1
CONTENTS
1 2
2
3
4
5
CHAPTER 1
PALEIS HET LOO
4
1693 CHAPTER 2
LION GROVE GARDEN
6
1342 CHAPTER 3
GINKAKU-JI
8
1482 CHAPTER 4
BURNETT PARK
10
1983 CHAPTER 5
CRANBOURNE BOTANIC GARDEN ENDNOTES 12 LIST OF FIGURES
12
2012
14
BIBLIOGRAPHY 16
3
CHAPTER 1
PALEIS HET LOO Gelderland, Netherlands, 1693
Designed by Jacob Roman and French & Huguenot Daniel Marot
1684
Prince William purchased Het Oude Loo
1693
Garden construction finished
Abandoned
4
1807
English styles makeover under Louis Napoleon
1975
Restoration to its formal 17th century garden
Figure 1: Highly symmetrical and formal layout of Paleis Het Loo.
Paleis Het Loo is a royal garden in Apeldoorn, Netherlands originally owned by Prince William of Orange and his wife Mary between 1686 and 1695. The medieval castle of Het Oude Loo bought by William in 1684 as hunting lodge was transformed into a Renaissance and French baroque garden with Dutch styles by Dutch architect Jacob Roman and French garden designer Huguenot Daniel Marot.1 Since its completion in 1693, the garden gained significant international reputation for its formal symmetrical and rectilinear compositions, high level of detailed ornaments, sculptures (Fig.4) and water fountains which is typical of Renaissance gardens.2 Divided into Lower and Upper gardens, the garden is famous for its eight symmetrical topiary parterres immaculately arranged into interestingly intricate patterns using plants such as clipped box, juniper, and hornbeam, etc (Fig.2).3
Figure 2: Topiary parterres details in Lower Garden.
Figure 3: Relaxing terraced walking between gardens. These parterres are balanced and enhanced by the central fountains Venus and the cascades, particularly the Narcissus and Galatea against the side terraces. Plants and water elements were harmoniously used on strong orthogonal axials, yet the overall layout was softened by the colourful patterned beds, giving great sense of formality and pleasure. In addition, the garden was evolved around the palace as focal point and used terraced walks (Fig.3) and stairs to connect different areas together. The positions of the gardens were gradually lowered from the terraces, implying the typical 17th century European gardens which focus on the orderliness that reflects the royal status, particularly of Prince William.4 After 1695, Het Loo had undergone period of abandonment and transformation into naturalistic English styles under Louis Napoleon, which resulted in the disappearance of much formal gardens elements.5 Not until 1975 that its former glory was restored. Het Loo today is a great example of royal garden displaying mixtures of different 17th century European garden styles.
Figure 4: Intricate sulptures and ornaments in the fountains.
5
CHAPTER 2
LION GROVE GARDEN Location: Suzhou, Jiangsu, China Founder: Monk Tianru Garden style: Suzhou Private garden The garden is divided into three main areas based on functions: Ancestral Temple, Residence and the Courtyard1
Covering roughly 1.1 hectares, Lion Grove Garden is a representation of Suzhou private gardens with central ponds in the south surrounded by various pavilions and halls. The garden was evolved around the composition of irregularity, and asymmetry with flexible layout in order to create an integrated environment where architectural and natural landscape merge.4 Narrowed corridors are constructed to create an illusion of enlongated distance, so that visitors have more time to exlore the garden.5
Figure 2: Covered Walkways with lattice windows connecting pavilions and halls.
Twisted paths and corridors provide constantly changing scenes and increase the flexibility of the layout.2
6
Lattice windows along covered walkways offer framed views into the garden. This is driven by the “frame scenery”6 concept of Suzhou private garden, in which paths should be conveniently connected to simultaneously offer view and accessible to scenic spots. “Repeated appearance of the same subject presented in different aspects and in varied sequences”7 is one of the effective approach to enhance the garden’s beauty.
