History of Landscape Architecture

01

02

ALHAMBRA, GRANADA ISLAMIC SPAIN

TENRYU-JI TEMPLE

PARADISE GARDEN IN JAPAN

03

VERSAILLES

FRENCH BAROQUE GARDEN

04

GATES & PERGOLAS

ARTS AND CRAFTS GARDEN

SKETCHBOOK HISTORY OF DESIGNED LANDSCAPE

05

MODERN AUSTRALIA MODERN GARDEN

PALACE OF ALHAMBRA, GRANADA

Hall of the Ambassa-

ISLAMIC SPAIN

Commencement: A.D. 1250, construction spread over 250 years Period: Islamic Spain (8th - 15th century A.D.) Social - cultural context: - Although much of the land is arid (desert area), Granada is above the coastal plain of Sierra Nevada, thus receiving water from melting snow (Jellicoe, G. & Jellicoe, S., 1995). This led to the extensive use of water such as pools and fountains. Also, the use of water indicates the wealth and prosperity of the owner.

- In the deserts landscapes, sky become dominants, which was transferred in design languages such as the reflective pools to double the space and bring heaven (sky) closer to human.

- Gardens were considered an extension of the house.

- Paradise Garden was created to prepare one for the after life in heaven, which modeled the architecture and garden during this period.

(Adapted from Jellicoe, G. & Jellicoe, S., 1995).

Important characteristics: - 4 main courtyards (Figure 1), two of which best represent the design principles of Islamic expression, which are Court of the Lions and Court of the Myrtles.

Garden of Daraxa

Court of the Curato Dorado

Court of the Myrtles

Court of the Lions Figure 1: Plan of Palace of Alhambra, dominated by 4 courts (Jellicoe, G. & Jellicoe, S. ,1995)

The columns are alabaster

Decorative surfaces are carved plaster

The fountain is bronze

Court of the Myrtles was designed with overlooking view from the Hall of Ambassadors, as well as the courts of ablutions for the adjoining mosque.

The myrtle hedges predated the Spanish Conquest in 1942, when Muslim religion was surpressed and ablution rites forbidden (Jellicoe, G. & Jellicoe, S. ,1995).

Figure 2: Court of the Myrtles.

Diagram showing view from the Hall of the Ambassador overlooking the city and Court of the Myrtles (Islamic

High wall -> enclosed space

reflective pool

Figure 3: Court of The Myrtles (1350)

Figure 4: Court of The Lions (1375)

The court is dominated by the central Lion Fountain and four narrow conduits. The architecture derived from the hanging tents, providing shades, acted as a strong contrast to the sunny open courtyard, giving the impression of light and darkness (Mann, W., 1993)

Figure 6: Details of Lion Fountain

Figure 5: Court of The Lions, looking from one of 4 conduits, showing strong light and shadow contrast.

Its main features is the rectangular tanks served as a mirrors reflecting the image of the arcades and sky => give the feeling of space enlargement. This court well represents design expressions of Islamic landscape design, which are: - Enclosed space within high walls - sequence of small cool interior chambers adjoining hot sunny courts - Interpenetration of indoor and outdoor space - Central water features: pools of water reflected the mosque and brought the Allah hand heaven down into the courts.

- contrast of light and shadow (adopted from Mann, W., 1993)

GATES AND PERGOLAS ARTS AND CRAFTS

This chapter investigates two explored elements in Arts and Crafts Movement in England, which are variety of gates design as well as different pergola structures. Arts and Crafts design put strong emphasis on the detailing and crafting quality of the design.

Period: 17th -19th century (Romanticism)

Figure 20, 21, 22, 23: Different Gateways

Figure 24: Gates break the lines of low walls, create a ‘delightful architectural expression’ (Jekyll, G., & Weaver, L. S.,1997, p120)

Figure 28: Pergola with piers In Art and Craft Garden: Gardens for small country house, Jekyll, G. (1977) stated that the pergola should always lead from one definite points to another.

Figure 26: Pergola with rose above and herbaceous plants on either side of he central pathways. Cawdor Castle, Scotland

Figure 27: Pergola planted above and below. Barrington Court, Somerset.

Figure 25: Gates introduce steps. Use of bricks for paving and steps to increase the craft quality

TENRYU-RI TEMPLE, KYOTO JAPANESE PARADISE GARDEN

Figure 7: Plan of Tenryu-ji Temple

sand garden

the pond Lecture Hall

Commencement: 1340s Designer: Muso Soseki Another name: Temple of the Heavenly Dragon.

Period: Paradise Gardens (11th - 15th century) (Jellicoe, G. & Jellicoe, S., 1995) - Social context: A return of contemplative Zen Buddhism.

