Garden Design in History

GARDEN DESIGN IN HISTORY
GARDEN DESIGN IN HISTORY:

• History of Landscape & Garden Design
• French Garden Design
• English Garden Design
• Japanese Garden Design
• Renaissance Garden Design
• Mughal Garden Design
• Contemporary Garden Design
LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

WHY SHOULD WE STUDY HISTORY:
“Art is a continuous process, however new circumstances may be it is virtually

impossible to create a work of art without antecedents.
The challenge of history is not whether it should be studied, but rather the
interpretation of what is constant and therefore alive today.
All design therefore derives from impressions of the past, conscious or

subconscious and in the modern collective landscape form the historical
gardens.”

The history of gardening extends
across at least 4,000 years of human
civilization.
Egyptian tomb paintings of the

1500s BC are some of the earliest
physical evidence of ornamental
horticulture and landscape design;
they depict lotus ponds surrounded Egyptian Tomb Painting
by symmetrical rows of acacias and
palms.
Another ancient gardening tradition is

of Persia: Darius the Great was said to
have had a "paradise garden" and
the Hanging Gardens of Babylon
were renowned as a Wonder of the
World. Persian gardens were also
organized symmetrically, along a
center line known as an axis
Representation-Hanging Gardens of Babylon
In Europe, gardening revived in
Languedoc and the Île-de-France in the
13th century.
Gardens at Versailles
Ile de France
The formal Garden à la française,

exemplified by the Gardens of Versailles,
became the dominant style of garden in
Europe until the middle of the 18th century.
The rediscovery of descriptions of antique
Roman villas and gardens led to the
creation of a new form of garden, the
Italian Renaissance garden in the late 15th
and early 16th century.
Spanish Public Gardens
Gardens at Tivoli
The first public parks were built by the

Spanish Crown in the 16th century, in
Europe and the Americas.
It was replaced by the English landscape garden.
English Gardens
The 19th century saw a welter of historical revivals and Romantic cottage-inspired
gardening.
The purpose of the creation of the garden CHANGES OVER TIME
Embellished farms Poetic

• Production • Egyptian and Greek mythology
• Art
Early Park • No movement
• Hunt and take long walks
• Walls and stands of trees Romantic
• Moving Water
Modern Parks • Shadows
Urban outdoor Space • Attention to detail
Urban Lung
Recreation space
Picturesque
• Majesty
• Grandeur
• Expansive

THE CENTRAL CIVILIZATION

• West Asia
• Persia
THE EASTERN CIVILIZATION

• Japan (1300-1550 AD)
• China
• India (1526 - 1750 AD)
THE WESTERN CIVILIZATION

• Italy - The Renaissance (1300-1550 AD)
• France (1650-1750 AD)
• England (1830-1930 AD)

JAPANESE GARDEN

JAPANESEGARDEN DESIGN IN HISTORY
INTRODUCTION
The art of gardening is believed to be an important part of Japanese culture for many
centuries.
The garden design in Japan is strongly connected to the philosophy and religion of the
country.
Shinto, Buddhism and Taoism were used in the creation of different garden styles in
order to bring a spiritual sense to the gardens and make them places where people
could spend their time in a peaceful way and meditate.

GENERAL CHARACTERS
The line between garden and its

surrounding landscape is Not Distinct.
Gardens incorporate natural and artificial

elements and thus, fuse the elements of
nature and architecture.
In the Japanese garden, the viewer should

consider nature as a picture frame into
which the garden, or the man- made
work of art, is inserted.

DESIGN PHILOSOPHY
RELIGION - Shinto, Buddhism and Taoism have influenced the garden development in
Japan. Few of the Philosophies followed are as follows:
Nature is the ideal. Gardens must strive to achieve it.
You can idealize it, even symbolize it, but you must never create something that
nature itself cannot.
Without nothing, you cannot have something. i.e. The “emptiness” of portions of the
garden, defines the elements around it. . This space of Emptiness, is called as ‘ma’. It is
the true Spirit of Yin And Yang.
Zen Ideology of “to have nothing is to have everything” is also widely used.

