SKETCHBOOK
ABPL20039 HISTORY OF DESIGNED LANDSCAPE NURUL SYAHIRAH MUHAMAD 779893
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CONTENTS
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Japanese Garden in Muromachi period
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19th Century Australian City Garden
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Development of a Town Square
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Water in Islamic Gardens
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Modern Landscape Design by Thomas Church
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Japanese Garden in Muromachi period
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Rokuon-ji in Kyoto, Japan is built under Shogun Yoshimitsu (1358-1404) from 1397 as his retirement estate.1 He incorporated Chinese art and Zen philosopy in the garden. Rokuonji is a mix of zen garden and tea garden.
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The symbolism in the garden shows that Yoshimitsu tried to demonstrate his power as equivalent to Buddha and his wish to make Japan an utopia.2
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The garden reflected japanese landscape and respect to materials by instilling Yugen; the mood of tranquillity and merging with nature.3 The garden rocks and islands are derived from japanese history, buddism and daoism.4 This shows the secular and plularity of symbolism in japanese religion, which derives from shinto animistic belief.
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ZEN GARDEN5 • For spiritual training or leisure • Users meditate by strolling and boating • Many spots to stop for observing rocks and tree
CIRCULATION
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TEA GARDEN6 • Drinking tea prevent drowsiness from meditation • Purpose is to leave the world and give attention to smallest incident • Small in size and encourage observer to aware with one own movement as they approach tea house. GARDEN TYPE
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Plan N.T.S
Fig. 1: Rokuonji plan from tourist broucher. https://weepingredorger. wordpress.com/2017/08/17/golden-temple-kyoto, 2017
ROCKS AND ISLANDS IN KYOKICHI POND Represent nine mountains and eight seas in buddhist myth.
3 Temple complex, writing hall, Rikushu no Matsu (Ship pine tree) 4 Kyokochi pond
Irikame (Arriving turtle) island
5 Ashihara island 6 Kinkakuji (Golden pavillion)
Tea garden
WATER AND BRIDGES
7 Boathouse
Tsurujima (crane island) and Kamejima (turtle island) symbolized longevity.7
SYMBOLISMS
Ashiharahima, the largest island in the pond represents Japan from historic book Nihongi.8
Water Bridge
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1 Main gate 2 Chinese style gate
Dekame (Leaving turtle) island Zen garden
LEGEND
Goto Seiko, The Japanese Garden: A Gateway to the Human Spirit. (New York: Peter Lang, 2003), 138 Seiko, The Japanese Garden, 141-144. Osamu Mori, Typical Japanese Garden. (Tokyo: Shibata Publishing, 1692), 10.
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George Jellicoe, and Susan Jellicoe, The Landscape of Man. (Thames and Hudson: London, 1987), 84-85. Seiko, The Japanese Garden, 87-90. Seiko, The Japanese Garden, 117-119.
8 Garden inner gate 9 Shinun (small shrine) 10 The galaxy spring gingasen 11 Gankasui (a well) 12 Ryumontaki (Dragon gate fall) 13 Anmintaku pond
Four stones representing boats anchored at night in chinese myth, the Isle of Eternal Life.9 7. 8. 9.
Seiko, The Japanese Garden, 141. Seiko, The Japanese Garden, 141. Seiko, The Japanese Garden, 141.
14 White Snake Mound 15 Tea house 16 Fudodo hall 17 Kinugasa hill
ZEN GARRDEN ELEMENTS & SYMBOLISMS
TEA GARDEN ELEMENTS
STONE LANTERN to light the tea house. This is tachigata type stone lantern, as the focus in this garden. Fig. 6: Tea house and surrounding, N. Muhamad, 2018.
Fig. 2: Kyokichi pond and Kinkakuji, N. Muhamad, 2018.
SHORE PROTECTIONS by stones at the edge of island, illustrating Japan rocky shores.
PLANTS Moss on rocks and pine tree. The Rikushu no Matsu is taken care since Yoshimitsu, hence regarded as a “witness tree”.10
REFLECTIONS and water fluidity contrast to the stone heaviness.
ROCKS Sanzon (three arrangement) to strive for balance. The shape represent amitabha triad (heaven, man, earth).11
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Fig. 3: Rock setting, H. Ohashi, 1980.
Balancing the stone with ground and water level so that the stone appear to have been in garden forever.
OPTIC PLAY Closer island as false perspective to create layers of view scale
WATERFALL Ryumontaki illustrates the difficulty to achive enlightenment. Water falls from a overhanging to create strong spalsh, over stones that symbolise a fish becomes a dragon.
BAMBOO FENCES As the partition for tea garden. Tied in Kinkakuji fence style.
STEPPING STONES to avert one’s eye from the scenery so people give attention while approaching the tea house. Stones are put close to each other so people walk slower.12
TSUKUBAI A water basin for hand washing before the tea ceremony as a ritual of purification. The basin placed low to insist value of humility.13
Cap Roof Lamp house Support Shaft
Pedestal
BORROWED SCENERY Kinusaga hill at the distance to enhance the pavillion feature.
STONE TOWER The White Snake Mound, derived from seven level stupa, placed in middle of Anmintaku pond as a symbol for the guardian deity of the area.