Gardens during this period are usually based on the idea that considered the universe as a void with floating material substances existing in time. This metaphor was conveyed through the use of quartz for the courtyard, where the quartz sand garden reflecting the void of universe and mind, meanwhile rocks and mountains represents the worldly events (Jellicoe,G. & Jellicoe, S., 1995, p118-120).

The gardens were not treated as unique autonomy, but with interrelationship with human, nature and social-cultural traditions.

Important characteristics of the garden: - The combination of reflective ponds (water), rocks (mountains) and sand garden - typical of Japanese Zen Garden.

- Special arrangement of rocks - The oldest example of borrowed landscape (Main, A., & Platten, N.,2002, p134), which is Arashiyama mountain.

- The effect of the moss and rock foliage, the dark gleaming water with its long reflections revoke great tranquillity and stability.

This arrangement of stones infront of the reception building is intended to evoke the landscape of the Meru mountain (Johnson, N. B.,2012, p18).

Figure 8: Spatial relationship of major rock groups in the pond The typical Japanese triadic composition of rocks groups, symbolizes the balanced Buddha (referred to next page) (Main, A., & Platten, N.,2002)

Figure 9: Entrance to the garden through reception building

Figure 10: Drawing of a figure in zazen representing the balanced formed by isosceles and right triangles of Buddha viewed frontally and in profile, which informed the formation of rocks groups in the pond.

Figure 11: Light and shadow highlight the intricacies of stone facades, especially whe being reflected in the pond

The landscape is intended to be appreaciated at one-point still position. The image is a view from Abbot’s Quarters overlooking the ponds, directly see Tsurukame rock group.

ANALYSIS OF ROCK ARRANGEMENTS AND THE GARDEN’S ATMOSPHERE

Figure 14: Sand garden patterns.

Figure 13: Tsurukame rock group: Vertical implication, together form a balanced and dynamic composition, This triadic composition is commonly depicted in Chinese painting.

Tsurukame’s aesthetic balance arguably come from the interpretation of 3 main elements of rock groups: tallest rock (heaven), lower lateral steam (earth) and between them are inlcined stem (man). This, again, represent the constant interaction of heaven, earth and human (Main, A., & Platten, N.,2002, p134)

Figure 12: The rocks tumbled down the bank associated with the legend: ‘If a carp can clime the fall, it will turn into a dragon and enter heaven (Main, A., & Platten, N.,2002, p134)

VERSAILLES, FRANCE

FRENCH BAROQUE GARDEN

Figure 19: Step and stairways: their scales to be larger than life, thus give the sense of being within heroic landscape of the Gods (Adams, W. H.,1979). This implies the baroque art of Le notre: Elements are large beyond reasons; they pass into infinity and illustrate his basic conception that ‘landscape should be greater, more heroic than the building it comprehend’ (Jellicoe, 1993, p191).

Patterre du Midi (patPatterre d’eau terre de broderie)

Patterre du Nord (patterre de gazon)

Grand canal

rond-points

Commencement: 1661 Main landscape designer: Andre Le Notre Period: Renaissance and Baroque Garden in France (16th and 17th century) History: - Starting as a hunting lodge for Louis XIII, then being reconstructed and expanded under Louis XIV’s reign. After Le Notre’s period, the garden suffered from changes in shape of the palace which were believed to be harmful to the concept of chateau and the unity of this piece of landscape architecture (Jellicoe, G & Jellicoe, S., 1995).

- Principle of organization: the garden was no longer considered a mere extension of the house, but become a part of the greater composition.

Important characteristics of the garden: - The scale of the garden expanding as it receded from the house - Cross axes meeting at rond-points - Avenues leading outwards - The baroque quality of unity with sky and surroundings through water refection.

(Mann, W. A. ,1993) Elements of the design: - Partterres - Orangeries -Bosquet - Grand Canal - Rond-points - Sculptures and fountains - View defined by charmilles (clipped hedges)

bosquets Petit parc

Figure 16: The three main varieties of parterres associated with French Garden are brought together in Jardin Haut, Versailles

Figure 15: Plan showing Versailles as completed by Le Notre before 1700. Due to growth of King Louis XIV power, new area were to be expanded, thus the plan was frequently revised. To accommodate that situation, Le Notre employed the additive ordering technique that could extend the endlessly, as well as keeping the proportional balance between architecture and the landscape. (Adams, W. H.,1979)

Figure 17: Patterre du Midi, Versailles

Figure 18: From the palace of Versailles, the distance passed into infinity. The shape is defined by trees and scuptures seen against the clipped charmilles.

MORDERN LANDSCAPE BY JOHN STEVENS

MODERNISM in AUSTRALIA

Projects: ICI House, Melbourne (1956-1959); Redmond Priestly (1961) Landscape designer: John Stevens Period: modernism Context: - Modernism in landscape was heavily influenced by the idea in Fine Arts such as Cubism and Surrealism, which led to the adaptation of angular form as well as biomorphic shape patterns (Treib, M, 1993).