DESIGN PRINCIPLE - Balance
BALANCE, OR SUMI. i.e. Proportions and spaces creation are an essential Design
principle
DESIGN PRINCIPLE - Formality
The play of Formality in the garden is symbolic based on the topographical variation
found in the Island.
• Hills (shin) is symbolized as Formal Garden
• Ponds (gyo) is symbolized as Intermediate
• Flat land (so) is symbolized as Informal Gardens
Formal styles were most often found at

temples or palaces.
Daitokuji Temple, Kyoto

DESIGN PRINCIPLE - Formality
The intermediate styles were appropriate for residences.
Intermediate Style - Residence
The informal style are now used mostly in

mountain retreats. The tea garden is always
Informal Style - Tea Garden
in the informal style. Ritsurin Koen, Sanbonmatsu
DESIGN PRINCIPLE - Concept of Time and Space - Wabi and Sabi
The concept of wabi and sabi:
Wabi can denote the Spirit of the Place, Event or Object.

Sabi defines time or the ideal image of Place, Event or Object.
For example: A rock can be old and covered with lichens, but if it is just a round boulder
it has no wabi. We must strive to find that balance
The concepts of MA AND WABI/SABI deal with Time and Space. If the garden is our
space, time is ably presented by the changing seasons.

DESIGN PRINCIPLE JAPANESE GARDEN DESIGN IN HISTORY
– Concept of Time and Space
Seasonal Changes through the Gardens of Ryonji Temple

JAPANESE GARDEN DESIGN IN HISTORY
DESIGN PRINCIPLE - Concept of Time and Space
Seasonal Changes
through the Gardens
of Ryonji Temple
DESIGN PRINCIPLE -Hide and Reveal - Miegakure
The fence is a tool to enhance the concept of miegakure, or hide and reveal.
Many of the fence styles offer

only the merest of visual
screens, and will be
supplemented with a screen
planting, offering just the ghostly
hints of the garden behind.
While entering the house to view

the garden we may well
encounter sode-gaki, or sleeve
fences. This fence could screen a
specific view be it a garden or
another house.
DESIGN PRINCIPLE - Hide and Reveal - Miegakure
To view the garden as a

whole, one must enter
it and become one
with the garden.
That way one can truly

appreciate a garden.
One must lose oneself

into the garden until the
essence of time and self
have no meaning
separately.

DESIGN PRINCIPLE - Hide and Reveal - Miegakure
The Miegakure in a philosophical intent, requires the garden to be discovered. Discovery
does not only mean the views and vista in the gardens, but also the hidden meaning of
the different elements in the gardens.
Stroll Garden, Nitobe Japanese Garden, Vancouversun, Canada

DESIGN PRINCIPLE - JAPANESE GARDEN DESIGN IN HISTORY
Hide and Reveal - Miegakure

DESIGN PRINCIPLE - Borrowed Landscape - Shakkei
Borrowed scenery is the principle of "incorporating background landscape into the
composition of a garden" found in traditional East Asian garden design. The term
"borrowed scenery" is Chinese in origin. It is called as Shakkei in Japanese.
Gardens located at the Zhishan Garden

Garden at Tenryu-ji
BASIC RULES IN THE DESIGN OF JAPANESE GARDENS
• Natural: that should make the garden look as if it grew by itself
• Asymmetry: that creates the impression of it being natural
• Odd numbers: It supports the effect of the asymmetry
• Simplicity: that follows the idea of 'less is more'

• Triangle: that is the most common shape for compositions made of stones, plants,
etc.
• Contrast: that creates tension between elements
• Lines: that can create both tranquility and tension
• Curves: that softens the effect
• Openness: that indicates interaction between all elements

BASIC ELEMENTS IN JAPANESE GARDENS
• STONE LANTERN represents four natural elements: earth, water, fire and wind
• WATER BASIN Stone water basins, (tsukubai) were originally placed in gardens for
visitors to wash their hands and mouth before the tea ceremony.
• FISH swimming in ponds, have a decorative and philosophical meaning

• GARDEN BRIDGE, called a moon bridge, whose purpose is to reflect artistic
feelings.
• BAMBOO FENCES
• SEASONAL PLANTS
• MEANDERING PATHWAYS
• ROCKS AND SANDS

BASIC ELEMENTS IN JAPANESE GARDENS GARDEN DESIGN IN HISTORY
STONE LANTERN:

WATER BASIN:

GARDEN BRIDGE:

BAMBOO FENCES:
There are three types of fences:
• The short fence which extends from the house into the garden
• An inner fence and an outer fence.
• Short fences or sodegaki are screens that hide unwanted views or objects.
They are about 6 or 7 feet high.
Add color and texture to the garden.
Materials used are bamboo, wood and twigs of bamboo or tree.

