Style Chart

7/30/2019 Style Chart

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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.



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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.



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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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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.



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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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