Irregular ponds are not only used to create natural look but to effectively create a sense of depth, enlonging the travel route.3
Figure 4: Windows are carefully designed with
Figure 1: Asymetrical and irregular layout with central pond as element of focus
intricate details Figure 3: “Frame scenery” screening into the garden
Zigzag bridge is typical to traditional Chinese garden bridge. It is not used to merely provide decorative elements to the garden, but it helps direct visions to different scenery arranged along the pond. On turning, visitors would discover more different interest elements within the garden.8
7-meter rock mazes together with winding paths and twenty-one caverns bring the twist and turn to Lion Grove garden, at times can cause confusion to visitors.9 Figure 10: Intricately crafted stone symbolizes lions
Lion Grove garden is most famous for its Nine lion peak made from limestone from Taihu Lake in Wuxi City.10 The rock is ingeniously crafted and symbolized nine lions in different gestures such as lying, playing, etc.
Figure 5: Zigzag bridge adds significant depth to
Figure 7: Stone bridge disappears
the water course.
into rock maze, giving sense of confusion
Figure 8: The rock is calculatedly distanced to replicate the granduer of mountain
Simple stone bridge connecting between islands or pavilions enhandce aesthetic quality of the garden and increase the “depth of water scene, forming division not blockage�.11
Figure 9: Stone Figure 6: Wall-in layout with most of the buildings located at the northern side
bridge connecting islands
Usually stone sculptures are placed to mark the 7 begining or ending of the bridge
Two-storeyed Silver Pavilion inspired by the Ruriden in Saihoji
CHAPTER 3
consists of Soul Emptyping Hall (Shinko-den) on lower floor used for meditation and viewing windows on upper floor over the pond.3
GINKAKU-JI
Similar to many traditional Japanese gardens in Heian period, Ginkakuji was evolved around the concept of “ponds islands”4 in which central pond is surrounded by
Location: Kyoto, Japan Founder: Ashikaga Yoshimasa Landscape artist: Soami Garden style: Zen temple garden
small platforms such as pavilions that provides viewing points into the pond. This is the illustration of san-sui or mountain water, reflecting ancient Chinese principle of Yin and Yang.5 However, while the earlier Heian gardens focused on chisen shuyu tejen or pond boating garden, Ginkaku, due to its compacted layout, is known for chisen kaiy teien or pond-spring strolling garden, where visitors explore the gardens through foots rather than boats.6 Small viewing platforms and pavilions constructed around the pond encourages visitor to walk around and enjoy the beautiful mountain-water landscape. Figure 2: Reflection of Silver Pavilion onto the pond is representation
Moss garden inspired from Saiho-ji garden
of Zen meditation
virtue duty
mercy The Chinese Fenghuang - ‘Ho-Oo’ symbolizes the union of Yin and Yangn as well as high virtue. Each part of the bird has different connotations.7
beliefs
Figure 3: Japanese Phoenix bird represents fire, water and possitive connotations
Kogetsudai - “moon viewing platform” is two-meters-high cone made out of sand as representation of Mount Fuji
Figure 1: Central pond is surrounded by pavilions and gardens
with the top flattened.8 The reason for
encourging walking
flattened top remains mystery, but viewing from the Silver pavilion, it looks like the moon reflecting onto a sand pond.9
Influenced by the Chinese waves especially Zen Buddhism and landscape painting of Sung and Yuan dynasties, Ginkakuji garden in Muromachi era developed a new type of garden prototype called kare-sansui or “the dry garden”,1 in which natural landscape is recreated using rocks and sand without water. In Ginakaku garden, Soami used solely sand to symbolize the topographical elements of ocean and mountains.2
8 Figure 4: Silver pavilion looking into the dry garden
Inspired by Saiho-ji garden, Ginkaku garden is also divided into lower garden which includes ponds and island and upper gardens in which the dry landscape takes its shape.10
Figure 9: Entrance gateway also create a viewing frame into the garden.
Figure 6: Ginshandan - “the sea of Silver Sand”12 represents the ocean waves through raking the sand into strips to create smooth, waving movements of the ocean.