SEASONAL PLANTS:
Garden of the 10th to 12th centuries contained Cherry, Plum Trees, Pines and Willows.
Influence of the Zen sect and watercolor painting from Southern China transformed the gardens
to be colorful Japanese garden in the Middle Ages.
Flowers, flowering plants and shrubs were regarded as signs of frivolity and were replaced by
evergreen trees that symbolized eternity.

PATHWAYS - TOBI-ISHI :
Stepping- stones are found near the

veranda or entrance of the house or tea
room. The visitor of the house or room is
expected to place his shoes on the step-
stone before entering.

ROCKS AND SAND:
Stones are fundamental elements of Japanese gardens.
Stones used are not quarried by the hand of man, but of stones shaped by nature
only
Used to construct the garden's paths, bridges, and walkways.
Represent a geological presence where actual mountains are not viewable or present.
They are placed in odd numbers and a majority of the groupings reflect triangular
shapes

ROCKS AND SAND:

FISH:

SCENERY METHODS
The Japanese garden can include three possible methods for scenery:
The first is the reduced scale scenery method. The reduced scale method takes actual
natural elements and reproduces them on a smaller scale.
The second technique called symbolization and it involves generalization and

abstraction; this could be accomplished by using white sand to simulate the ocean.
Borrowed views is a technique that refers to artistic use of elements that imply scenes
other than those actually portrayed. An example of this would be a painting of a house in
the city with a seaside dock in the middle of the street to imply a seascape scene.

TYPES OF JAPANESE GARDENS
1.KARESANSUI GARDENS - DRY GARDENS
2.TSUKIYAMA GARDENS - HILL GARDEN / STROLL GARDEN
3.CHANIWA GARDENS - TEA GARDENS

TYPES OF JAPANESE GARDENS - KARESANSUI GARDENS - DRY GARDENS
Also known as rock gardens and waterless stream gardens.
Influenced by Zen Buddhism and can be found at Zen temples of meditation
Found in the front or rear gardens at the residences.
There is no water present in these gardens. Raked gravel or sand simulates the
essence of water
The rocks/gravel used
are chosen for their
interesting natural
shapes.
Plants in this garden are

of much less importance
(and sometimes
nonexistent)

KARESANSUI GARDENS - DRY GARDENS
Rocks and moss symbolize ponds,

islands, boats, seas, rivers, and mountains
in an abstract way.
Gardens were meant to be viewed from a

single, seated perspective.
Rocks in Karesansui are often associated

with Mountains such as Mt. Penglai or Mt.
Lu. Karesansui.
Stones are usually off-white or grey

though the occasional red or black stone
were added later.

KARESANSUI GARDENS - DRY GARDENS
RYOAN - JI TEMPLE - KYOTO

Ryoanji, Peaceful Dragon Temple, founded in 1450s, is a built in a Buddhist temple.
The garden measures of 30M long X 10Mwide.
Entrance to the Temple

KARESANSUI GARDENS - DRY GARDENS - Ryoanji Temple
3
2
1
5
5
7
1. Sanded Ground
2. Moss
3. Stone
4. Earth Wall
5. Tile Pavement Ground Floor Plan - Ryoanji Stone Garden
6. Ornamental Gate
7. Verandah
Ryoan-ji (or The Temple of the Peaceful Dragon) is a Zen temple located in northwest
Kyoto, Japan. The temple is one of the Historic Monuments of Ancient Kyoto, a
UNESCO World Heritage Site.
The garden has 15 rocks that are placed

on a wide expanse of land covered with
white gravel.
The rocks are covered with moss, which

adds a green tinge to the whole landscape.
However, even though the rocks are 15,

you will only see 14 of them no matter what
angle you look at it, except at the top
view.
The creator of this masterpiece

strategically placed all 15 rocks so that
people can only see 14 of them.

