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Landscpe Design
STYLE CHART
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Domestic Garden
Use:The oldest domestic gardens are astonishinglysimilar to modern domestic gardens and were used in
similar ways: for relaxation, outdoor eating,
childrens play and the cultivation of beautiful and
edible plants.
Knowledge of these gardens comes from Egyptian
tomb paintings, made so that pharaohs could enjoy
in the after-life similar comforts to those they had
enjoyed in the eaarthly stage of their existence.
Form: Private dwellings, like temples, wererectangular enclosures bounded by high walls.
The geometry of garden compounds appears more
symmetrical than that of temples but, since there are
no physical examples, this may be no more than
artists license.
Regularity comes naturally to the artist and is lesslikely to appear on the ground, except when gardens
are made with paper plans and surveying equipment.
Egyptian domestic gardens were places for bodilycomfort, with fruit trees, flowers, pools, pot plants,
vine-clad pergolas and places to sit, in winter sun orsummer shade
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Tomb of Amenophis III
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Temple Garden -2000
Use: The oldest garden survivals are the temple compounds of ancient Egypt. They were
used by priests and pharaohs, though members of the public might be admitted on
festival days.
The design of temples helped to explain the nature of the world and the social order, as
we now do through science, religion, art, history and politics.
Temple compounds are the oldest surviving manifestation of the quest to make outdoor
space as works of art. Sacred groves were associated with temple compounds.
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Temple Garden -2000
Form:Axial lines were used but the overallgeometry was non-symmetrical. Temples
were built in rectangular compounds bounded
by high walls.
The internal space was in part ceremonial andin part laid to gardens. Temples were linked
by avenues, lined with trees, sphinxes and
statues.
The line of the avenue ran into the compound
and led through a series of processional gatesto a hypostyle hall and then an inner sanctum,
the holy of holies.
Some of the enclosed land was used to
accommodate store houses. Compounds also
held sacred lakes, pools, statues, shrines,
flower and vegetable gardens. The basicconstruction materials were stone and mud
brick.
Temple of Hatshepsut, Temple of Karnak,
Temple of Luxor, Temple of Medinet Habu,
Temple of Metuhotpe II
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Paradise Garden -500
Use: The Persian word (paradeisoi),
from which our word paradise comes,
meant a walled garden. It derives from
pairi(around) and deaza(wall).
The term was first used for large huntingparks and later for rectangular walled
gardens in cities or in the countryside.
Paradise gardens were a calm retreat
from the noisy and dusty outside world.
They were used more as ornaments tobe viewed from upper windows, or
garden pavilions, than as rooms for
outdoor living.
Water channels, pools, fountains and
cascades cooled the air. Flowers
provided scent and colour. Fruit treesprovided shade.
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Paradise Garden -500
Form: The classic Paradise Garden is divided
into four parts by canals.
It is known as a chahar baghor quadripartite
garden and has four square parts separated by
water channels.
The Greeks added the idea of four elements:
earth, water, fire and air.
The Koran (xxv.15) describes paradise as a
garden of eternity (Arabicjannat al-khuld) with
four rivers: of water, milk, wine and honey. Strictrectilinear gardens with squares and rectangles
demarcated by water channels were made by the
Persians (from the sixth century BC) by the
Arabs (from the eighth century AD) and by the
Mongols (from the sixteenth century until the
eighteenth century). The underlying geometry had an amazing
consistency for some 2,500 years.
Isfahan (Esfahan), Palace of Balkuwara, Samaria,Patio de los Naranjos,
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Hunting Park-1500
Use: When the area of land taken into cultivationbecame significant, kings began to yearn for placeswhere wild plants and animals could live - and behunted. This happened first in the land between the
two rivers (Mesopotamia) and in Persia. Huntingparks were the preserve of kings and nobles andcould be used to teach young men the arts of ridinghorses and driving chariots. The ancient huntingpark can be regarded as the origin of the park as aplace to take exercise and appreciate nature.
National parks and nature reserves are theirequivalent in the modern world.
Form: No physical examples survive from theancient world but there are relief sculptures andwritten records. Large rectangular walled enclosureswere used to make collections of exotic plants andanimals. Physical examples survive from medievaland renaissance Europe. A varied topography ofwoods, water, grassland and hills was desirable.Boundaries are likely to have been made with mudbrick, rubble stone or timber, depending on local
circumstances.
