Landscape Architecture PDF

LANDSCAPE ARCHITECTURE MODULE III ◦ E.A. Gutkind, British architect and philosopher has described the stages of man’s changing relationship with the land and nature. These stages are divided into categories termed ◦ 1. I-Thou and ◦ 2. I-It ◦ 1. I – thou understanding that in order...

LANDSCAPE ARCHITECTURE MODULE III ◦ E.A. Gutkind, British architect and philosopher has described the stages of man’s changing relationship with the land and nature. These stages are divided into categories termed ◦ 1. I-Thou and ◦ 2. I-It ◦ 1. I – thou understanding that in order to survive there must be a co-existence with the land land takes on almost a sacred quality ◦ 2. I - it the bonds with the land become disintegrated more dominance is put in force on his surrounding ◦ The four stages within the two categories of I-Thou and I-It are subdivided as follows: 1. I-Thou a. Stage One: ◦ Fear and longing for security - where mankind is concerned with survival and there is little understanding of earth processes. Landscape patterns reflecting fear- dwellings are typically huddled in circular patterns and look out towards their surroundings. Tribal dwellings are usually good examples of this category. TRIBAL DWELLINGS ◦ b. Stage Two: ◦ Growing self-confidence and adaptation- where mankind begins to adapt the landscape he inhabits to his particular needs. In this stage, man begins to lose some of the fear that overwhelmed him in the previous stage. Forests and other areas begin to be cleared for agricultural use and technology increases RICE FIELD PATTERNS IN CHINA 2. I-It a. Stage Three: Aggressiveness and conquest- where utilitarian ideas towards the land take precedence, seen by a sometimes wanton disregard for the land. Man is able to exploit resources because of his advancements in technology (i.e., the Industrial Revolution). Any typical urban city which grows with an insensitivity to it’s natural surrounding is an example of this type. Rampant mining, felling of forests and non-renewal of natural resources are characteristic of this stage. DENSE URBAN GROWTH OF LOS ANGELES CITY b. Stage Four: Responsibility and awareness- where man recognizes his hand in being a steward of the land. This stage is reverting back to the I- Thou stage. The last stage, responsibility and awareness, is a relatively new stage in man’s role as a player in environmental change. This stage is marked by the recent environmental movement. Now, almost all major planning projects are dealt with after a thorough study of the ecological relationships. A good example is The Tennessee Valley Authority (TVA) in the U.S.A. which was created in order to develop the Tennessee River and its tributaries for the purpose of navigation, flood control, and the production and distribution of electricity. ORIGIN OF GARDENS ◦ Ancient civilizations - Egypt, Persia, Greece and Rome ◦ Social, Economic, Symbolic role as a vision of paradise. ◦ Hebrew - GAN meaning to protect or defend, implying a fence or enclosure and EDEN or ODEN meaning pleasure or delight ◦ Majority of religions faiths describe gardens as paradise. ◦ Early civilizations attributed special meaning and significance to certain trees and plants such as olive, thin, fig, etc. ◦ FOR POOR - Agricultural practices - fenced vegetable patch - prototype. Some plants, usually herbs, even if they were grown in pots. ◦ FOR WEALTHY - Gardens