Fig. 4: Stone tower, N. Muhamad, 2018
STONE CHAIR for the guest to wait
Dragon Fish
Fig. 5: Ryumontaki, N. Muhamad, 2018.
10. P. Richard and T. Ohkubo, “Ancient and Notable Trees of Japan: Then and Now.” Arnoldia 65 (2008): 10-12. 11. Seiko, The Japanese Garden, 90.
VIEW FROM TEA HOUSE Hidden by large planting in foreground. This garden use pine tree to remind the shogun of his place to grow up.
12. K. Seike et al, A Japanese Touch for Your Garden. (Tokyo: Kodansha International, 1980), 30. 13. Seike, A Japanese Touch for Your Garden, 35.
Fig. 7: Views towards Kinkakuji from tea house. N. Muhamad, 2018.
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BIBLIOGRAPHY
Goto, S. The Japanese Garden: A Gateway to the Human Spirit. New York: Peter Lang Publishing, 2003. Jellicoe, G. and Jellicoe, S. The Landscape of Man. Thames and Hudson: London, 1987. Mori, Osamu. Typical Japanese Garden. Tokyo: Shibata Publishing, 1692. Richard, P. and Ohkubo T. “Ancient and Notable Trees of Japan: Then and Now.” Arnoldia. 65(3):10-21, 2008. Seike, K., M. Kudo, D. Engel, and H. Ohashi. A Japanese Touch for Your Garden. Tokyo: Kodansha International, 1980.
LIST OF FIGURES
Fig. 1: ‘Rokuonji plan.’ “Golden Temple Kyoto” A travel blog, August 17, 2017, https:// weepingredorger.wordpress.com/2017/08/17/golden-temple-kyoto/ Fig. 2: ‘Kyokichi pond and Kinkakuji.’ Muhamad, Nurul. Jan 2018. Fig. 3: ‘Rock setting.’ in A Japanese Touch for Your Garden. Seike, K., M. Kudo, D. Engel, and H. Ohashi. (Tokyo: Kodansha International, 1980), 26. Fig. 4: ‘Stone tower.’ Muhamad, Nurul. Jan 2018. Fig. 5: ‘Ryumontaki.’ Muhamad, Nurul. Jan 2018. Fig. 6: ‘Tea house and surrounding.’ Muhamad, Nurul. Jan 2018. Fig. 7: ‘Views towards Kinkakuji from tea house.’ Muhamad, Nurul. Jan 2018.
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19th Century Australian City Garden
Rippon Lea Estate in Elsternwick, Melbourne was owned by Frederick Sargood (1834-1903), a politician and merchant. The estate was one of city mansions built in 19th century as Melbourne experience gold rush, subdivision of lands, increase interest in horticulture and arrivals of European gardeners.1 This leads to the transformation of rugged Australian land into orderly lawns and plantings. In 1868, the garden of Rippon Lea was designed by Sargood himself in gardenesque mode,2 with William Guilfoyle as consultant.3 Later in 1882, William Sangster (1831-1910), with influence and gardening skills from Scotland, introduced picturesque style, as demanded by Sargood after he visited England.4 Hence, the alteration of this city garden shows how a city garden mature along with the status, need and interest of the owner.
GARDENESQUE 5 • Introduced by John Loudon in Gardeners’ Magazine (1832) which described garden as a work of art. • The emphasis of individuality of plants • The art of pruning and thinning • Intellectual and botanical activities PICTURESQUE 6 • Highly influence in England in the 18th century along with Romanticism movement • Aiming for naturalistic textures and irregular aesthetic • Invoke one’s imagination and memory with garden fabriques • Adapt the principles in painting composition
Trees grouped in clusters
Fig. 1: Loudon sketch on the difference of picturesque and gardenesque, P. Watts and M. Barret, p26.
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Pleasure gardens
Kitchen gardens
1 Entry and rockery
8 Circular flower beds
2 Lawn
9 Orange orchard
3 Covered walk
10 Vegetable beds
4 Fernery
11 Lane with box hedges
5 Conservatory
12 Windmill
Lake 13 Summer pavillion Stable Archery ground
6 Rosary garden 7 Violet bank
Peter Watts, and Margaret Barrett. Historic Gardens of Victoria: A Reconnaissance. (Melbourne: Oxford University Press, 1983), 26. John Patrick, Gardens of Victoria. (Sydney: Australian Broadcasting Corporation, 1987), 60.
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Fig. 3: Current Rippon Lea plan maintained most of Sangster renovation. https://www. ripponleaestate. com.au/, 2018.
Fig. 2: Bubble diagram of original Rippon Lea. N. Muhamad, 2018.
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Thinning (spacing) of trees
12 1 Elements maintained 1 Main gate 2 Main house 3 Tenis court, tenis pavillion
Gardenesque elements changed or moved
Additional Picturesque elements
8 Kitchen garden
10 Drive road, oak tree
9 Orchid conservatory
11 Main lawn 12 Statue
4 Summer pavillion
13 Rotunda
5 Fernery
14 Boathouse
6 Orchard
15 Grotto and waterfall
7 Windmill
16 Mount, lookout tower
Watts and Barrett, Historic Gardens of Victoria, 44. Watts and Barrett, Historic Gardens of Victoria, 193. Richard Aitken, and Michael Looker. The Oxford Companion to Australian Gardens. (South
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Melbourne: Oxford University Press, 2002), 248-250. George Jellicoe, and Susan Jellicoe, The Landscape of Man. (Thames and Hudson: London, 1987), 232-432.