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Sanctuary -400
Use: Egyptian temples owned areas ofwoodland, known as sacred groves. Whencivilization became concentrated in high densitywalled cities, as in Ancient Greece, sanctuaries
and sacred groves took on a wider social role.They lay outside the city walls and could be usedsafely during times of peace. If there was aspring in the grove it would be a natural place tosite an alter to a local god or to build a temple inhis or her honour. In time, these places came to
be used for discussion, education and physicalexercise. The Greeks ran and wrestled withoutclothes. When exercise was a dominant use theytook the name gymnasium, deriving from the
Greekgumnos(meaning naked) or palaestra,from palaio (meaning to wrestle). As works of art
and places of spiritual enlightenment, sacredgroves were related to the temple gardens ofEgypt.
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Sanctuary -400
Form: A cave in a wood with a naturalspring of water was an ideal location.The cave became a grotto with a statueof the god and other architectural
embelishments. A roofed colonade(peristyle) was used to enclose arectangular space for athletics orwrestling. Seats were placed in alcoves(exedra) attached to the peristyle andused for discussion or teaching. The
sacred grove became a public place withspecialised enclosures, seats, pools,rooms for philosophers and courtyardsfor wrestling and exercise. Grovesdeveloped into large temple complexesfor education and sport.
Delphi, Plato Academy, Athens, Templeof Olympia
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*Courtyard -100
Use: Space within walled cities wasalways valuable and expensive. Onlythe rich could afford small gardens.
The poor lived in a single room with adoor opening onto the street and nowindows. Courtyards were made forspecialised purposes, broadly similar tothose of the Egyptian domestic garden:outdoor eating, entertaining, growing
plants. In towns, they had to beenclosed by high walls owing to theproximity of neighbours and thedemands of security and privacy. Wallsalso created an urban climate, warm inwinter and cool in summer.
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*Courtyard -100
Form: Three types of courtyard were made, withwealthy city dwellers having one of each type:
1. a yard (atrium) in the centre of the dwellinggiving access to other rooms and to the street.
The atrium served as a lightwell and ventilationshaft. It was either paved or slightly recessed tocatch rainwater.
2. a colonaded yard (peristyle) ornamented andused as an outdoor living and dining room. Theroofed colondade on the perimeter functioned asa corridor giving access to bedrooms and livingrooms. The enclosed yard had pools, fountains,shrubs, flowers, statues and a small shrine.Evergreens were favoured: bay, myrtle, oleander,rosemary, box and ivy. In flowers, the Romans
liked the rose, iris, lily, violet, daisy, poppy andchrysanthemum.
3. a horticultural space (xystus) was used forflowers and vegetables and might be decoratedwith statues, a pavilion and a water features.
Conimbriga, J Paul Getty Museum and Garden,
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Villa 100 AD
Use: The idea of making villas developed inGreece and reached fulfillment in theRoman Empire. The word palace comes
from Augustus villa on Romes PalatineHill. The villa became a palatial estatecomplete with dwellings, gardens andnumerous subsidiary buildings. Both rusticand urban villas were made. Their use wasto live, relax, exercise, entertain friends and
conduct pleasant business, or, in Hadrianscase, run an empire. The villa integratedelements of many earlier garden types: thedomestic courtyard, the gymnasium (sacredgrove), the temple garden (many emperorswere considered Gods) and the huntingpark. Owners enjoyed both the chase andthe supply of fresh meat.
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Villa 100 AD
Form: Buildings and gardens were groupedtogether within a bounded enclosure. Thespaces adjoining individual buildings were
axially planned but, by the standards ofrenaissance villas, the lack of an axialrelationship between buildings issurprising. Structures were scattered likeparcels on a table. Either there was nooverall plan or it was asymmetrical. In
Southern Spain (c1250) the Moors builtpalatial villa-gardens, planned like theirRoman predecessors but also drawingupon the Paradise gardens of the east.With the renaissance, the practice of villa-building resumed in Italy. Typical featuresincluded: pools, fountains, colonades,statuary, evergreens and adjacent huntingparks (as at the Villa Lante)
Alhambra, Generalife, Villa Adriana(Hadrian's Villa),
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Cloister Garth 1100
Use: The word cloister means enclosed.Often, cloisters had colonnades like theGreek and Roman peristyle courts from
which they so clearly derive. They werecontemplative spaces at the heart ofmonastic life and used for walking andreading. They gave access to adjacentbuildings used for eating (the refectory),sleeping (the dormitory) and food storage
(the cellar). Another door led into thechurch.
Cl i G h 1100
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Cloister Garth 1100
Form: The typical cloister is a squarecourtyard surrounded by a coveredwalk. The central green space wasknown as the cloister garth (garden).