This is related to Zen Buddhism. In Buddhism,
the number 15 signifies wholeness or
completeness.
In the rock garden, if you can see all 15, it

means you have already attained
enlightenment.
The garden it is one of the most visited places

in Japan for its sheer brilliance and
simplicity.

TYPES OF JAPANESE GARDENS - TSUKIYAMA GARDENS - HILL / STROLL GARDEN
These gardens appeared in Japan during

the Edo Period, (1600-1854), at the villas
of nobles or warlords
They strive to make a smaller garden

appear more spacious.
The gardens use Shakkei-Borrowed

Scenery and Meigkure-Hide & Reveal to
bring the near-by mountains as a part of the Koishikawa Korakuen is a Japanese garden
garden. in Tokyo, Miniature, of Mt. Lu in China
Ponds, streams, hills, stones, trees,

flowers, bridges, and winding paths are
used frequently in this style.
Often existing landscapes are

reproduced on a smaller scale, or an
imaginary landscape is created.

TSUKIYAMA GARDENS - HILL / STROLL GARDEN - Shugaku-in Imperial Villa
Middle Garden
Upper Garden Pond & Waterfall Lower Garden

TYPES OF JAPANESE GARDENS - CHANIWA GARDENS - TEA GARDENS
G
E
H
B
D A. Kikugetsu Villa
C B. Crescent Bridge
C. South Pond
D. South Park
F E. Folkcraft House
A F. Mt. Shiun
G. East Gate
H. North Park
Plan of Tea Garden Ritsurin Koen

CHANIWA GARDENS - TEA GARDENS - Tea Garden at Ritsurin Koen
Sand Garden near Kikugetsu Villa South Pond behind Kikugetsu Villa
Crescent Bridge Bridge behind Kikugetsu Villa

Ninnaji Temple Garden Kyoto.

MUGHAL GARDENS OF INDIA

INTRODUCTION
MUGHAL EMPIRE : 1526 - 1750
EMPERORS : Babur, Humayun, Akbar, Jahangir,
Shah Jahan, Aurangazeb
The Persian influence is prominent in the

Architecture and Landscape.Design
Persian Background
Persian concept of garden includes:
• “ Paradise garden”
• 4 water channels divides the garden into
4 quarters, Char-bagh structure
• Muslim Art - geometric, based on
calculations.
Indian background: The basic quadripartite structure of
• Hindu art - organic, rhythm of nature & a Persian Garden with the Water
humanity; complex & diverse. Feature in the Centre
• Fusion - Indo Islamic themes
PHILOSOPHY:
The garden in Islamic Style of architecture is not just another feature it has a well-
defined meaning and it symbolizes the spirituality.
According to the holy Koran, A GARDEN IS SYMBOLIC OF PARADISE.
Islam being a religion that was founded in the region of Arabia always gave value to the
vision of a lush green, well laid out, and watered garden and in due course came to
symbolize these gardens.
In Islam, it is believed that there are four rivers in paradise,

• Water,
• Milk,
• Wine, And
• Honey.
From this concept the Char Bagh Style of garden planning took root

EXPRESSION OF GARDEN
The Mughal Gardens in India were expressed
as either Pleasure Gardens & Tomb
Gardens.
The examples of these are found at Agra,
Delhi & Kashmir
Symbolism was expressed basically in the
relationship of circle, octagon and square. Pleasure Garden - Nishant, Kashmir
Pleasure Garden - Rashtrapati Bhavan,

Delhi Tomb Garden - I’timad ud dulha, Agra
SYMBOLISM IN GARDEN
• The Garden attempts to emulate Eden, with 4

Rivers and 4 Quadrants that represent The World.
• Intersection of channels symbolizes meeting of god

& man
• The conception of the Border Landscape was both

Original and on also on Grand Scale
Water Feature - Humayun’s Tomb

MUGHAL GARDENS IN INDIA
PLEASURE GARDENS
• Shalimar Bagh, Kashmir
• Nishat Bagh, Kashmir
TOMB GARDENS
• Humayun’s Tomb, Delhi,
• Taj Mahal, Agra

COMMON FEATURE OF MUGHAL GARDEN:
• Straight tile-lined channels of water

• Bubbling fountains
• Trees for shade and fruit
• A Pavilion or gazebo
• Strong emphasis on flowers in beds.