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PICTURESQUE GARDEN SUGGESTED PATH
FRAMED VIEWS
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Serpentine paths instilled suspense in the people walking as the view is blocked by large oak trees (Fig. 4).
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The view consists of depth with lake, foreground; the mount and grotto, middle-ground and trees, background (Fig. 5). Getting glimpse of the mount and tower from afar invites people to a destination. This gives incentive for people to explore. The lookout tower gives an impression of owner as lord, surveying the land.7
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Fig. 4: Main driveway. https://www.ripponleaestate.com.au/, 2018.
Fig. 5: View from across the lake towards the mount. Charlie, 2014.
Mount is made from excess earth from excavation of lake.
Eucalyptus Tree, acknowledging local trees.
Waterfall is made to imitate the sublime of wild nature, perhaps to invoke memories of past travels. Grotto is made to add one’s curiosity to the unknown and hidden (Fig. 6).
Flowery tree add colours as season change.
Boathouse and rotunda allows the user to stop, sit and do reflections.
Iron bridge in guise of timber and rustic garden buildings to give feeling of age. Variety of plants add the richness of material and texture into the garden (Fig. 6).
Lake as water tank for irrigation used throughout garden. Fig. 6: Grotto and waterfall. Charlie, 2014, http://charliedelta67.blogspot.com/
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John Patrick, Gardens of Victoria, 61. Aitken and Looker, The Oxford Companion to Australian Gardens, 509.
Fig. 7: View from bridge towards the boathouse. Charlie, 2014.
Dragon tree, appears to be from prehistoric landscape.
COMPARISION OF BEFORE AND AFTER SANGSTER RENOVATION MAIN LAWN BEFORE Lawn layout restricted to symmetrical geometric shape. Flower beds have defined borders to create a sense of order, neat and proper. Decorative urns is placed at intersection or end of axis as focal point.
GARDENESQUE ELEMENTS MAINTAINED
Main house (Southwest facade)
Fig. 8: Diagram of the original main lawn (extracted from multiple photographs), N. Muhamad, 2018.
Fig. 9: Sargood family photograph in main lawn beside the fountain urn, Libraries Australia, 1875. https:// trove.nla.gov.au/version/182675521
MAIN LAWN AFTER Open sweeping lawn allows for larger gathering of people.8 This suits the need for event functions as Sargood advances his career. The statue of the Fisher Lady at the end of lawn gives suggestions to the guests to explore the estate.
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Fig. 14: Inside the fernery, M Mohell, n.a.
Box hedge around the tenis pavilion shows the traces of pruning trees in gardenesque mode. `
Octagonal pavillion made of timber
Fig. 15: Tenis pavillion looking to present main lawn, K. Carole. 2013. https://www.weekendnotes.com/ Fig. 10: Main lawn and the sea from the main bedroom facing southwest, Sargood Gardiner Ltd, 1903. http://hdl.handle. net/11343/71475
CONSERVATORY RELOCATION The conservatory consists of orchid collections is moved as indoor garden, attached to the drawing room.9 The relocation might because it is easier to maintain optimum temperature for the orchids.
Iron frame with timber lathes
Various types of ferns shaded under the fernery, made in 1874, is an example of botanical interest in particular plant species.
Fig. 11: Fisher Lady statue. M. Mohell, n.a. http://www. environment.gov.au/cgibin/gepl
old new
fernery
main house
Fig. 12 : Orchid flower. P. Watts and M. Barret, 1983.
Watts and Barrett, Historic Gardens of Victoria, 47. Watts and Barrett, Historic Gardens of Victoria, 31.
Fig. 13: The conservatory location moved near to the house as indoor garden. N. Muhamad, 2018.
GARDENESQUE ELEMENTS REMOVED The kitchen garden and orchard are to supply food in times of economic uncertainty.10 Most elements were removed and become smaller probably because the economic situation become more stable.
Circular garden beds with brick pavements
The arches and espaliered of vines create covered walkways in garden.
Fig. 16: The rosary from tenis court, Libraries Australia, 1880 https://trove.nla.gov.au/version/182660949
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BIBLIOGRAPHY Aitken, Richard and Looker, Michael. The Oxford Companion to Australian Gardens. South Melbourne: Oxford University Press, 2002. Jellicoe, G. and Jellicoe, S. The Landscape of Man. London: Thames and Hudson, 1987. Patrick, John. Gardens of Victoria: The Guidebook to Victoria’s Gardens Scheme. Sydney: Australian Broadcasting Corporation, 1987. Watts, Peter and Margaret Barrett. Historic Gardens of Victoria: A Reconnaissance from a Report of the National Trust of Australia (Victoria). Melbourne: Oxford University Press. 1983. LIST OF FIGURES Fig. 1: ‘Loudon sketch on the difference of picturesque and gardenesque,’ in Historic Gardens of Victoria: A Reconnaissance. Watts, P. and M. Barret. (Melbourne: Oxford University Press, 1983), 26. Fig. 2: ‘Bubble diagram of original Rippon Lea.’ Muhamad, Nurul. Sept 2018.