There are no medieval records of themhaving contained any plants exceptclosely-scythed grass. During therenaissance, princes of the churchbecame leaders in the art of gardendesign and many simple plats of grass
were made into ornamental gardens. Inthe nineteenth century some becamegardenesque, with herbaceous plantsand shrubs. Monastries also had flower,vegetable and orchard gardens, but noexamples survive.
Cartuja de Valldemossa, ClairvauxAbbey, Monestir de Pedralbes, Mont StMichel, Mosteiro dos Jeronimos, SanFrancisco at Evora, St Augustine'sAbbey, St. Gall (Sankt Gallen), The
Cloisters, Utrecht Cathedral,
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Castle Garden 1300
Use: Forts were occupied bysoldiers and used exclusively formilitary purposes. From the
middle ages onwards, castleswere places for families to livewith their dependents andretainers. Some had smallpleasure gardens within theirwalls, primarily for the use of
ladies, children, swains andtroubadours. In times of siege, anarmy, or the poplulation of thelocal village, would occupy thespace inside the outerfortifications and, presumably,trample the garden.
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Castle Garden 1300
Form: The garden could be a smallrectangular, hexagonal or irregularenclosure, inside the outer fortification
(bailey). There are many surviving castlespaces where one can see places for suchgardens within the inner or outer bailey.No examples survive but there aresymbolic illustrations of them in medievalprayer books and romances. They show
trellis fencing, flowery lawns, turf seats,tunnel-arbours and a profusion of sweet-scented flowers. Most of the land withinthe bailey would not have smelt sweet.Castles also had orchards and huntingparks outside the fortified zone.
Chateau Amboise, Chateau Angers,Chateau Dourdan, Montargis, VincennesChateau,
E rl R n i n St l 1450
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Early Renaissance Style 1450
Use:The renaissance garden developed by
stages from the medieval castle garden.
When it became safe to live in fortified villas,
instead of hilltop castles, space became
available for the design of ornamental
gardens. Women could use them to take the air in safety.
Men resumed their involvement with gardensand more resources were devoted to their design.
The principles of ancient gardens were re-
discovered and experiments were made with new
ideas. The social use of gardens, for holdingdiscussions and entertaining friends, was also re-
born.
Form: Square and rectangular garden carpets
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Form: Square and rectangular garden carpets
were laid out so that their unity, order and
regularity could to be viewed from the upper
windows of a house, as they were in Paradise
gardens.
In marked contrast with eastern practice, early
renaissance gardens had no particulargeometrical relationship between the fortified
house and its garden. Patterns, inspired by
knotted carpets, were used in the design of what
became known as knot gardens.
Villa Medici, Fiesole, Anet, Chateau de, Asolo,
Bury, Charleval, Chateau Gaillon, Chateau Blois,Chateau de Dampierre, Edzell Castle and Garden,
Giardino Buonaccorsi, Jardines de las RealesAlcazares, Jardins de Alfabia, Mallorca, Levens Hall,
Palacio de Fronteira, Pitmedden Garden, Poggio a
Cajano, Poggio Reale, Quinta da Bacalhoa, San
Vigilio, Valleri, Verneuil, Villa Medici di Careggi,
High Renaissance Style 1540
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High Renaissance Style 1540
Use:With a departure from the enclosedgardens of the late middle ages, Alberti
advised making open places for walking,
swimming, and other diversions, court-yards,
grass-plots and porticoes, where the old menmay chat together in the kindly warmth of the sunin winter, and where the family may divertthemselves and enjoy the shade in summer and
have a view of some city, towns, the sea, an openplain.
Medieval gardens had been inward-looking.Renaissance gardens, with their hillside
terraces, began to look outward, physically
and intellectually.
Making a collection of antique statuary
became an important garden use. It was a wayof looking to history and the fine arts.
Form: The organising principle of high renaissance
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Form:The organising principle of high renaissancegardens was first demonstrated by Bramante.
He used a central axis to control the layout of
house and garden. It integrated a series of
rectangular enclosures with terraces at different
levels. Flights of steps, alcoves, niches and fountains were
disposed in relation to the axis and embellished
with statues, fountains and terracotta pots holding
flowers and fruit trees.