were made for rest and pleasure, entertainment-games, music, dining and dancing. Extension of the house, an outdoor room. ◦ Managed garden - large areas of woodland near to towns that were used for hunting game animals ◦ Fenced to protect from animals and intruders. ◦ Irrigation channels and ponds - functional and climatic ◦ Formal in layout with plants that provided shade, shelter, ornament, medicine and food. ◦ Important plants - fruit, nuts, grains, vegetables and herbs. Introduction to the Evolution of Garden Design Landscape design evolved from practical agricultural uses to elaborate artistic expressions. 1.Italian Gardens (15th - 16th Century) 1. Developed during the Renaissance in Italy. 2. Focus on symmetry, geometry, and the integration of architecture and nature. 2.French Gardens (17th Century) 1. Inspired by Italian Renaissance gardens but expanded into grander and more formal designs. 2. Showcased power, control, and grandeur, particularly under Louis XIV. 3.English Gardens (18th Century) 1. Reaction against the rigidity of Italian and French styles. 2. Emphasized natural landscapes, inspired by Romanticism and picturesque ideals. ITALIAN GARDENS Statues in the gardens of the Palace of Caserta ITALIAN MEDIEVAL GARDENS P r IVAT E G ARDEN S E N C LO SED BY WALLS FOR GROWING VEG ETAB LES , FRUITS , mEDICIN A L HE R BS. M O N AS T ERY G ARD EN S F OR SILE N T MEDITATION AN D P RAY E R. ITALIAN RENAISSANCE GARDENS B ROKE DOWN T H E WALL B ETWEEN T H E GARDEN , T H E HO U SE , AND T H E L AN D S CAP E OUTSIDE L ARGE E S TATES OR VILLAS - EXTRAVAGAN T AND WELL-DECORATED GARDEN S. C OMMON C HARACTERISTICS S H A P E D TOPIARIES L ARG E FOUNTAINS D ECORATIVE STATUES RESEMBLING TH E R OMAN GODS OR IMPORTANT HISTORICA L FIGU R ES. L ATE R E N AISSAN C E - GARD EN S B ECAME LARG ER , GRAN DER AN D MORE SYMMETR ICA L C OMMON CH ARACTERISTICS F OUNTAINS S TATUES G ROTTOES WATER O RGAN S O T HE R FEATURES DESIGNED TO DELIGHT THEIR OWNERS AND A M U SE AN D IMPRESS VISITORS. D E R E A EDIFICATORIA ('TH E TE N B OOKS OF A RCH ITECTURE '), BY L EO N B ATTISTA A LB E RTI (14 0 4 –1 4 7 2) – FIRS T TO MENTION AB O UT R ENAISSAN C E G ARDEN S. H E DREW U P O N T H E ARC HITECTU RA L P R INCIPLES OF VITRUVIUS , AND U S ED QUOTATIONS FROM P LINY TH E E LDER AN D P L INY TH E YOUN GER. A CCORDIN G TO P LINY ’ S LE TTERS - P U R P O S E OF A GARDEN "OTIUM " (SEC L USION , S E RENITY, OR RELAXATION ) A S O P P O S E D TO "N E GOTIUM " (B US Y UR B A N LIFE ). A L BE RTI P R O P O S E D V ILLA S H OU L D BOTH B E LOOKED AT AND A P L A C E TO LOOK FROM H O U S E SH O UL D BE P LA C E D ABOVE T H E GARDEN , WHERE IT COULD B E S E E N AND T H E OWNER C OULD LOOK DOWN INTO T HE GARDEN. WITHIN T H E GARDEN , A LBERTI WROTE : "...YOU S HO U LD P L A C E PORTICOS FOR GIVING SHADE , P L A N T E R S WHERE VINES C AN CLIMB , P L AC ED ON m ARBLE COLUMNS ; VASES AN D AMUSING STATUES , PROVIDED T HE Y ARE N OT OBSCENE. Y OU S HO U L D A L SO HAVE RARE PLANTS.... T REES SHOULD B E ALIGNED AN D ARRANGED EVENLY, EA C H T R EE ALIGNED WITH ITS N E IGHB O RS.