Fig. 13: ‘The conservatory location moved near to the house as indoor garden.’ Muhamad, Nurul. Sept 2018.
Fig. 3: ‘Current Rippon Lea plan maintained most of Sangster renovation.’ Image. 2018. https:// www.ripponleaestate.com.au/,
Fig. 14: ‘Inside the fernery,’ Mohell, Mark. Photograph. n.a. http://www.environment.gov.au/ cgi-bin/heritage/photodb/imagesearch.pl?proc=detail;barcode_no=dig000989
Fig. 4: ‘Main driveway.’ Photograph. 2018. https://www.ripponleaestate.com.au/
Fig. 15: ‘Tenis pavillion looking to present main lawn,’ Article. K. Carole. Photograph. 2013. https://www.weekendnotes.com/miss-fishers-murder-mysteries-costume-exhibition-ripponlea-house-gardens/
Fig. 5: ‘Grotto and waterfall.’ Travel blog. Photograph. 2014. http://charliedelta67.blogspot. com/2014/03/ripponlea-estate-gardens.html Fig. 7: ‘View from bridge towards the boathouse.’ Travel blog. 2014. Photograph. http:// charliedelta67.blogspot.com/2014/03/ripponlea-estate-gardens.html Fig. 8: ‘Diagram of the original main lawn (extracted from multiple photographs),’ Muhamad, Nurul. Sept 2018. Fig. 9: ‘Sargood family photograph in main lawn beside the fountain urn, 1875,’ Libraries Australia, Photograph: albumen silver, 1875. https://trove.nla.gov.au/version/18267552, Fig. 10: ‘Main lawn and the sea from the main bedroom facing southwest.’ Sargood Gardiner Ltd. 1903. Photograph: gelatin silver print. http://hdl.handle.net/11343/71475 Fig. 11: ‘Statue at the end of main lawn.’ Mohell, Mark, Photograph. n.a. http://www. environment.gov.au/cgi-bin/heritage/photodb/imagesearch.pl?proc=detail;barcode_ no=dig001007
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Fig. 12 : ‘Orchid flower.’ in Historic Gardens of Victoria: A Reconnaissance. Watts, P. and M. Barret. (Melbourne: Oxford University Press, 1983), 181.
Fig. 16: ‘The rosary from tenis court, 1880,’ Libraries Australia. Photograph: albumen silver, 1880. https://trove.nla.gov.au/version/182660949
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Development of a Town Square walled city
A square is a gathering place, an outdoor room. The difference of square and park is square thrives from civic activities while park to be in nature. Uses of a square are,1 • • • •
Trading Information exchange Recreation Celebration
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trade path
Protection during danger Training Religious ritual Traffic town square
The square form are determined by one or combinations of the following: • Enclosed space • Dominating structure • Focal point
Fig. 1: Widening of trade path creates the town square. J. French, 1983.
• Hierarchy • Entrances • Movements
town hall
well
The Greek agora is the earliest example of urban square in western civilization. The amorphous layout is caused by organic approach and topographical response of a polis.2 The agora is a place for political, religious or commercial hub according to the importance of structures built around it,3 as seen in Assoss, Turkey.
stoa gate
agora
temple
stoa
The organic shape in early square is influenced by the technological condition.4 People settle and gather at water source. Middle age squares such as Piazza della Cisterna, Italy and Max-Josefs-Platz, Germany; have a well at the centre. Later, when a square is purposely design, fountains are built as the focal point,5 which indicate the change of water source as basic need to decorative element.
church
city bath
gate (a) plan
Fig. 2: The Greek agora of Assos in Turkey. Zucker, 1959.
Additionally, the longitudinal shape of the square illustrates the widening process of the main street.6 In renaissance period, the authority attempts to regularize public space,7 as showed by arcades built based on the idea of stoa. Consequently, baroque movement with strict geometric design, illustrates the desire for unity and order.8
well
Arcades on ground floor act as buffer between indoor and outdoor
(b) section
Fig. 4: Max-Josefs-Platz, Rosenheim, Germany. Wolfrum, 2015.
Fig. 3: Piazza della Cisterna, San Gimignano, Italy, Zucker, 1959.
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Jere Stuart French, Urban Space: A Brief History of the City Square. (Dubuque, Iowa: Kendall/Hunt Pub. Co., 1983), 11. French, Urban Space, 51. Maria Feraboli, City Squares of the World. (Vercelli, Italy: White Star, 2007), 14.
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Paul Zucker, Town and Square from the Agora to the Village Green. (New York: Columbia University Press, 1959), 17. Zucker, Town and Square, 91.
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French, Urban Space, 11. French, Urban Space, 110. Zucker, Town and Square, 110.
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This square was designed to control physical movement.