Villa d'Este , Villa Madama , Villa Lante ,Chateau deChenonceaux, Chateau de Fontainebleau, GiardinoBotanico (Orto Botanico) Padua, HeidlebergSchlossgarten (Hortus Palatinus), Jardin del Monasteriode El Escorial, Palazzo Farnese, Parco Demidoff -
Pratolino, Sacro Bosco/Villa Orsini, Vatican Palace,Villa Medici at Castello (Villa Reale), Villa Pia,Wallenstein Garden Czech Republic, Castello Branco,Chateau de Beloeil, Colonial Williamsburg, ElizabethanGardens, Haimhausen, Parque del Buen Retiro,Rubenhuis (Rubens House) Villa Imperiale, Villa
Medici (Academie Francaise
Mannerist Style 1660
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Mannerist Style 1660Use: When renaissance art was thought to havereached a peak of perfection, designers and theirclients became attracted by surprise, novelty andalusion.
Gardens were furnished with dramatic featuresand used for outdoor masques and parties.
Virtuosowater displays were admired and thecreation of garden features to impress ones friends
became an objective. Montaigne visited Pratolino in1580 and thought the Duke of Florence had expressly
selected an inconvenient site, sterile and rugged, andutterly without water, merely that he might have thepleasure of bringing the water from five miles off.
Yet he was amazed to see various musical
instruments, which perform a variety of pieces, by
the agency of the water; which also, by a hiddenmachinery, gives motion to several statues, single
and in groups, opens doors, and gives apparent
animation to the figures of various animals, that
seem to jump into the water, to drink, to swim
about, and so on.
Mannerist Style 1660
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Mannerist Style 1660
Form: Movement and drama becameimportant in mannerist gardens, as they
did in mannerist painting and sculpture.
Compared with their predecesors,
gardens were less calm and more given totheatrical display. Hydraulic marvels andelaborate water features, often based on
sreams flowing throughthe garden, were
charcteristic features of mannerist
gardens.
It was as though garden designers had takenheed of Leonardos remark that It is a
wretched pupil who does not surpass hismaster.
Dramatic sites were chosen and
embellished with exotic sculpture. Therewas an interest in scholarship and, withPalladio, a Neoplatonic concern for circlesand squares.
Farnese Gardens, Palazzo del Te, Saint-Germain-en-Laye, Villa Campi, Vizcaya,
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Early Baroque Style 1600
Use: Early Baroque art is associatedwith the Counter-Reformation and a
desire to re-establish the authority of
the Catholic church and the power ofthe princes. Garden layout became a
way of demonstrating the importance of
Popes, Princes and Dukes.
Since physical security now rested more onguns than city walls, living in rural areas
became as safe, or unsafe, as living intowns.
The villas of Frascati were built with
their lines of sight fixed on the dome of
St Peters in Rome. Pope Sixtus V usedBaroque ideas in the planning of Rome,withvistas fixed on a set of obelisks.Important social gatherings took place inBaroque gardens.
Early Baroque Style 1600
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Early Baroque Style 1600
Form:The Baroque style began with the projection ofaxes beyond the boundaries of enclosed renaissance
gardens.
In towns, the avenues focussed on churches and other
features. Outside towns they pushed into the landscape,bringing mountains, lakes and forests into a composition withthe garden.
The results were dramatic. Lines of view, and then axesprojected ever-outwards.An enthusiasm for thediscoveries of geometry, optics and perspective
influenced the style.
The avenue is the most characteristic feature of baroque
layouts. It had begun life as a shady walk on the edge of
a medieval garden. Then: (1) Bramante gave avenues
key role to a central axis (2) avenues became focused on
garden features (3) avenues focused on features outsidethe garden (eg the dome of St Peters) (4) avenues began
radiating in all directions to the greater glory of their
owner.
Giardino di Boboli, Isola Bella, Jardin des Tuilleries, Jardin duLuxembourg, La Roche Courbon, Schloss Hellbrunn, Villa
Albani,Villa Aldobrandini, Villa Falconieri, Villa Garzoni,Villa Mondra one Villa Torlonia
High Baroque Style 1650
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High Baroque Style 1650
Use: Baroque gardens were for show. Highsociety gathered to admire and participate
in the theatricality.
Like a play, the garden was incomplete without
an audience. It was also a physicalexpression of the owners power and
importance: one had to be there.
France was the leading country in thedevelopment of high baroque gardens and theybecame associated with autocratic government.
Versailles was freely open to gentlemen,providing they carried a sword.The crowdswould part admiringly when Louis XIV made astately progression of his estate, perhaps in thecompany of his skilled designer,Andre Le
Notre. An ancient park-use was re-discovered: forest rides were used for
hunting.