- Its use of inserted objects and materials such as rocks to achieve the scuptural form.

John Steven design expressions: - visually striking - free-flowing - extensive area of aggregate paving, rich display of succulent plants.

(Saniga, 2015)

Figure 33: abstraction of biomorphic shape

Figure 34: Abstraction of cubist form and space

Figure 29: Plan of ICI house, Melbourne

Figure 30: Plan of Redmond Barry Building, the University of Melbourne

Figure 31: Perspective view of ICI House entrance, showing biomorphic pathway.

Figure 32: Perspective view of Redmond Barry Building, the University of Melbourne, showing extensive angular paving

REFERENCE 1. THE PALACE OF ALHAMBRA, GRANADA Mann, W. A. (1993). Landscape architecture : an illustrated history in timelines, site plans, and biography. New York : John Wiley, c1993, p64.

Jellicoe, G., & Jellicoe, S. (1995). The landscape of man : shaping the environment from prehistory to the present day. New York, N.Y. : Thames and Hudson, 1995, p52-60.

Islamic Architecture (n.d.). Retrieved from http://web.mit.edu/4.611/www/L9.html 2. TENRYU-JI TEMPLE, JAPAN Johnson, N. B. (2012). Tenryuji : life and spirit of a Kyoto garden. Berkeley, Calif. : Stone Bridge Press, 2012.

Main, A., & Platten, N. (2002). The lure of the Japanese garden. Kent Town, S. Aust. : Wakefield Press, 2002.

Jellicoe, G., & Jellicoe, S. (1995). The landscape of man : shaping the environment from prehistory to the present day. New York, N.Y. : Thames and Hudson, 1995, p118-120.

3. VERSAILLES, FRANCE Mann, W. A. (1993). Landscape architecture : an illustrated history in timelines, site plans, and biography. New York : John Wiley, c1993.

Jellicoe, G., & Jellicoe, S. (1995). The landscape of man : shaping the environment from prehistory to the present day. New York, N.Y. : Thames and Hudson, 1995,.

Pincas, S. (1996). Versailles : the history of the gardens and their sculpture. New York, N.Y. : Thames and Hudson, 1996 Adams, W. H. (1979). The French garden, 1500-1800. New York : Braziller, c1979.

4. ART AND CRAFT GATES AND PERGOLAS Jekyll, G., & Weaver, L. S. (1997). Arts and crafts gardens : Gardens for small country houses. Suffolk : Garden Art Press, 1997, p119-120 5. MODERN LANDSCAPE IN AUSTRALIA BY JOHN STEVENS Treib, M. (2002). The architecture of landscape, 1940-1960 / edited by Marc Treib. Philadelphia : University of Pennsylvania Press, c2002.

Treib, M. (1993). Modern landscape architecture : a critical review. Cambridge, Mass. : MIT Press, c1993, p.50 Saniga, A. (2015). Sources of Modern Landscape. History of Landscape Design, the University of Melbourne