“ POWER AND MAGNIFICENCE - THE POLITICAL SYMBOLISM E ARLY ITALIAN R E N AISSAN C E GARDEN S – F OR CON TEM P LATION AND P L E AS U RE WIT H T U N N E L S OF GRE E N ERY, TRE E S FOR SHAD E , A N EN C LO S ED GIARDIN O S E GRETO (SEC RET GARDEN ) AND FIEL DS FOR GA M ES AND A MU S EM E N TS M EDICI, T H E RULING DY N AS T Y OF F LO R EN C E - TO DEMON STRATE T H EIR OWN POWER AND MAGN IFICE N CE. THE L ITERARY INFLUENCE ON THE ITALIAN RENAISSANCE G ARDEN A P O P U L A R R OMA NC E , P OLIPHILO 'S S TRIFE OF L OVE IN A D RE AM , P U B LISHED IN 1 4 9 9 IN VENICE BY T H E MON K F RA N C E S CO C O LO N N A IT D ES C RIBED T H E VOYAG E A N D ADV E N T U R E S OF A TRAV E L LE R , P OLIPHILE , T H R O U G H FA N TASTIC L A N D SCA P E S , LO OKING FOR HIS LO VE , P OLIA. TH E SC E N E S D ESC RIBED IN TH E B OOK A N D T H E ACCOMPA N YING WOODCUT ILLU S TRATIONS INFL UE N C E D M AN Y R ENAISS A N C E GAR DEN S. PRINCIPLES & E LEMENTS OF ITALIAN G ARDENS R OMAN GODS AN D GODDESSES - ARTWORK DISPLAYED IN T HE GARDEN S D OM E STIC AN D WILD ANIM AL S – TOPIARY G ARD EN PRACTICAL AN D PLEASING. P ART OF T H E L AN DS C A P E OF T HE HOME , COMPLIMENTING T HE HOUSE , N O B EING HIDD EN FROM VIEW. A NCIENT R OMAN GARDEN S DEPICTED IN ARTWORK AND LITERATURE. A CCORDIN G TO L E ON B ATTISTA A L BE RTI, P R INCIPL E A S P EC TS OF A R ENAISSAN CE GARDEN A REA FOR S HA D E C LIMBING VINES AND TOPIARIES E VENLY SPAC ED T R EE S R ARE P L A N T S M A RB L E COLUMNS , VASES , AND STATUES. P RACTICAL EL EM E N TS S U C H A S VEGETABLES , FRUIT AN D H ER BS – mADE TO A P P E A R ORNAMENTAL. O UTLINING WITH E VERGREENS E VERG REEN -O U TLINED B EDS. B OX HED GE , mYRT L E , RO S E MA RY, AND OT H ER EVER GREEN P L A N T S ARE TR IMMED INTO A H E DGE S H A P E TO DIVID E T H E B E DS. R EMAIN G REEN EVE N IN WINTER MON T H S B E CA U S E T H E R E N AISSAN C E G ARDEN IS mEAN T FOR Y EA R -ROUND P L E A S U RE. TOPIARY E V ERG R EE N P L A N T S S H A P E D, TRIMMED A N D P R U N E D INTO AM U S ING S H A P E S , A RE U S E D TO ADD H UM O R A N D P L AYFU L N E SS TO T H E GA RDE N. FRUIT TREES C LIPPED AN D WELL-TENDED E ITHER P L A N T ED IN P OT S OR O P E N GROUN D AGAIN S T WALLS. C ITRUS FRUIT P L A N T S ARE O F T EN POTTED U P SO T HEY C AN B E S E T OUTDOORS DURING WARM MONTHS , AND mOVED INDOORS DURING WINTER m ONTHS. O T H E R FR UIT TRE E S - TRAIN ED AS A RC H ES OR OVER P ER G OL AS OR A S A N E S P L A N A D E AGAINST S OUTH - FACING WALL , FOR EARLY RIPENING OF TH E FRUIT. S TATUARY N ORMALLY A C ENTRAL FEATURE IN A FOUNTAIN OR GROTTO. N EV E R VULGAR OR OFFENSIVE , B UT H U M OR O U S OR GRACEFUL. ARCHES AND PATHWAYS E V ER G RE EN S O F T EN LINE PATH WAYS. L AUREL , YEW, C YPRESSES , FIR, O AKS , P LUM , AND J U N I P E R T RE ES ARE U S ED TO CREATE GREEN WALLS , A RC H ES AND LIVING PERGOLAS. F OOTPATHS AR E DESIGNED TO OFFER VARIED WALKS WIT H VARIED VIEWS F OR EXERCISE , O F T EN TAKING T HE LON G WAY AROUND. P ATHS CAN B E GRASS PATHS , mOWN DOWN REGULARLY, OR DIRT PATHS WEEDED REGULARLY. T HE EASIEST PATHS TO MAINTAIN ARE PAVED OR GRAVEL- COVERED. TRELLISES AND C LIMBING PLANTS U S ED TO DIVIDE "ROOMS" AND LINE PAT H S IN T HE GARDEN. T RAINED WITH CLIMBERS LIKE IVY, ROSES , HONEYSUCKLE , OR GRAPE VINES. T HE CLIMBERS ARE A L SO TRAINED OVER P E R GOLAS , P O RTICOS AN D PAVILION S. F LOWERING CLIMBERS ARE PREFERRED. POTTED PLANTS T ERRACOTTA POTS , O F T EN C OVERED WITH FIGURES AN D DESIGNS , ARE COMMON DECORATIVE FEATURES F LOWERS , FRUIT TR EE S AND HE RB S CAN B E POTTED U P AN D MOVED AROUND TH E G ARDEN FOR VARIETY AN D ADDED COLOR. T HEY ARE ALMOST ALWAYS DISPLAYED IN BALANC ED SYMMETRY. TERRACING T ERRACED O N A GENTLY SLO PING HILLSIDE. VARIOUS L EV EL S JOINED U P BY PATHS AND SHORT