DESIGN CRITERIA
SITING & RELATIONSHIP:
• Great importance were given to Location of Site.
• Visual Impact influenced the spatial organization.
• According to the context, Gardens were planned as extroverted space drawing

in the surrounding landscape - Borrowed Landscape.
• Geographic “Edge” were exploited & enhanced

DESIGN CRITERIA
FUNCTION:
• Private gardens of pleasure.
• Users: Emperor, his family & nobles.
• Function: Recreation, Pleasure & Social Gathering.
• Spatial Organization: No defined function for spaces - flexible.

DESIGN CRITERIA
SPATIAL ORGANIZATION:
• Walled garden.
• Organized on a grid of rectilinear geometry.
• Dominant axial alignment.
• Visual axis links 2 natural elements - Lake & Mountain range.

DESIGN CRITERIA
SCALE:
• Garden are in Human Scale.
• No Built Components dominates the garden - they are in subtle relationship

and Harmonious Relationship.
• Change of level s gives containment.

DESIGN CRITERIA
WATER:
• Water used as strong Unifying Element,
• Water channel divides the garden into 4 major directions.
• Potential of water is understood & exploited in various forms - canals, water

falls, chutes, fountains, tanks/ ponds.
• Pavilion with throne set in the centre of a tank surrounded by spouting jets of
water.
• Functionally the water is used to cool the surrounds
• “ Form & Quality of Water itself” is a profound concept..

DESIGN CRITERIA
WATER:
• Chadhar - slab with intricate carving on which water is

made to run over, creating ripples - gives form to water.
• Chinni kana - small niches behind the falling water.

Lamps were placed during evening.
• Pleasure to Senses were through:

• Sounds of varied quality,
• Sprays from fountains;
• Foam at foot of chadhar,
• Ripples & glitter of swift flowing water.

DESIGN CRITERIA
VEGETATION:
•Vegetation used as a very Subtle Element.
•Function: Aesthetic & Utilitarian Purpose.
•Planting done as Clumps, Avenues, Edges, Beds, etc..

DESIGN CRITERIA
SYMBOLISM :
• Square: material things.
• Circle: eternity.
• Octagon: Evolved from circle.
• Vegetation: immortality & renewal of life.
• Water: symbol of life.

TOMB GARDEN - TAJ MAHAL, Agra
Taj Complex occupies a Total Area of 580
Introduction : m by 300 m, the Taj Garden alone covers
300 m by 300 m.
From the Entrance gateway, a sprawling
garden is viewed in front till the plinth of the The guiding principle in creating this
Taj. garden is of Symmetry
The Taj Garden covers most part of the Taj

Complex.

TOMB GARDEN - TAJ MAHAL, Agra GARDEN DESIGN IN HISTORY
The char bagh, separated by the The channels were stocked with colorful
watercourses originating from the A. fish and the gardens with beautiful
birds. Royal guests were invited to the
Central, raised pool, were divided into B.
tomb - so the stables and guesthouses
16 flowerbeds,
were also built.
There were 400 plants in each bed.

All the trees, either cypress (signifying The garden today is only peaceful region in
the entire complex and the best for framing
death) and fruit trees(signifying life)
photos of the tomb with foliage.
were planted to maintain symmetry.
B B
B B

The Taj Mahal Complex can be most 3. The Char Bagh garden Gardens.
conveniently divided into 5 sections.
4. The Jilau Khana containing
1. The 'Moonlight Garden'. accommodation for the tomb attendants
and two subsidiary tombs.
2. The Terrace Area , containing the
mausoleum, mosque and jawab . 5. The Taj Ganji, was originally a bazaar
N
Moonlight Garden:

Taj Gardens:

PLEASURE GARDEN - SHALIMAR BAGH, Kashmir
Introduction :
• Shalimar Bagh was built in 1642 by Shah Jahan

• The garden occupies 12.4 Hectare( 31 Acres), 587M x 251M.
• The Garden has 3 Terraces, a central water canal.
• These gardens lacked high walls as found in the rest of the country.
• A central channel runs axially through the central of the garden from the
highest point to the lowest point.
• The central channel is called as the Shah Nahar which feeds the 3 terraced
gardens..
• There are 3 Terraced Garden, with Fountains and Chinar lined Vistas.
• The garden was linked to the Open Dal lake through a 1.6Km long and 11M
wide Channel.

