aquatic vistas. The borrowing scenery refers to the intergration of large-scale scenery outside the garden. Thus, links the garden to the exterior and meanwhile gives an extraordinary sense of depth.

In the Humble Administrator’s garden, an epitome for borrowed landscape is the Temple Pagoda from far away.

Apart from this, nearby smaller scale buildings and trees can also be borrowed.

The essential elements to composed a garden are: waterbody, rockeries, architecture, bridges, corridors, paths and furnitures. All elements are connected by path, corridors or bridges.2

Fig4.2 Plan of the garden

The middle part is featured by a large lotus pond resembling a natural lake

The easter part has a stream that winds between banksplanted with peach and willow trees.

1. Feng Chaoxiong, and Fan Yigang, The classical gardens of Suzhou, Beijing: New World Press, 2007, p8 2. Feng and Fan, Suzhou, 2007, pp24-25

12

留园 The Lingering Garden

Suzhou, China

Walls in the garden are designed in many styles: flat, waved-framed, trpezoidal and perforated. In most cases they are visible from other walls, adding a repetitive element to chaotic area of the garden.

Same concept applied to the window designs. There are various kinds of open windows with different parrtens embellishing the walls and dividing as well as linking different landscapes. Also frames interesting views through its artistic pattern.

Fig 4. 6 open window

The peaks of rockery in Lingering Garden are mostly made from single pieces of rocks from Lake Tai. The main peak is offset by subsidiary peaks to add to the overall effect. The sort of construction became popular in Qing dynasty.

If rocks are the bone of the garden, then water is the vein. Suzhou gardens are gardens are centred on ponds, with the meandering streams spanned by small bridges. The bank is mostly decorated with rockery to create the sense of a cove.4 Fig 4.7 A moon gate connecting two yards Fig4.4 The Mingse Building and the Hanbi Mountain Villa at dawn

Lingering Garden was anther example of China’s four finest classical gardens. Built in the reign of Wanli (1573-1620) in the Ming Dynasty, it was considered as one of the finest gardens in Suzhou right after its construction.

The Garden contains three parts: the eastern, western and middle areas. Each ares is dinstinguishing in their own feature but all desmonstrate a highly exquisite design and craftmanship.3

Fig 4.8

Framing of Taihu Rock Fig4.5 Keting Pavilion 3. Feng and Fan, Suzhou, 2007, p8 4. Feng and Fan, Suzhou, p52

1. Feng Chaoxiong, Fan Yigang, The classical gardens of Suzhou, Beijing: New World Press, 2007, p8

13

JAPANESE GARDENS

Tofuku-ji

東福寺,

Kyoto, Japan, 1939

Tofuku-ji is a materpiece by Mirei Shigenori which is regarded as an epitome of contemporary Japanese gardens. The priest came to Shigenori to improve the conditions of the garden in this poor temple. It was before Shigenori came to fame. He decided to work for free due to the promise of freedom with regard to design by the priest and the ideal area around the temple.1 The gardens contains four independent parts with a clockwise circulation around the main building. Zen sect promotes the idea of ‘nothing going waste’, hence, all discarded materials are re-used in the design.

The famous north garden with square stone plates laying in the moss. The pattern fades out towards the east-north direction.

The west garden displays a layout inspired by rice fields made of recycled stone curbs, filled with white sand and shaped azaleas. It gives a contrast in color, texture and more important: three-dimensional variation.

five moss-covered mounds, symbolizing the five Zen sects of Kyoto two of the mounds extends into the sea of sands, and one mound entirely suurounded by the sea

5.3 the north garden

The square stones here are re-used from the former entrance path.

5.1 plan and circulations in the temple 5.4 The west garden

four stone settings representing the island of the immortals the stone settings from east to west symbolizes the islands Hojo, Horai, Eiju and the Koryo islands.2

The expression of minimalism reveals in this design. According to Tschumi, the fading of the grid stones is an unprecedented expression of modern artistic attitude.3 The attemp to created timeless modernism was confirmed by that fact that this formal language (grid pattern) exposed in many later modernists work.

The stones here were previously used for foundation stones of former toilets.