Brick and stone pavements added in 1327, to overcome muddiness
SYMBOL OF AUTHORITY The square aesthetic also responses to the socioeconomic and political situation.9 The Italian squares such as Piazza del Campo, Siena changes from a market to civic square as the governing power built a town hall, adding a hierarchy to a monotonous uniform façade. The growth of the square reflects the growing democracy in the society,10 contrasting with the totalitarian axial principles in Roman Forum or Baroque squares, such as the Piazza Del Popolo, Rome.
Park
Moreover, squares are synonymous as a place for revolts, resistance and place of power.11 Examples are Piazza Della Signoria, Florence was used as ‘bonfire of the vanities’ by the authorities,12 Place Des Vasges (1605) in Paris, commissioned by Henry IV was the meeting place for the nobilities,13 and the Red Square, Moscow is the site for public proclamations since it was established. Statues are added by authorities as an expression of their ideology. For instance Piazza Della Signoria is adorned with multitude of statues sculptured from myths, legends and biblical account. The statue of David by Michelangelo shows the symbol of victory of democracy over tyranny.14
River
Axis (a) plan
Hierarchy and slope gives theatrical and focalising effect
(b) section
Fig. 5: Piazza del Campo, Siena, Italy. DWolfrum, 2015.
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Zucker, Town and Square, 17. Zucker, Town and Square, 31. Sophie Wolfrum, Squares: Urban Spaces in Europe. (Basel: Birkhäuser, 2015), 17.
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Feraboli, City Squares of the World, 24. Feraboli, City Squares of the World, 15. Feraboli, City Squares of the World, 25.
(a) plan
Two churches; gate
Obselisk; focal point
(b) section
Fig. 6: Piazza Del Popolo, Rome, Italy. Wolfrum, 2015.
Gate
Piazza del Duomo (cathedral square) up north. The seperation of religious and political square indicates secularism. Statue of Henry IV Residential terrace house on upper floor, arcades serves as cafes and shops.
Fountain
Originally earth, later paved and trees planted.
Town hall
Fig 9. River
(a) plan
Statues
Fig. 8: The Piazza della Signoria in Florence (view from west), oil painting by B. Bellotto (1740), Webb, 1990.
Fig. 10: Place des Vasges, Paris. Feraboli, 2007. Temporary Markets Cathedral
Interpretation of David pose before his battle with Goliath.
(b) section
Fig. 7: Piazza Della Signoria, Florence, Italy. Wolfrum, 2015.
Fig. 9: Marble statue of the Biblical David by Michelangelo (1504). Image. Wikipedia, 2008. https://en.wikipedia.org/wiki/Replicas_of_ Michelangelo%27s_David
Fig. 11: Festivities on Red Square, Moscow - an old photo, Image. Moscovery, 2018. https://www.moscovery.com/red-square-and-its-history/
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BIBLIOGRAPHY Feraboli, Maria Teresa. City Squares of the World. Vercelli, Italy: White Star, 2007. French, Jere Stuart. Urban Space: A Brief History of the City Square. Dubuque, Iowa: Kendall/ Hunt Pub. Co., 1983. Wolfrum, Sophie. Squares: Urban Spaces in Europe. Basel: Birkhäuser, 2015. Zucker, Paul. Town and Square from the Agora to the Village Green. New York, Columbia University Press, 1959. LIST OF FIGURES Fig. 1: ‘Widening of trade path creates the town square.’ in Urban Space: A Brief History of the City Square. French, J. S. (Dubuque, Iowa: Kendall/Hunt Pub. Co., 1983), 11. Fig. 2: ‘The Greek agora of Assos in Turkey.’ in Town and Square from the Agora to the Village Green. Zucker, P. (New York, Columbia University Press, 1959), 39. Fig. 3: ‘Piazza della Cisterna, San Gimignano, Italy,’ in The City Square: A Historical Evolution. Webb, M. (New York: Whitney Library of Design, 1990), 39. Fig. 4: ‘Max-Josefs-Platz, Rosenheim, Germany.’ in Squares: Urban Spaces in Europe. Wolfrum, S. (Basel: Birkhäuser, 2015), 228. Fig. 5: ‘Piazza del Campo, Siena, Italy.’ in Squares: Urban Spaces in Europe. Wolfrum, S. (Basel: Birkhäuser, 2015), 240. Fig. 6: ‘Piazza Del Popolo, Rome, Italy.’ in Squares: Urban Spaces in Europe. Wolfrum, S. (Basel: Birkhäuser, 2015), 212. Fig. 7: ‘Piazza Della Signoria, Florence, Italy.’ in Squares: Urban Spaces in Europe. Wolfrum, S. (Basel: Birkhäuser, 2015), 91. Fig. 8: ‘The Piazza della Signoria in Florence, oil painting by B. Bellotto, 1740.’ in The City Square: A Historical Evolution. Webb, M. (New York: Whitney Library of Design, 1990), 71. Fig. 9: ‘Marble statue of the Biblical David by Michelangelo (1504).’ Wikipedia. Image. 2008. https://commons.wikimedia.org/wiki/File:Italy.Florence.David-in-the-Piazza-dellaSignoria.236.400.jpeg Fig. 10: ‘Place des Vasges, Paris.’ in The City Square: A Historical Evolution. Webb, M. (New York: Whitney Library of Design, 1990), 84. Fig. 11: ‘Festivities on Red Square - an old photo.’ Moscovery. Image. 2018. https://www. moscovery.com/red-square-and-its-history/
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Water in Islamic Gardens
Baroque fountains for ablution.