PLEASURE GARDEN - SHALIMAR BAGH, Kashmir
Beginning at the Top Of The Garden, the 3

canal runs through each of the Baradaris
(pavilions) in the garden.
At each terrace, the canal flows into a

Larger Pool, highlighting its baradari.
Within the Shalimar Bagh, each of the

three terraces had a different function and
level of privacy:
1. A Public Garden (First Terrace),
2. A Private Garden, also called the
Emperor's Garden (second 2
terrace) and
3. The Zenana (harem) garden, on
the third terrace 1
PLEASURE GARDEN - SHALIMAR BAGH, Kashmir GARDEN DESIGN IN HISTORY
The Shalimar Bagh is well known for

Chini Khanas, or arched niches,
behind garden waterfalls.
They are a unique feature in the

Bagh. These niches were lighted at
night with oil lamps, which gave a
fairy tale appearance to the water
falls.
However, now the niches hold pots

of flower pots that reflect their
colours behind the cascading water.
ARCHITECTURE AND ENVIRONMENTAL PLANNING

PLEASURE GARDEN - SHALIMAR BAGH, Kashmir GARDEN DESIGN IN HISTORY

S
RENAISSANCE GARDEN
ITALIAN GARDEN DESIGN IN HISTORY
History: Expression :
Pre Renaissance gardens – Utilitarian – The fundamental purpose was
Vegetables, Herbs & Flower.
to create shapes that respond to the
Hellenistic influence led to the concept of intellectual mind searching for Order, i.e.
PLEASURE GARDENS.
stimulus, to provide for dignity and status
Source of inspiration – POMPIAN to human himself.
HOUSES – Form & Structure were
reflected in Italian Renaissance Garden In Principle the sides overlook the mother
city, i.e. adjoining slopes or hillsides.
Socio-Economic Factor:
• Urbanization Man is the centre of universe
• Wealthy and Powerful, merchant class
originated. Concept of “ Individuality”
• New ideas and scientific knowledge
broadened mental horizons Creating of shapes that responded to
• Talent was recognized the Intellectual Mind searching for
• Art was appreciated Order, Tranquility and Stimulus
• Wealthy people spent on Arts,
Sculptures, Architecture And Gardens
LEON BATTISTA ALBERTI :
• Remarkable Person of the renaissance period.
• Concept of Villeggiatura – withdrawal to the country

side.
• Classical concept of beauty as congruity – The

harmony of all parts – influenced garden design.
• Compared garden layout with human body – Integrity

& Proportion
The three principles are:

Numerous – Number – the natural
preference for odd or even number
Finito – Proportion His theory was Art as Imitation
of Nature
Collocation – Arrangement of parts, so
that nothing could be removed, added or
replaced.
Sitting of a Villa :
• Preference was given to the Visual

Aspect in Locating Villa Sites.
• Alberti suggested Slope of Hill for the

Villa Site because:
• To create Levels
• To take advantage of magnificent
views and the valleys and plains
• To enjoy and observe country
landscape for health and comfort.
Roma Villa Madama

Planning:
• Formal Planning
• Order & Symmetry

• Hierarchy of axes and cross axes – Grid
System divides overall composition into
different characteristic.
• Equal emphasis on all parts of the

garden – achieved through Symmetry Villa Petraia
Along the Central Axis.
Scale :
• Grids Scaled Down The Monumentality

Of Huge Space of the garden to human
scale for various activities.
• Expansive or huge space for show &

entertainment ; smaller & intimate
space for seclusion.
• Built form was based on the scale of

the garden both in plan & section.
Function
• An symbol of Power & Wealth.
• Private pleasure garden for social
gathering, performance & pleasure.
• Summer Retreat
Water :
Spectacular usage of water displayed

through:
• Fish Pond
• Fountains
• Cascades
• Water Channels
• Basins
Water Stored in a reservoir behind the