5.5 The east garden

“A garden should have a timeless modernity; what is singularly modern in our time has no real value. A garden that can be admired by anybody at any period in time is what I think of as eternally modern.” -- Mirei Shigenori 1. Tschumi Christian, Mirei Shigemori: Modernizing the Japanese garden, Berkeley: Stone Bridge Press, 2005, p25 2. Tschumi, Mirei, p28 Tschumi, Mirei, p32 Tschumi, Mirei, p32 3. Tschumi, Mirei, p32 5.2 the south garden

15

Matsuo Taisha

松尾大社,

Kyoto, Japan 1975 THE WINDING STREAM 曲水の庭

5.7 The Winding Stream in detail

The garden at Matsuo Taisha, best known for the stone setting is the last design

by Shigenori in 1975. In the attempt to make a place for Shinto gods to come and visit, he traced back to the traditions of Japanese garden design.1

5.6 The Winding Stream

4. Tschumi, Mirei, p107 5. Tschumi, Mirei, p108

Like Tofuku-ji, Matsuo Taisha also contains four independent parts. In this sketchbook, the main focus is the Winding Stream 曲水の庭.

The winding stream enters the garden from southwest and exits in the north. The name winding stream defines the harsh meandering profile of the waterbody. The gravel and stones organic paveings on the bank another characteristic in this garden.

The Karikomi which is azaleas mounded in the shape of turtle, symbolizing the prayer for longevity. Additionally, it also relates to the Mt Matsuo behind.

The roughtness of stone and smoothness of karikomi forms an interesting contrast in the landscape.5 The introduction of water in garden could be traced back to the Heian period (7941185). In Shigenori’s work, he rarely integrated real waterbody in his gardens but replaced with white sand plane as an abstraction. In this Matsuo Taisha, however, there is a winding stream running into the landscape. Moreover, the Karikomi is neither an common element in his design. The combination of these two rare elements made this garden into an unique garden.

16

Bibliography Islamic gardens Newton Norman, Design on the land, Cambridge: Belknap Press, 1971 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975.

Fig 1.1Newton Norman, Design on the land, Cambridge: Belknap Press, 1971. Plate 32 Fig 1.2 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 52 Fig 1.3 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 55 Fig 1.4 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 56 Fig 1.5 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 53 Fig 1.6 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 54 Fig 1.7 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 47 Fig 1.8 site: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcRckbilkvZcsFtHFJrbN6PL2mbMdXE ASBx7SMb1acJYndfXEnfj accessed:1.10.2012 Fig 1.9 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 35

Renaissance gardens Newton Norman, Design on the land, Cambridge: Belknap Press, 1971 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975.

Fig 2.1Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 261 Fig 2.2 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 262 Fig 2.3 site: https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRW0L-K5RmXieSZyn1GGbl9aqwihLpbkJtlZCssLpXLbdnL7z3Bfg accessed: 25.09.2012 Fig 2.4 site: https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcS_tuk7GKLKOUtBJFo9gOqJbwqRf9AzDikk10ow7UBtwWCReafo accessed:1.10.2012 Fig 2.5 site: https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcToJMPval83GZxi6u7Jw4DtQ1QL6 bXfkfD29EAfrFZ5zRdlvsufcg accessed: 25.09.2012 Fig 2.6 site: https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTO8DoPks3f2XgBjbGvoLvZ4vXU5l pqX_6Gc3r6qJgjCsiindrm accessed:1.10.2012 Fig 2.7 site: https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcTfXUJEoK-ajgxSbzPmdXO1s7-yTDCBiSc1cdJvPOhMLKNe-b4p accessed:20.09.2012 Fig 2.8 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 259

Fig 2.9 site: https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcQ6nZFXl1WL_sS8PRWZ2nzOO4eezvVpUOLW521gBgsItyfGaW0fCw accessed: 24.09.1012

Baroque gardens Newton Norman, Design on the land, Cambridge: Belknap Press, 1971 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975.

Fig 3.1site: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcQftNsaLp7GCp6mZiUeQkz erELDP9Vxemub0lpQcP-eu_NhNiwe accessed:1.10.2012 Fig 3.2 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975.