IMAGE SOURCE 1. THE PALACE OF ALHAMBRA, GRANADA Figure 1: Adapted from Jellicoe, G., & Jellicoe, S. (1995). The landscape of man : shaping the environment from prehistory to the present day. New York, N.Y. : Thames and Hudson, 1995, p52 Figure 2: Adapted from Jellicoe, G., & Jellicoe, S. (1995). The landscape of man : shaping the environment from prehistory to the present day. New York, N.Y. : Thames and Hudson, 1995, p52 Figure 3: Adapted from Jellicoe, G., & Jellicoe, S. (1995). The landscape of man : shaping the environment from prehistory to the present day. New York, N.Y. : Thames and Hudson, 1995, p53 Figure 4: Adapted from Jellicoe, G., & Jellicoe, S. (1995). The landscape of man : shaping the environment from prehistory to the present day. New York, N.Y. : Thames and Hudson, 1995, p54 Figure 5: Adapted from Jellicoe, G., & Jellicoe, S. (1995). The landscape of man : shaping the environment from prehistory to the present day. New York, N.Y. : Thames and Hudson, 1995, p54 Figure 6: Adapted from Jellicoe, G., & Jellicoe, S. (1995). The landscape of man : shaping the environment from prehistory to the present day. New York, N.Y. : Thames and Hudson, 1995, p54 2. TENRYU-JI TEMPLE, JAPAN Figure 7: Adapted from Johnson, N. B. (2012). Tenryuji : life and spirit of a Kyoto garden. Berkeley, Calif. : Stone Bridge Press, 2012, p22 Figure 8: Adapted from Johnson, N. B. (2012). Tenryuji : life and spirit of a Kyoto garden. Berkeley, Calif. : Stone Bridge Press, 2012, p23 Figure 9: Adapted from Johnson, N. B. (2012). Tenryuji : life and spirit of a Kyoto garden. Berkeley, Calif. : Stone Bridge Press, 2012, p45 Figure 10: Adapted from Johnson, N. B. (2012). Tenryuji : life and spirit of a Kyoto garden. Berkeley, Calif. : Stone Bridge Press, 2012, p30 Figure 11: Adapted from Johnson, N. B. (2012). Tenryuji : life and spirit of a Kyoto garden. Berkeley, Calif. : Stone Bridge Press, 2012, p40 Figure 12: Adapted from Johnson, N. B. (2012). Tenryuji : life and spirit of a Kyoto garden. Berkeley, Calif. : Stone Bridge Press, 2012, p128 Figure 13: Adapted from Johnson, N. B. (2012). Tenryuji : life and spirit of a Kyoto garden. Berkeley, Calif. : Stone Bridge Press, 2012, p129 Figure 14: Adapted from Main, A., & Platten, N. (2002). The lure of the Japanese garden. Kent Town, S. Aust. : Wakefield Press, 2002, p134 3. VERSAILLES, FRANCE Figure 15: Adapted from Pincas, S. (1996). Versailles : the history of the gardens and their sculpture. New York, N.Y. : Thames and Hudson, 1996 Figure 16: Adapted from Pincas, S. (1996). Versailles : the history of the gardens and their sculpture. New York, N.Y. : Thames and Hudson, 1996 Figure 17: Adapted from Pincas, S. (1996). Versailles : the history of the gardens and their sculpture. New York, N.Y. : Thames and Hudson, 1996 Figure 18: Adapted from Pincas, S. (1996). Versailles : the history of the gardens and their sculpture. New York, N.Y. : Thames and Hudson, 1996 Figure 19: Adapted from Pincas, S. (1996). Versailles : the history of the gardens and their sculpture. New York, N.Y. : Thames and Hudson, 1996 4. ART AND CRAFT GATES AND PERGOLAS Figure 20: Adapted from Jekyll, G., & Weaver, L. S. (1997). Arts and crafts gardens : Gardens for small country houses. Suffolk : Garden Art Press, 1997, p119.

Figure 21: Adapted from Jekyll, G., & Weaver, L. S. (1997). Arts and crafts gardens : Gardens for small country houses. Suffolk : Garden Art Press, 1997, p119 Figure 22: Adapted from Jekyll, G., & Weaver, L. S. (1997). Arts and crafts gardens : Gardens for small country houses. Suffolk : Garden Art Press, 1997, p119 Figure 23: Adapted from Jekyll, G., & Weaver, L. S. (1997). Arts and crafts gardens : Gardens for small country houses. Suffolk : Garden Art Press, 1997, p110 Figure 24: Adapted from Jekyll, G., & Weaver, L. S. (1997). Arts and crafts gardens : Gardens for small country houses. Suffolk : Garden Art Press, 1997, p120 Figure 25: Adapted from Jekyll, G., & Weaver, L. S. (1997). Arts and crafts gardens : Gardens for small country houses. Suffolk : Garden Art Press, 1997, p122 Figure 26: Adapted from Jekyll, G., & Weaver, L. S. (1997). Arts and crafts gardens : Gardens for small country houses. Suffolk : Garden Art Press, 1997, p122 Figure 27: Adapted from Jekyll, G., & Weaver, L. S. (1997). Arts and crafts gardens : Gardens for small country houses. Suffolk : Garden Art Press, 1997, p123 Figure 28: Adapted from Jekyll, G., & Weaver, L. S. (1997). Arts and crafts gardens : Gardens for small country houses. Suffolk : Garden Art Press, 1997, p123 5. MODERN LANDSCAPE IN AUSTRALIA BY JOHN STEVENS Figure 29: Adapted from Treib, M. (2002). The architecture of landscape, 1940-1960 / edited by Marc Treib. Philadelphia : University of Pennsylvania Press, c2002, as cited in Saniga, A. (2015) Figure 30: Adapted from Treib, M. (2002). The architecture of landscape, 1940-1960 / edited by Marc Treib. Philadelphia : University of Pennsylvania Press, c2002, as cited in Saniga, A. (2015) Figure 31: Adapted from Treib, M. (2002). The architecture of landscape, 1940-1960 / edited by Marc Treib. Philadelphia : University of Pennsylvania Press, c2002, as cited in Saniga, A. (2015) Figure 32: Adapted from Treib, M. (2002). The architecture of landscape, 1940-1960 / edited by Marc Treib. Philadelphia : University of Pennsylvania Press, c2002, as cited in Saniga, A. (2015) Figure 33: Adapted from Treib, M. (1993). Modern landscape architecture : a critical review. Cambridge, Mass. : MIT Press, c1993, p.50 Figure 34: Adapted from Treib, M. (1993). Modern landscape architecture : a critical review. Cambridge, Mass. : MIT Press, c1993, p.51