Villa.
Unlimited supply of water was

available.
Water used as Aesthetic & Unifying

element
Vegetation :
Plays a subordinate role.
Most species used were Evergreen

Plants.
Plants used in Varied forms vary from

Formal to informal level
Illusions :
Deception of view – gives false
image or impression or information.
Italian Renaissance garden employed

illusion of
• Material
• Shape
• Size
• Character
Features of Italian Garden:

• Stepped Sequence
• Vine covered pergolas
• Clipped topiary work
• Pool, fountain, cascade
• Box hedged flower garden
• Statues
• Covered seats & tables
• Great vases
Villa Lante, Bagnaia ITALIAN GARDEN DESIGN IN HISTORY
In the 16th century Cardinal Raffaele

Riario, started the construction with a wall
that was built around the entire site, in
Bagnaia (near Vittarbo), the garden
construction also began with it.
Inside the wall included a garden and an

adjacent hunting park, which is now a
public park.
During the next 100 years the garden took

on few restorations. The garden which
formed a long rectangle was divided into
three terraces.
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Villa Lante, Bagnaia RENAISSANCE GARDEN DESIGN IN HISTORY
Villa Lante, Bagnaia
S.R.M UNIVERSITY LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

One of the main design principles is the
strong central axis, which starts at the Symbolically, the garden represents the
entrance by the fountain of the Moors and tale of humanity's descent from the Golden
runs to the top of the third terrace ending at Age and each fountain tells a story
the Fountain of the Flood.
Views keep changing as we move through
Another main design principle is using the garden.
bilateral symmetry with the palladian circle
and square and also the use of water The top level delivers surprise by suddenly
flowing from the fountain of the flood revealing full view of the garden and
through the entire garden to enhance country side.
the strong central axis..
Quadrato and the Fountain of the Moors

Built on a hill slope, the garden is proper 1

acre of land. The 3 terraces include:
1st Level: Square Parterre garden with

pool at center.
2nd Level: Beautiful Casinis was

proposed but not built , instead fountain
and pool was done.
3rd Level: 2 little pavilion on either side of

a fountain, with forest trees as
background.

Planning Principle: Scale:
Integration achieved by the axial Scale of the garden expresses enjoyment
planning, strict geometry & symmetry. rather than grandeur – achieved by
sensitive articulation of space.
All components – Built & Natural are
arranged along the central axis. Huge or Large open space brought to
human scale – monumentality broken by
Traverse axis divides huge spaces into vegetation & built components.
smaller spaces.
Scale of buildings based on the overall
Basic composition were pure squares. scale of the garden in all aspects.
Exterior Space or Outdoor room:

Out door spaces designed for specific
function – e.g. Outdoor dinning.
Strong relationship between outdoor and

indoor.

Built Component:
There is a strong relationship between FOUNTAINS & CASCADES: Objects of
the built components to other high aesthetics, which were done with
components in site. intricate details.
TERRACES: 3 Terraces.
SCULPTURES: Were work of art done to
STAIRCASES: Designed as an important perfection.
components not as a element of physical
transition from level to another were sited
to create a visual experience while VASES OR POT: Done with great
transcending. attention to details with motif and carving
on them.
BALUSTRADES: Used as an integrating
element.
S.R.M UNIVERSITY LANDSCAPE ARCHITECTURE AND EN VIRONMENTAL PLANNING

Vegetation:
Used in various form & type.
1st Level: Pruned or Clipped hedges.

2nd Level: Groves of trees.
3rd Level: Natural & Wild.
Mostly evergreen trees were used.
Major Components:
BOSQUET: Groves of tree planted in TOPIARY: Pruned plants to shape of
regularity – here not uniform. Path animals and other objects.
penetrates wood, used for walks & hunting,
relaxation.
AVENUES: Diagonal & Straight paths
planted with tress like Cypress, Oak,
PARTERRE : Formal &n composed etc…Mostly evergreen trees were used.
clipped/ pruned hedges in geometric
shapes & pattern, used as lines to divide
spaces.
BAXUS: Vegetation mass looking as built

element like box.