Figure 8: Bell-shaped windows frames the view looking into “the sea of Silver Sand”.13 This method of view framing is typical in Japanese garden design. Yoshimasa often watch the moon rising over hills and casting light Figure 5: Islands are often connected by small bridge made from slabs of
onto the garden from this window.14
stone connecting to each other. The end of the bridge is often marked by series of stone sculpture.11
Figure 7: Section cut showing typographical changiing across Ginakaku-ji
9
CHAPTER 4
BURNETT PARK
1. Stone walk
Location: Fort Worth, Texas Project Year: 1983 - 2010 Architects: Peter Walker Garden style: modern parks
5. Tower
4
2. Pools
2
3. Matisse “Backs” 4. Shrub planters 6. Lowered grass
3
5
7. Plaza
Burnett Park was designed by Peter Walker to serve as a park and as public urban plaza,where people can gather and relax under the trees. The design was primarily based on flatness and geometrical patterns, particularly orthogonal and diagonal.1 The garden is the evidence of the influence and dominance of patterns on1980’s Ameriacan landscape design, in which hard surfaces and landscape alteration was stressed over vegetation in public park design.2
Raised Pink carnelian granite pathways constructed in diagonal and orthogonal grid over area of green lawn.3
6
1
7
Figure 2: Orthogonal and diagonal grided patterns are primary element of Burnett Park
Granite pathway layer
Green lawn layer
Sunken square pools
10
Figure 1: Three horizontal flat layers were ingeniously arranged to provide depth to the garden.
Series of sunken square pools arranged in rectangular shope added to the significant constrast between softness and hardnes, giving certain depth to the garden.4 Despite the flatness of the elements, they were harmoniously positioned in the way that brings a three-dimensional appearance to the garden.
It can be seen here the use of geometrical grid as indication of “sublime” and magnificence.5 However, extending beyond conventional design, Burnett Park is a combination of Modernist grid with displacement techniques, in which triangular segments were generated through pathways crossing at different angles, giving a new attention to the garden itself.6 Burnett garden reflects Peter Walker’s interest in the horizontal planes including flatness and minimal spatial control. Rather than merely serving as background, landscape in Walker’s work is treated as “music“, in which structural base and internal order must be considered in order for a song or a garden comes to life.7
Figure 3: Design process from normal orthogonal grid into final layout of Burnett Park
Figure 5: Flatness experience sitting inside the park
The beauty of the garden is further enhanced by 5ft tall minimal water foundtain placed inside the water pools, together with fiber-optic lighting acting as both candlelight points and water features for the garden.8 Burnett Park’s role goes beyond its functions as a park or plaza, evoking consideration and awareness of space division and look at this concept in a different way.
Figure 4: Views are directed in various ways due to the combination of grid and displacement techniques
11
CHAPTER 5
ROYAL BOTANIC GARDEN: CRANBOURNE Location: Cranbourne, Australia Project Year: 2012 Architects: Taylor Cullity Lethlean, Paul Thompson Garden style: contemporary garden
From the client’s inspiring brief, large part of the 363 hectares Cranbourne garden had been transformed into an evocative garden that goes beyond conventional European botanic garden concept and tells the story of water in Australian landscape, reflecting the relationship between floras, landscape and culture.1 Elements in the garden are arranged in the way that allow visitors to take on the journey from dessert to coast fringe.2
The red sand garden symbolizes the arid center of Australia, reminding visitors of the hotness and dryness of the continent.3 By placing various discs of Rhagodia species onto red sand together with the scuplted landforms, the garden gives a sense of vastness and repetition.4
Figure 2: The Red Sand made a bold and strong appearance
Rockpool Waterway to the east of the Red Sand garden is a 120 meters shallow waterwalkway descending over four water falls. It consists of different small gardens that display various plants type including Doryanthes palmeri, Wahlenbergia strcita ‘Blue Mist’, etc.5
1. Visitor center 2. Red sand garden
8
9
3. Rockpool Waterway 4. Amphitheater 5. Vine Garden 6. Melalueca Splits
7
7. Display garden
90m rust-red ‘Escarpment Wall’ by Greg Clark seperating the Rockpool Waterway and Red Sand Garden illutrates a representation of clifflike ridges in central Australia.6
8. Kiosk 9. Ian Potter Lakeside Precint 10. Howson Hill
6
11. Eucalyptus Walk
10
Figure 3: Disappearing Rockpool waterway into the Escarpment Wall.
Melaleuca Splits represents Australia’s coastal region.