Plate 312 Fig 3.3 site: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcSQMJ-58Mp5uui-kIbmI0uwmZNSUOjZ30HdboFagBkhNoD0rATz-Q accessed:1.10.2012

Fig 3.4 site: https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcTHz1AMpx4Tt7MzKwAk2 dYfhOHlr6f03aw-2tYGwmcQ_H0RoEi5PA accessed:1.10.2012 Fig 3.5 site: https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcSC3F893DxVWHt1Pdck BIsz59dgh4CE6Qsl0xRVPwdc0SCo6NS9ow accessed: 2.10.2012 Fig 3.6 site: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcSKyI9pv1ucuxPTZ1MuakH 3v6Tc87ebCrBBFy4l4B0nWuFK2_I7sw accessed: 2.10.2012 Fig 3.7 site: https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcQH0kWwTdjGAhXrM1fxEy C6hGP9U3SkoLtnKRA5FWKt58Jrj4-_ accessed: 2.10.2012 Fig 3.8 site: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcSu5dde9G9dDJfM6vtbK2z2Jg5ozxbUp9ogKFd37ai5RrR5w2C accessed:2.10.2012 Fig 3.9 Geoffrey and Jellicoe Susan. The Landscape of Man, London: Thames and Hudson. 1975. Plate 349

Chinese gardens Fen Chaoxiong and Fan Yigang, The classical gardens of Suzhou, Beijing: New World Press, 2007 Fig 4.1 site: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcTtvD6_kHF868Xp1cffuhPhaGKQvg3xEItTG9cFPlUtZOluPTkp accessed:1.10.2012 Fig 4.2 site: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcTLQ_7xKygl9f5hn4sk_3az DrvmDCV3WpYDKygwBuetESBd5t2oeg accessed:1.10.2012 Fig 4.3 Fen Chaoxiong and Fan Yigang, The classical gardens of Suzhou, Beijing: New World Press, 2007, p103 Fig 4.4 site: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcQqFECz2wH5hxZKEICDtg H8j5C9DXcLbY9ENs2VCxd5bKdXj8ZY accessed: 1.10.2012 Fig 4.5 site: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcSFVgH0ObLgRJYdidPpX7 ngb1md34SXMjVjt3T7zCi06CArB-QSRA accessed:1.10.2012 Fig 4.6 site: https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcQfOGO-xBD7JlPSGqUAh1hYYFLbAYOgR0Geyl_UKukZytfnNahk accessed:1.10.2012 Fig 4.7 site: https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcS7MZD0F2bBkHIajaAk1R moK99iOkJz_JMfQJ5wGA6qI6H4vX34 accessed:1.10.2012 Fig 4.8 site: https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcQlkC2IjcrjscxY9nVm-3WxwKEDMxhl99A3RuDz1EE4Z3m0OBpb accessed:1.10.2012 Fig 4.9 site: https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcQ9H9s9a5zLYnaxSV3VJd Qh30K-EvcKlNjBqI64HWzaph7X7BRi accessed:1.10.2012

Japanese gardens Tschumi, Christian, Mirei Shigemori: Modernizing the Japanese garden, Berkeley: Stone Bridge Press, 2005 Fig5.1 site: https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcQDct-b74h-DpQfxQX0cR4MTDUMri3T2nQ6gitAFsJw4WS0FJdx5g accessed:10.10.2012 Fig5.2 site: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcRdjKsC-jvfkZUgQx5B9TD_ BosfJRzJ-Nd4rufm7czbDIngdanL accessed:10.10.2012 Fig5.3 site: https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcQAmR4OsFtzAjgy6Pb8ndt 895eS0f0x5n3sd82sOrEcI3Id4dhBBw accessed:10.10.2012 Fig 5.4 Tschumi, Christian, Mirei Shigemori: Modernizing the Japanese garden, Berkeley: Stone Bridge Press, 2005, p28 Fig 5.5 Tschumi, Christian, Mirei Shigemori: Modernizing the Japanese garden, Berkeley: Stone Bridge Press, 2005, p30 II