Water:
Water is used in spectacular way – Unifying element that connects the
invoking feeling of wonder or surprise. different levels along the central axis.
Reservoir is at the top level with two
1st Level: Pool Quadrant
pavilion on either sides of it.
Square pool divided in to 4 equals
bisecting bridges which connects
fountain.
Four stone spouts with trumpets and

musketeers shooting water at the
central fountain.
2nd Level: Fountain with pool and

staircase around it.
3rd Level: Running water, Cascade

water coming from upper to lower
level.

FOUNTAIN OF PEGASUS:
Derived from the statue above the Oval

Fountain in the Villa d'Este, this fountain
tells the story of the winged horse's hoof
striking the earth which sparks the
Spring of Hippocrene, which is the
symbol of the source of artistic creativity.
This is the first fountain a visitor sees

for it sits at the entrance of the park

FOUNTAIN OF LAMPS:
In the first of the ascending

terraces, lodged between two
stone staircases, is the Fontana
dei Lumini ("Fountain of the
Lamps"),
A circular tiered fountain; on the

ledge of each tier, smaller
fountains, imitating Roman oil
lamps, spout small jets of water
which in the sunlight appear to blaze
like lamp flames.
Camellias, and other ericacious

flowering shrubs added in the 19th
century blaze in the shade of this
terrace

FOUNTAIN OF THE GIANTS:
The two statues represents the Tiber and

Arno Rivers , which is symbolic of the
fertility that water brings to the land.

FOUNTAIN OF THE DOLPHINS:
Below the fountain of the flood sits an

octagonal fountain with four
descending basins, which are linked by
many sculptures.
There are sixteen dolphins, which are

arranged in pairs on each corner of the
octagon.
The fountain is surrounded by benches

and a row of boxwoods.

FOUNTAIN OF THE CHAIN:
Water flowing from the fountain of the

dolphins spurts into the jaws of a
crayfish, the symbol of Cardinal
Gambara.
The fountain begins with the crayfish's

head and front claws in the middle of the
stairs and continues down with linked
curves that form the body.
It ends with water flowing through the

crayfish's back claws, which begins the
fountain of the giants.

FOUNTAIN OF THE FLOOD:
A grotto fountain that sits on the upper terrace

is the start of the compositional theme of the
path of water that replenishes all the fountains
in the garden through gravity and is the
culmination of the line of vision from the main
gate.
The fountain's theme derives from the Biblical

flood of the old testament and initiates the
story of humanity's evolution.

Garden Design in History - Japanese &amp; Mughal

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GARDEN DESIGN IN HISTORY:

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

“Art is a continuous process, however new circumstances may be it is virtually

All design therefore derives from impressions of the past, conscious or

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

Egyptian tomb paintings of the

Another ancient gardening tradition is

The formal Garden à la française,

Spanish Public Gardens

The first public parks were built by the

Embellished farms Poetic

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

THE CENTRAL CIVILIZATION

THE EASTERN CIVILIZATION

THE WESTERN CIVILIZATION

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

The line between garden and its

Gardens incorporate natural and artificial

In the Japanese garden, the viewer should

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

Nature is the ideal. Gardens must strive to achieve it.

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

Formal styles were most often found at

Daitokuji Temple, Kyoto

Intermediate Style - Residence

The informal style are now used mostly in

Wabi can denote the Spirit of the Place, Event or Object.

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

Seasonal Changes through the Gardens of Ryonji Temple

Many of the fence styles offer

While entering the house to view

To view the garden as a

That way one can truly

One must lose oneself

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

Stroll Garden, Nitobe Japanese Garden, Vancouversun, Canada

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

Gardens located at the Zhishan Garden

• Natural: that should make the garden look as if it grew by itself

• Asymmetry: that creates the impression of it being natural

• Odd numbers: It supports the effect of the asymmetry

• Simplicity: that follows the idea of 'less is more'

• Contrast: that creates tension between elements

• Lines: that can create both tranquility and tension

• Curves: that softens the effect

• Openness: that indicates interaction between all elements

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

• FISH swimming in ponds, have a decorative and philosophical meaning

• ROCKS AND SANDS

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

Stepping- stones are found near the

stone before entering.

LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL PLANNING

Stones are fundamental elements of Japanese gardens.

Used to construct the garden's paths, bridges, and walkways.

Garden Design in History - Japanese & Mughal

Garden Design in History - Japanese & Mughal