5 4
11
Melaleuca linariifolia (Flax-leaved Paperbark) and coastal grasses, succulents and sand pits recreates the coastal atmosphere at the end of the Rockpool Waterway.7
2 3
12 Figure 1: Unique layout at second stage
12
1
of the Australian Garden
Figure 4: Organic shape displayes the Australian coastal landscape
Figure 7: Curved pathways direct views to different parts of the gardem Figure 5: Lily-pad inspired bridge offers an innovative way of crossing water
Figure 8: Diverse planting throughout the vine garden
Figure 9: Unique layout at second stage of the Australian Garden
Figure 6: Tilted Pyrenees Quartzite slab offers ideal micro climates for diverse development of rare flora.8
Throughout two stages of development, roughly 200,000 plants from more than 1,000 species and 2,000 advanced trees were raised in the garden with the help of many volunteers.9 These plants come from wide range of sources throughout Australia, from collecting in the wild to specialist nurseries.10 The garden successfully displays a great diversity of Australian plants and flowers, some of which we might have never seen before. Some notable plants in the garden includes Alyogyne huegelii ‘West Coast Gem’, Acacia aphylla Leafless Rock Wattle and Brachychiton repestris ‘Queensland Bottle Tree.11 13
ENDNOTES CHAPTER 1 1. Rae Spencer-Jones, 1001 Gardens you must see before you die (New York: Quintessence, 2007), 523. 2. John Dixon Hunt, Dutch Garden in the Seventeenth Century ( Harvard University Press, 1990), 25. 3. George Plumptre, Royal Gardens of Europe (New York: Octopus Publishing Group. 2005), 147. 4. Plumptre, Royal Garden, 150. 5. Spencer- Jones, 1001 Gardens, 523.
CHAPTER 2 1. Fang Xiaofeng, The Great Gardens of China (New York: Roaring Lion Media Co., Ltd., CYP International Ltd., and The Monacelli Press, 2010), 65. 2. Lou Qingxi, Chinese Gardens (Cambridge, UK: Cambridge University Press, 2010), 77. 3. Frances Ya-sing Tsu, Landscape Design in Chinese Gardens (The United States of America: McGraw-Hill, 1988), 158. 4. Tsu, Landscape Design, 132 5. Tsu, Landscape Design, 158 6. Lou Qingxi, Chinese Gardens (Cambridge, UK: Cambridge University Press, 2010), 78. 7. Frances Ya-sing Tsu, Landscape Design in Chinese Gardens (The United States of America: McGraw-Hill, 1988), 96. 8. Tsu, Landscape Design, 96. 9. Yi Wang, A cultural history of Classical Chinese Gardens (New York: SCPG Publishing Corporation, 2015), 90. 10. Yi Wang, A cultural history, 90. 11. Frances Ya-sing Tsu, Landscape Design in Chinese Gardens (The United States of America: McGraw-Hill, 1988), 96.
CHAPTER 3 1. Gunter Nitschke, The Architecture of the Japanese Garden (Benedikt Taschen Verlag GmbH, 1991), 73 2. Nitschke, The Architecture of the Japanese Garden, 94. 3. Josiah Conder, Landscape Gardening in Japan (Kodansha International Ltd., 2002), 54. 4.Mark Holborn, The Ocean in the Sand: Japan: from Landscape to garden (Gordon Fraser, 1978), 55 5. Holborn, The Ocean, 54. 6. Holborn, The Ocean, 54. 7. David A. Slawson, Japanese gardens: design principles, aesthetic values (The United States of America: Kodansha International Ltd, 1987), 100 8. Gunter Nitschke, The Architecture of the Japanese Garden (Benedikt Taschen Verlag GmbH, 1991), 93 9. Nitschke, The Architecture of the Japanese Garden, 75. 10. Josiah Conder, Landscape Gardening in Japan (Kodansha International Ltd., 2002), 53. 11. Conder, Landscape Gardening, 54. 12. David A. Slawson, Japanese gardens: design principles, aesthetic values (The United States of America: Kodansha International Ltd, 1987), 102. 13. Slawson, Japanese gardens, 102. 14. Gunter Nitschke, The Architecture of the Japanese Garden (Benedikt Taschen Verlag GmbH, 1991), 74.
14
CHAPTER 4 1. Peter Walker and Leah Levy, Minimalist Gardens (Washington: Spacemaker, 1997), 123.