Patio de los Naranjos Cordoba, Spain (786 – 988)
Islamic gardens shows common traits across countries because of the common source of Islamic philosophy; alQuran and Sunnah. The elements in garden design parallel with islamic ideology ‘spirit of place’ by creating appropriate response to local climate, geography and culture.1
Layout influenced by the irrigation technology,8 and possibly European monastery cloister. The abundance of water is supplied from mountains using lead piping.9 The courtyard provide contrast environment to the bustle of city, help people to do iktikaf.
Hence, one can found variety of formal spatial composition in Islamic garden, which integrate with the contemporary architecture style and its social context. For example, gardens build in regions under various Caliphate dynasty (7th-16th century) and Mughal Empire (16th-19th century) are influenced by Persian gardens,2 Meanwhile contemporary Islamic gardens are influenced by architectural movements. Examples given will not only reflects the idea of eternal life in Islam but also the personal gestures, display of status and socio-political agenda,3 which differ in place and time.
Prayer space beyond
ISLAMIC GARDEN KEY CHARACTERISTICS 4,5 • • • •
Water canal/fountain
Fig. 1: Plan of Patio de los Naranjos in The Great Mosque of Cordoba, Spain. Ogrin, 1993.
Symbolism of water and plants Irrigation plays an important role in garden layout Responding to site context and programs Geometric shapes and axiality
Most trees are orange trees and few number of palm and cypresses tree.
WATER IN ISLAM Water is the reoccurring themes in Islamic gardens. Water is perceived as the source of life and prominent in Islamic texts on celestial garden.6 The presence of water is a tool for iktikaf; an act of displacing physical self into new environment to recharge self-spirit through community involvement.7
Pebbles and brick pavements.
Therefore multitude water features are placed in both public and private gathering spaces. Water is used for psychological pleasure (i.e. aesthetic and acoustic) or pragmatic (i.e. irrigations and rituals).
Circular pit and regular spacing due for economical use of water. Char-bagh shape. Fountain as the source of rivers indicate water as origin. Fig. 2: Fountain, canals and tree arrangement, Vie Marta Garcí, 2010, https://eldiwan2010.blogspot.com/2011/08/7-dias-en-sevilla-cordoba-y-granada-3.html
1. 2.
Mohamad Tajuddin Mohamad Rasdi. Rethinking Islamic Architecture. (Petaling Jaya: Strategic Information and Research Development Centre, 2010). 34. George Jellicoe, and Susan Jellicoe, The Landscape of Man. (Thames and Hudson: London, 1987), 33.
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Mohamad Tajuddin, Rethinking Islamic Architecture, 41. Jellicoe and Jellicoe, The Landscape of Man, 22. D. Ogrin, The World Heritage of Gardens. (London: Thames and Hudson, 1993), 20.
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J. P. Campbell and A. Boyington, “Fountains and Water: The Development of the Hydraulic Technology of Display in Islamic Gardens 700-1700 CE.” Studies in the History of Gardens and Designed Landscapes 38 (2010): 247.
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Shalimar Bagh Kashmir, India (1620)
Masjid Negara Kuala Lumpur, Malaysia (1965)
Museum of Islamic Art Doha, Qatar (2008)
A Mughal garden built by Emperor Jahangir for his wife and continued by Shah Jahan. The layout is adapted from chahar-bagh, symbolising rivers of paradise.10 Garden is levelled to sloping site by creating a terraced water canal.11 Chini kanas (niches) near pavillion for illuminations, light shimmering in water illustrates paradisiacal experience.12
The mosque was commissioned by the government, funded by the citizens and designed by Howard Ashley, Baharuddin Kassim and Hisham Albakri. Garden as integral part of the mosque and spatial arrangement resulted from modern abstraction of landscape of domestic Malay architecture.13
The design is in postmodernism as there is element of the char-bagh and terrace fountains. Architecture and landscape integral. The sea as substitute for a reflecting pool.
Pavillion; chini kanas inside and around
Muadzin tower, call for prayer
Char-bagh garden
Sea makes the architecture is floating,
Internal prayer space
Bridge
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Waterfall/terrace
Stone stair
External prayer space
Horizontal jet. Creates acoustic effect
Vertical jet (low presssure)
Octogonal fountain. Geometric shape is prevalent in islamic design, as interpretation of islamic philosophy of natural creation.
Parasol columns in verandah symbolic of coconut trees
Terraces
Fig. 3: Natch House, Shalimar gardens, Srinagar. Bourne, S. Photograph.1860s. British Library online gallery, http://www.bl.uk/onlinegallery/onlineex/apac/ photocoll/n/019pho000000394u00019000.html
Fig. 4: The pool in between the prayer spaces. Islamic Tourism Centre of Malaysia. 2018. http://www.itc.gov.my/mosque/masjid-negaranational-mosque/
Fig. 5: Ariel view of Museum of Islamic Art Doha. Marhaba tourist website, 2018. http://www.marhaba.qa/wp-content/ uploads/2018/04/Museum-of-Islamic-Art-aeria-view-MIA-.jpg
7. 8.