High Baroque Style 1650
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High Baroque Style 1650
Form: Designers drew upon developments inmathematics and science, using a 'Cartesian'geometry with avenues reaching to draw thesurrounding landscape into the
composition. The characteristic features ofbaroque gardens were: a centrally
positioned building, elaborate parterres,
fountains, basins and canals.
A unified discipline infused the residential
architecture, garden architecture ,
sculpture, fountains, cascades, planting andother features.
Command of the waters was essential and inmany gardens there were so many fountains
that they could be operated only for a short
time each week.
Hampton Court Palace ,Versailles, Chateau
de, Villa Castellazzo,Villa Gambereraia,Belvedere Vienna, Bruchsal, Carlsberg, CasertaPalazzo Reale La Reggia, Chantilly, Chateau de,Chateau de Rambouillet, Chateau de Vaux-le-
Vicomte, Drottningholm Palace, ErmitageGarten Bayreuth, Esterhaza (Fetod), Favorite,
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Forest Style 1710
Use: The idea of the garden as a ruralretreat grew in deliberate contrast to thehigh baroque style. Owners shunned
courtly life. Their proud intention was tomake 'useful and beautiful' countryretreats, as Virgil had done. Timberproduction was an important land use.Avenues were made by planting trees,not by cutting rides through existing
forest. The name for the style comesfrom Stephen Switzer.
Form: The radial geometry was carriedover from the high baroque. Theboundary was often a low retaining wallwith bastions at turning points givingviews over the surrounding countryside.There was an interest in lines of view,sometimes emphasised by low hedges onthe inside margins of avenues, meetingthe estate boundary at bastion points.
Cirencester Park,
Augustan Style 1730
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Augustan Style 1730
Use: Owners started to look back, beyond thebaroque, beyond the renaissance, beyond the
middle ages: to the classical origins of western
culture.
They wanted gardens which recalled thelandscape of antiquity and could be used as
places of reflection: on literature, history,
natural science and the affairs of the day.
Discussions with a few friends might take placewhile strolling through the grounds or sipping teaon a well placed seat. Classical ornament andallusion contributed to theme.
For landowners who had been on the Grand Tour,the Augustan garden served as a reminder and as aplace to display souveniers (eg urns and statues).
Augustan Style 1730
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Augustan Style 1730
Form: The first 'landscape gardens' in
England were inspired by visions of the
Roman landscape in the time of the
Emperor Augustus.
They were classical landscapes withwoods, water, grass and small temples.
William Kent was one of the first
professional designers to give physical form
to this vision.
The diagram shows part of the garden as a
carry-over from the baroque and part as an
early exercise in the re-creation of a
classical landscape.
Between 1720 and 1745 the placing of
temples and statues was more important
than the overall plan. Castle Howard, Chiswick House, Claremont
Landscape Garden, Middleton Place, MountVernon Estate and Gardens, Park an der Ilm,Weimar, Pavlosk, Rousham, Stourhead, StoweLandscape Gardens, Studley Royal and
Fountains Abbey, Tsarskoe Selo (Pushkin),Worlitz Park
Serpentine Style 1750
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p y
Use: The circumferential path could be
travelled on horse back or in a coach to enjoy
the sense of being swiftly drawn in an easy
coach on a smooth turf, with gradual ascents
and declivities (Christopher Hussey). The park was used for grazing. One then
observed that, although the owner was
extremely rich, his resources were used
productively instead of being wasted on
boastful display.
In Continental Europe writers, including Goetheand Rousseau, admired the style.They saw it asthe Garden of the Enlightenment. It was
regarded as more natural than anything
which had gone before. One must look with an
educated eye to appreciate the qualities of the
serpentine style.
Serpentine Style 1750
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p y
Form: The classic features of this style were a
lawn sweeping to the house front, circular
clumps, a serpentine lake, an encircling tree belt
and a perimeter carriage drive.
This is the style of what is sometimes known asthe 'English landscape garden'. One could call it
the 'Brownian' style.
The name Serpentine Style is used to draw
attention to the use of free-flowing curves.
There are many examples. In the middle years ofthe eighteenth century, Lancelot Brown
developed a personal style which can be seen as
more-abstract version of the Augustan Style.
It made less use of garden buildings and moreuse of serpentine lines in the layout of woods and
water. Blenheim Palace, Bowood, Haga Royal Park,
Stockholm, Lednice Valtice Park, Monticello, Parc deMonceau, Parc Jean-Jacques Rousseau, PetworthHouse, Vondelpark
Picturesque and Gardenesque Styles 1790
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q q y
Use: Enthusiasm for the wildness and
irregularity of unadorned nature was the
driving force behind these styles of garden
layout.