CHAPTER 5
2. Walker and Levy, Minimalist Gardens, 11.
1. Kate Culliry, “More than Just Looking Good: Beauty, Aesthetics and Care,” Braided Pathways: A Practice Sustained by Difference, (August 2013),10-142. https://researchbank. rmit.edu.au/eserv/rmit:160654/Cullity.pdf
3. Walker and Levy, Minimalist Gardens, 123.
2. Kate Culliry, “More.”
4. Walker and Levy, Minimalist Gardens, 124.
3. Kate Gamble and Lethlean Perry. “The Australian garden: this spectacular garden designed by Taylor Cullity Lethlean and Paul Thompson provocatively explores the contested nature of Australian identity”. Landscape architecture Australia, 143 (August 2014):16-24, 27-28. https:// eds-b-ebscohost-com.ezp.lib.unimelb.edu.au/eds/detail/ detail?vid=3&sid=39f51a10-a2f4-447f-bc52-d25a87606fef%40sessionmgr120&bdata=JnNpdGU9ZWRzLWxpdmUmc2NvcGU9c2l0ZQ%3d%3d#db=bvh&AN=717798
5. Walker and Levy, Minimalist Gardens, 123. 6.Peter Walker, Peter Walker--Experiments In Gesture, Seriality, And Flatness (New York, N.Y.: Rizzoli, 1990), 24. 7. Yoji Sasaki, Peter Walker William Johnson and Partners: Art and Nature (Tokyo, Japan: Process Architecture, 1994), 10. 8. Murotani Bunji, Peter Walker and Partners: Landscape as Art (Tokyo, Japan: Process Architecture Publishing Co. Ltd., 1989), 88.
4. Kate Culliry, “More.” 5. Bev Roberts, The Australian Garden: a unique garden for the 21st century: Royal Botanic Gardens Cranbourne, (South Yarra, Victoria: Royal Botanic Garden Board Victoria, 2012), 10. 6. Roberts, The Australian Garden, 10. 7. Rosalind Walcott, and Ben Walcott, “Royal Botanic gardens Cranbourne Australian garden stage 2” . Australian Native Plants Society. Canberra Region, Vol. 17, No. 6, Jun 2013: 20-23. Availability: <http://search.informit. com.au.ezp.lib.unimelb.edu.au/documentSummary;dn=389413022339998;res=IELHSS> ISSN: 1447-1507. 8. Gamble and Perry, “The,” 8. 9. Roberts, The Australian Garden, 24. 10. Roberts, The Australian Garden, 24. 15
LIST OF FIGURES CHAPTER 1 Figure 1: NBTC. 2017. Paleis Het Loo. Retrieved from https://www.european-traveler.com/netherlands/ visit-paleis-het-loo-palace-apeldoorn-netherlands/attachment/palace-het-loo-nbtc/ Figure 2: Ahin, Michele. Topiary parterres in Het Loo. Retrieved from http://www.boomsbeat.com/articles/7707/20140816/35-photos-of-het-loo-palace-andpalace-park-in-apeldoorn.htm Figure 3:Ridler, Jamie. 2014. Curving archway in green. Retrieved from https://www.jamieridlerstudios.ca/confident-travelling-paleis-het-loo-arnhem/ Figure 4: Heuff, M. Fountains at Paleis Het Loo. In Plumptre, George. Royal Gardens of Europe. New York: Octopus Publishing Group. 2005.
CHAPTER 2 Figure 1: Plan of Lion Grove garden. In Frances Ya-sing Tsu, Landscape Design in Chinese Gardens. The United States of America: McGraw-Hill, 1988.
Figure 1: Plan of Ginkakuji. In Bring, Mitchell, Wayembergh, Josse. Japanese Gardens: Design and Meaning. The United States of America: McGraw-Hill, 1981.