9.
11. 12. 13.
Mohamad Tajuddin, Rethinking Islamic Architecture, 110. Ogrin, World Heritage of Gardens, 258.
Fairchild Ruggles, Islamic Gardens and Landscapes. (Philadelphia: University of Pennsylvania Press, 2008), 91. 10. Ogrin, World Heritage of Gardens, 238.
Jellicoe and Jellicoe, The Landscape of Man, 53. Campbell and A. Boyington, “Fountains and Water,� 256. Mohamad Tajuddin, Rethinking Islamic Architecture, 70
Plantains as backdrop.
Hill beyond
More structures and plants near water, shows water as source of life.
Ladies garden Originally orchards. Observation through photos shows that large older trees might be from original design. At present, most of planting consists of flower beds.
Emperor garden
Internal and surrounding pools as passive design strategy to keep the area cool.
Prayer space
Road Individual fountains
Individual fountains
Palm trees planted ouside as if imitating Patio de los Naranjos.
Library Road
Main fountain, the external spatial qualities has similarity to urban square principles.
Public garden for official reception.
The water flow fed by gravity towards Dal Lake (originally can be access by boat).
Water canal/fountain Pool/fountain Fig. 6: Plan of Shalimar Bagh in Kashmir, Ogrin, 1993.
Fig. 7: Plan of Masjid Negara, Kuala Lumpur. ATSA Architects, 2015 https://www.nst.com.my/news/2015/10/umbrella-faith
Towards Dal Lake
Coconut (palm) trees
Verandah Water pot to wash hand and feet before entering house
Pavillion isolated in water
Axis formed the char-bagh shape
Trees and orchards concentration.
Water source: well, river, pond. Fruit trees and plants for kitchen use planted around the house. Usually shared among neighbours.
Fig. 8: Landscape elements of a vernacular Malay architecture. Lim, Jee Yuan. 1987.
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BIBLIOGRAPHY Campbell, J. P., and Boyington, A. “Fountains and Water: The Development of the Hydraulic Technology of Display in Islamic Gardens 700-1700 CE.” Studies in the History of Gardens and Designed Landscapes 38 (2010): 247-267. doi:10.1080/14601176.2018.1452827 Jellicoe, G. and Jellicoe, S. The Landscape of Man. London: Thames and Hudson, 1987. Mohamad Tajuddin Mohamad Rasdi. Rethinking Islamic Architecture. Petaling Jaya: Strategic Information and Research Development Centre, 2010. Ogrin, D. The World Heritage of Gardens. London: Thames and Hudson, 1993. Ruggles, D. F., Islamic Gardens and Landscapes. Philadelphia: University of Pennsylvania Press, 2008. LIST OF FIGURES Fig. 1: ‘Plan of Patio de los Naranjos in The Great Mosque of Cordoba, Spain.’ in The World Heritage of Gardens. Ogrin, D. (London: Thames and Hudson, 1993), 258. Fig. 2: ‘Fountain, canals and tree arrangement.’ Blog, Vie Marta Garcí. Photograph. 2010. https://eldiwan2010.blogspot.com/2011/08/7-dias-en-sevilla-cordoba-y-granada-3.html Fig. 3: ‘Natch House, Shalimar gardens, Srinagar.’ British Library Online Gallery. Bourne, Samuel. Photograph.1860s. http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/ n/019pho000000394u00019000.html Fig. 4: ‘The pool in between the prayer spaces.’ Website. Islamic Tourism Centre of Malaysia. Photograph. 2018. http://www.itc.gov.my/mosque/masjid-negara-national-mosque/ Fig. 5: ‘Ariel view of Museum of Islamic Art Doha.’ Website. Marhaba. Photograph. 2018. http:// www.marhaba.qa/wp-content/uploads/2018/04/Museum-of-Islamic-Art-aeria-view-MIA-.jpg Fig. 6: ‘Plan of Shalimar Bagh in Kashmir.’ in The World Heritage of Gardens. Ogrin, D. (London: Thames and Hudson, 1993), 242. Fig. 7: ‘Plan of Masjid Negara, Kuala Lumpur.’ Online newspaper article. ATSA Architects. Image. 2015. https://www.nst.com.my/news/2015/10/umbrella-faith Fig. 8: ‘Landscape elements of a vernacular Malay architecture.’ in The Malay House: Rediscovering Malaysia’s Indigenous Shelter System. Lim, Jee Yuan. (Pulau Pinang, Malaysia: Institut Masyarakat, 1987), 30.