A thirst for landscape painting, travel,adventure, awe and scientific knowledge
could be slaked by garden scenery.
Picturesque estates stirred the mind.
The aim was to create parks for the
enjoyment of an artistically composed
representation of the natural world.
They were not designed for domestic
pleasure, social gatherings or the chase. But
they did become places for the collection of
exotic plants from far-off lands.
Loudon believed this should become aprimary objective and invented the term
Gardenesque to describe a Picturesque
layout furnished with exotic plants. Most
picturesque estates were planted with
exotic plants and there is no clear
borderline between the two styles.
Picturesque and Gardenesque Styles 1790
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q q y
Form: By the end of the eighteenth century
advocates of the Picturesque were criticising
the Serpentine Style was for being 'bald',
'shaven' and 'un-natural'.
The style they favoured was Picturesque in thesense of 'wild and shaggy'.
To begin with, few owners were willing to
surround their dwellings with wholly 'irregular'
gardens.
But in the second half of the nineteenth
century a great many garden owners converted
woodland valleys into 'painterly compositions'
of exotic plants.
Himalayan plants (eg rhododendrons andcamellias) and North American plants proved
particularly well suited to their design intentions. The diagrams show a Pictuesque estate, planted
with native plants and a Gardenesque estate,planted with exotic plants. Loudon favouredcircular beds, of the type which can still be seen inthe flower garden at Greenwich Park, because they
show plants so well and because they are instantly' '
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Magnolia Plantation, Park Babelsberg, Royal Botanic Garden, Edinburgh,Scotney Castle, Callaway Gardens, Cypress Gardens(SC), Giardino eRovine de Ninfa, La Mortola - Giardini Botanici Hanbury, La Vasterival,Leonardslee Gardens, RHS Garden, Wisley, Royal Botanic Gardens, Kew,
Sheffield Park Garden, The Arnold Arboretum, Wageningen BotanicalGarden, Wakehurst Place Garden, Washington Park Arboretum andJapanese Garn
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Landscape Style 1794
Use: The style had distinct regionswith distinct uses (1) the terracedarea near the house was used for
the quiet enjoyment of domesticpleasures and polite society; (2) theserpentine park was used forgrazing farm animals and growingforest trees; (3) the backgroundscenery was not used by the owner
and was conceived a place for wildnature. In the twentieth century thisidea led to the planning of compacttowns with a protected agriculturalhinterland and national parks indistant hills and valleys.
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Mixed Style 1850
Form: Towards the end of his career, HumphryRepton argued that there is no more absurdity incollecting styles in a garden than books in a library
or pictures in a gallery. This led to a vogue forAmerican, Chinese, Japanese, Italian and othereclectic gardens. Victorian gardens came to becharacterised by their mixed collections of areaslaid out in different styles. As the century drew on,the 'Italian' style came to be the most popular. The
diagram shows the style as it was used in suburbangardens. In large parks, there was scope for moreextensive collections. In Britain there was a specialfondness for Italian gardens and in France forrestorations of the High Baroque style. Note: thediagram does not represent the plan form of large
estates laid out according to the ideas behind themixed style.
Alton Towers, Beeckestijn, Biddulph GrangeGarden, Biltmore Estate, Branitz, Carmen de losMartires, Central Park, Chatsworth, Crystal PalacePark, Cypress Gardens(FL), Disneyland Paris,Museum Garden and Library,
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Postmodern Style 1972
Use: Postmodern ideasencourage garden owners todeconstruct their preconceptions
and think in fresh ways. Thegarden is used to experimentwith new materials and newgeometries, to site concretepoetry, to place a steaming tub,to build a glass room, to grow
non-traditional plants, totransform a pavement into afountain. Above all, it can beused to overlay uses and ideas ina multi-faceted postmodernstructural composition. Towards
the end of the twentieth century,the style was used to win designcompetitions.
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Postmodern Style 1972
Form: Geometrically, postmodernism isassociated with a layered anddeconstructive geometry. Rectangles clash
with circles and are interscected byhapazard diagonals, as in a Russianconstructivist painting. Steel and concretestructures are painted in bright colours.Glass and other reflective surfaces helpcreate illusions and startling visual effects.
Barcelona Plazas, Duisburg NordLandschaftspark, Getty Center, JardinAlbert Kahn, Jardin Atlantique Paris,Jardin des Halles, Parc Andre CitroenParis, Parc de la Villette Paris,
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