Figure 2: Landscape voice. Bird Eye view of Lion Grove Garden. Retrieved from http://landscapevoice.com/lion-grove-garden-%E7%8B%AE%E5%AD%90%E6%9E%97/
Figure 2: GPlusMedia, 2017. Pavilion by the pond. Retrieved fromhttps://travel.gaijinpot.com/ginkakuji-silver-pavilion/
Figure 3:Ridler, Jamie. 2014. Curving archway in green. Retrieved from https://www.jamieridlerstudios.ca/confident-travelling-paleis-het-loo-arnhem/
Figure 3: Phoenix Bird at Ginkaku-ji. Retrieved from https://www.dreamstime.com/stock-photos-phoenixbird-ginkaku-ji-temple-kyoto-zen-officially-named-jishobuilt-ashikawa-yoshimasa-to-serve-as-resting-placeshogun-image38678253
Figure 4: Heuff, M. Fountains at Paleis Het Loo. In Plumptre, George. Royal Gardens of Europe. New York: Octopus Publishing Group. 2005. Figure 5: Lion Grove Garden. Retrieved from http:// www.chinayangtze.com/lion-grove-garden-shizilin/ Figure 6: Lion Grove Garden plan. Retrieved from https://www.pinterest.co.uk/pin/334955291018215040/ Figure 7: Lion rock maze in Lion Grove garden. Retrieved from https://www.pinterest.co.uk/ pin/334955291018215040/
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CHAPTER 3
Figure 4: Simmons, Ben. Conical Mountain. In Clancy, Judith. Kyoto Gardens: masterworks of the Japanese Gardener’s Art. Tokyo: Tuttle Publishing. 2014. Figure 5: Stone bridge in Ginkaku-ji. Retrieved fromhttp://www.japanesegardening.org/site/ginkaku-ji/ Figure 6: Simmons, Ben. Raked sand ocean. In Clancy, Judith. Kyoto Gardens: masterworks of the Japanese Gardener’s Art. Tokyo: Tuttle Publishing. 2014.
Figure 8: Stamped, 2012. Lion rock in Lion Grove garden. Retrieved from https://kawikaguillermo. com/2012/08/03/suzhou/
Figure 7: Section of Ginkakuji. In Bring, Mitchell, Wayembergh, Josse. Japanese Gardens: Design and Meaning. The United States of America: McGraw-Hill, 1981.
Figure 9: Stamped, 2012. Stone bridge Lion Grove garden. Retrieved from https://kawikaguillermo. com/2012/08/03/suzhou/
Figure 8:Simmons, Ben. Frame scenery. In Clancy, Judith. Kyoto Gardens: masterworks of the Japanese Gardener’s Art. Tokyo: Tuttle Publishing. 2014.
Figure 10: Bulovska, Katerina, 2015. Stone bridge Lion Grove garden. Retrieved fromhttp://www.wallswithstories.com/gardens/the-harmonic-garden-built-by-abuddhist-monk-in-1342-lion-grove-garden.html
Figure 9: Entrance to Ginkaku. Retrieved from https:// learn.bowdoin.edu/japanesegardens/gardens/ginkaku/ginkaku-ji.html
CHAPTER 4 Figure 1: Plan of Burnett Park. In Walker, Peter, and Leah Levy. Minimalist Gardens. Washington: Spacemaker, 1997. Figure 2: Water fountains. Retrieved from https://www. pinterest.com.au/pin/291537775847681716/?lp=true Figure 3: Grid diagram. In Walker, Peter, and Leah Levy. Minimalist Gardens. Washington: Spacemaker, 1997. Figure 4: PWP Landscape Architecture. Square Suken pools. Retrieved from http://www.pwpla.com/projects/burnett-park Figure 5: Lily pad walkway. Retrieved from http:// www.pwpla.com/sites/pwp/images/6195/pBurnettPark_00024.jpg
CHAPTER 5 Figure 1: Gollings, John, 2013. Plan of Cranbourne Botanical garden. Retrieved from https://www. archdaily.com/393618/the-australian-garden-taylor-cullity-lethlean-paul-thompson/51c8de2fb3fc4bf9e4000195-the-australian-garden-taylor-cullity-lethlean-paul-thompson-photo Figure 2: Gollings, John, 2013. Red sand. Retrieved from https://www.archdaily.com/393618/the-australian-garden-taylor-cullity-lethlean-paul-thompson Figure 3: Gollings, John, 2013. Water walk. Retrieved from https://www.archdaily.com/393618/the-australian-garden-taylor-cullity-lethlean-paul-thompson/ Figure 4: Gollings, John, 2013. Splits. Retrieved from