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5
Modern Landscape Design by Thomas Church
The society condition changes for the better after the World War. There was growth of wealth, appreciation of housing, and increasing consumer culture. Consequently, profession of landscape architecture also respond to the modernisation in the society. AXIOMS OF MODERN LANDSCAPE ARCHITECTURE 1. Deny historical reference. Concern with rational approach to conditions by society, site and program.1 This is because of the client look for individuality and trying to keep up with the popular culture. 2. Interest in space rather than pattern. This is due to influence from contemporary architecture in 20th century, the international style.2 3. Landscapes are for the people as suggested by Eckbo in 1937. The democratic belief after the destruction made by war leads to the notion that people is what matters.3 4. Removal of axis and standardisation. The influence from art movements; Cubist painting and surrealism provide vocabulary such as free form, amoeba, kidney shape and zigzag.4
Fig. 1: Cubist painting, ‘Rhythm of a Russian Dance’ by Theo van Doesburg, 1918. Treib, M. 1993.
5. Plants are used for their individual qualities as botanical entities and sculpture. The horticultural idea from gardenesque; arts and craft continues into the modern language.5 6. Integration of house and garden, not ‘house-and-thena-garden’. Landscape architect designed garden spaces based on spatial composition of the architecture.6
THOMAS CHURCH, A MODERNIST LANDSCAPE ARCHITECT Thomas Church (1902-1978) designed in a modernist idioms mostly in smaller scale projects. His book Gardens are for People (1955), stressed on pragmatic approach to design, without neglating the aesthetic and comfort.7 He percieved gardens as informal outdoor living rooms rather than horticultural intentions.8
1. 2. 3.
Treib, M. “Axioms for a Modern Landscape architecture,” in Modern Landscape Architecture: A Critical Review, edited by Marc Treib (Cambridge, Mass.: MIT Press, 1993), 51. Treib, “Axioms for Modern Landscape Architecture,” 52. Treib, “Axioms for Modern Landscape Architecture,” 55.
Fig. 2: Surrealist painting by Joan Miro, 1933. Treib, M. 1993.
4. 5. 6.
Treib, “Axioms for Modern Landscape Architecture,” 58. Treib, “Axioms for Modern Landscape Architecture,” 59. Treib, “Axioms for Modern Landscape Architecture,” 61.
Fig. 3: Plan of Martin Residence, Aptos, California, 1947. Church, Thomas. 1995.
7. 8.
Treib, M. Thomas Church, Landscape Artist: Designing a Modern California Landscape. (San Francisco: William Stout, 2003), 254. Micheal Laurie, “Thomas Church, California Gardens, and Public Landscapes,” in Modern Landscape Architecture: A Critical Review, edited by Marc Treib (Cambridge, Mass.: MIT Press, 1993), 167.
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PRINCIPLES OF CHURCH GARDENS 9 1. Manners ranged from avant-grade to conservative. 2. Human activity as core of the garden. 3. Admission of utilities. 4. Reliance on evergreen vegetation. 5. Reduce maintenance requirements. 6. Clearly defined path and entrance. 7. Strong connections between interior and exterior. 8. Highly designed zone near structure. 9. Accommodation for all members of family. 10. Pool is set away from house as integral feature of garden.
Martin Residence Aptos Beach California (1947-8) A garden on the beach, with views of Monterey Bay and central sand area used when beach to crowded or too windy.10
Biomorphic lines in harmony with the wave, and zigzag as to contrast with the curves. In other situation the sand bed can be a lawn or pool. Plantings Biomorphic shapes
Integration of house and garden with redwood decking as the connector, allowing physical movement in and out.
In - out Decks
Sight line and views. Privacy of the residence is achieved by careful planting position.
Plantings to block view Fig. 4: View from bedroom in Martin Residence towards the garden and sea, 1948. Church, Thomas. 1995.
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9. 10.
Treib, M. Thomas Church, Landscape Artist, 134-135. Thomas Church, Gardens are for People, 202.
Sight line Blocked sight line
BIBLIOGRAPHY Church, T. D., Hall, G., and Laurie, M. Gardens are for People. Berkeley, CA: University of California Press, 1995. Laurie, M. “Thomas Church, California Gardens and Public Landscapes,” in Modern Landscape Architecture: A Critical Review , edited by Marc Treib, 45-63. Cambridge, Mass.: MIT Press, 1993. Treib, M. Thomas Church, Landscape Artist: Designing a Modern California Landscape. San Francisco: William Stout, 2003. Treib, M. “Axioms for a Modern Landscape architecture,” in Modern Landscape Architecture: A Critical Review, edited by Marc Treib, 45-63. Cambridge, Mass.: MIT Press, 1993. LIST OF FIGURES Fig. 1: ‘Cubist painting, ‘Rhythm of a Russian Dance’ by Theo van Doesburg, 1918.’ in Modern Landscape Architecture: A Critical Review. Marc Treib. (Cambridge, Mass.: MIT Press, 1993), 43. Fig. 2: ‘Surrealist painting by Joan Miro, 1933.’ in Modern Landscape Architecture: A Critical Review. Marc Treib. (Cambridge, Mass.: MIT Press, 1993), 50. Fig. 3: ‘Plan of Martin Residence, Aptos, California, 1947.’ in Gardens are for People. Church, T. D., Hall, G., and Laurie, M. (Berkeley, CA: University of California Press, 1995), 202. Fig. 4: ‘View from bedroom in Martin Residence towards the garden and sea, 1948.’ in Gardens are for People. Church, T. D., Hall, G., and Laurie, M. (Berkeley, CA: University of California Press, 1995), 202.
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