https://www.archdaily.com/393618/the-australian-garden-taylor-cullity-lethlean-paul-thompson/ Figure 5: Gollings, John, 2013.Lily pad walk. Retrieved from https://www.archdaily.com/393618/the-australian-garden-taylor-cullity-lethlean-paul-thompson/ Figure 6: Gollings, John, 2013. Tilted rock. Retrieved from https://www.archdaily.com/393618/the-australian-garden-taylor-cullity-lethlean-paul-thompson Figure 7: Gollings, John, 2013. Curved pathway. Retrieved from https://www.archdaily.com. Figure 8: Gollings, John, 2013. Display garden. Retrieved from https://www.archdaily.com/393618/ the-australian-garden-taylor-cullity-lethlean-paul-thompson
17
BIBLIOGRAPHY Bring, Mitchell, Wayembergh, Josse. Japanese Gardens: Design and Meaning. The United States of America: McGraw-Hill, 1981. Bunji, Murotani. Peter Walker and Partners: Landscape as Art. Tokyo, Japan: Process Architecture Publishing Co. Ltd., 1989. Conder, Josiah. Landscape Gardening in Japan. Japan: Kodansha International Ltd., 2002. Culliry, Kate. “More than Just Looking Good: Beauty, Aesthetics and Care”. Braided Pathways: A Practice Sustained by Difference, (August 2013),10-142. https://researchbank.rmit.edu.au/eserv/rmit:160654/Cullity.pdf Gamble, Kate., Perry, Lethlean. “The Australian garden: this spectacular garden designed by Taylor Cullity Lethlean and Paul Thompson provocatively explores the contested nature of Australian identity”. Landscape architecture Australia, 143 (August 2014):16-24, 27-28. https://eds-b-ebscohost-com.ezp.lib.unimelb.edu.au/eds/detail/detail?vid=3&sid=39f51a10-a2f4-447f-bc52-d25a87606fef%40sessionmgr120&bdata=JnNpdGU9ZWRzLWxpdmUmc2NvcGU9c2l0ZQ%3d%3d#db=bvh&AN=717798 Holborn, Mark. The Ocean in the Sand: Japan: from Landscape to garden. London: Gordon Fraser, 1978. Hunt, John D. Dutch Garden in the Seventeenth Century. Harvard University Press, 1990. Nitschke, Gunter. The Architecture of the Japanese Garden. Germany: Benedikt Taschen Verlag GmbH, 1991. Peter Walker and Partners. Landscape Architecture: defining the craft. London: Thames&Hudson Ltd, 2005. (burnet park photo) Plumptre, George. Royal Gardens of Europe. New York: Octopus Publishing Group. 2005. Qingxi, Lou. Chinese Gardens. Cambridge, UK: Cambridge University Press, 2010. Roberts, Bev. The Australian Garden: a unique garden for the 21st century: Royal Botanic Gardens Cranbourne. South Yarra, Victoria: Royal Botanic Garden Board Victoria, 2012. Sasaki, Yoji. Peter Walker William Johnson and Partners: Art and Nature. Tokyo, Japan: Process Architecture, 1994. Slawson, David A. Japanese gardens: design principles, aesthetic values. New York, The United States of America: Kodansha International Ltd, 1987. Spencer-Jones, Rae. 1001 Gardens you must see before you die. New York: Quintessence, 2007. Tsu, Frances Ya-sing. Landscape Design in Chinese Gardens. The United States of America: McGraw-Hill, 1988. Walker, Peter, and Leah Levy. Minimalist Gardens. Washington: Spacemaker, 1997. Walker, Peter. Peter Walker--Experiments In Gesture, Seriality, And Flatness.New York, N.Y.: Rizzoli, 1990. Wang, Yi. A cultural history of Classical Chinese Gardens. New York: SCPG Publishing Corporation, 2015.
WORD COUNT: 1474
Xiaofeng, Fang. The Great Gardens of China. New York: Roaring Lion Media Co., Ltd., CYP International Ltd., and The Monacelli Press, 2010.
18
Walcott, Rosalind and Walcott, Ben. Royal Botanic gardens Cranbourne Australian garden stage 2 [online]. Journal (Australian Native Plants Society. Canberra Region), Vol. 17, No. 6, Jun 2013: 20-23. Availability: <http://search.informit.com.au.ezp.lib.unimelb.edu.au/documentSummary;dn=389413022339998;res=IELHSS> ISSN: 1447-1507. [cited 22 Oct 17]. (20-23)