FLIGHTS OF S T E P S U S ED MAINLY TO DIVIDE T HE GARDEN INTO "ROOMS" WITH VARYING "mOODS", AND TO LIMIT T HE VIEWS AND VISTAS. C ONNECTING TERRACES C AME A S A SURPRISE WHEN CLIMBING U P TH E GARDEN. L OOKING DOWN FROM T HE VILLA , HOWEVER , T HE TERRAC ES SHOULD CREATE A TABLEAU OF PLEASING VISTAS , ARTISTICALLY SC UL P T ED VIEWS. TIGHTLY PLANTED B EDS B ORDE RED B E DS - O N VARIOUS EY E L EV EL S. C E N T ER - TA L L P L A N T S U C H AS A FRUIT TREE , OR A N EVERG REEN SU C H A S L AUREL. S URROUNDING T HE TALL P L A N T ARE SHORTER P L A N T S IN A DIFFERENT COLOR , PROVIDING EITHER A C ONTRAST OR A CO MPLEMENTARY SHADE. T HESE P L A N T S AR E O F T EN H ER BS OR FLOWERING P L A N T S SU C H AS ROSES , SALVIAS , OR LUPINES. WATER FEATURES P RIMARILY FOR IRRIGATION TO K EE P TH E P L A N T S FROM DRYING OUT. S ECONDARILY, FOR FEATURES SU C H A S GROTTOS , FOUNTAINS , STREAMS , AND PONDS. C A N B E CEN TRAL FEATURES IN "ROOMS", OR A S IN T HE C ASE OF GROTTOS , OFF TO T H E SHADY SIDES OF T HE GARDEN. PLANNED WITH THE VILLA VILLA - FEATU RE OF TH E GARDEN - CEN TRAL VIEW. S H A P E S O N T HE EXTERIOR AN D INTERIOR OF T HE VILLA ARE O F T E N MIRRORED IN T HE GARDEN S H A P E S AND STRUCTURES , CREATING A HARMONIOUS BL E N D OF TH E TWO. B EAUTIFUL VISTAS FROM T H E V ILLA WHEN LOOKING OUT OF T HE WINDOWS AND DOORS INTO T H E GARDEN. S TRUCTURES S T RU C T U RES ARE U S ED TO SEPARATE “ RO O M S ” A DD VARIED HEIGHTS FOR VIEWS; PROVIDE SHADE , RELAXATION , AND PROTECTION FROM WIND AN D SALTY SEA-AIR. P ORTICOS , PERGOLAS , PAVILIONS , GROTTOS , LOGGIAS , B AL U ST R AD ES OR WALLS. N ATURAL MATERIAL S - TRAIN ED WIT H CLIMBING PLANTS. G ARDEN FURNITURE S EATING S P R E AD ARO UN D – TO E N J O Y VARIOUS VISTAS AND "ROOMS." B ENC HES , S MA L L PATCHES OF LAWN FOR PICNICS , CHAIRS , TABLES WITH CHAIRS. S TO N E AN D WOOD. C OVERED SEATING AR EAS - PROTECTION FROM S U N AN D RAIN ALIKE. P E RG O L AS COVERED IN VINES OR FLOWERING P L A N T S. THE G ENERAL MOOD T HE R ENAISSANCE G ARDEN OR C LASSICAL I TALIAN G ARDEN IS A LIGHT, OPEN , PEACEFUL , SYMMETRICAL , SOOTHING GARDEN. T HERE S HO U L D BE NOTHING DARK , m ELANCHOLY OR GLOOMY.  T HE C LASSICAL I TALIAN G ARDEN A LS O INCLUDES P E R S O N A L TOUCHES. E A C H GARDEN SH O UL D REFLEC T T HE FAMILY THAT LIVES IN T HE VILLA. S O M E GARDEN S HAVE TH E FAMILY N A M E WRITTEN IN BOX HEDGE. O R YOU C AN P U T T HE FAMILY COAT- OF - ARMS O N A GARDEN WALL. S O M E GARDEN S FEATURE P L A N T S WITH TH E FAMILY OR C HRISTIAN N A M E IN L ATIN , FOR A MORE ERUDITE P E R S O N A L TOUCH. Italian Renaissance Gardens: Order and Control Characteristics: Symmetry and Balance: Gardens were organized into terraces with precisely aligned paths and geometric layouts. Integration with Architecture: Gardens acted as extensions of palaces or villas. Water Features: Fountains, cascades, and reflective pools were common, enhancing the sense of luxury. Sculpture and Art: Classical statues and decorative elements featured heavily. Examples: Villa d’Este (Tivoli): Famous for its terraces and elaborate fountains. Villa Lante (Bagnaia): Features cascading water along a terraced garden. FRENCH RENAISSANCE GARDENS GARDEN OF VERSAILLES ◦ Inspired from Italian Renaissance Gardens, but much more grander and larger in scale. ◦ Evolved later into the grander and more formal Garden during the reign of Louis XIV, by the middle of the 17th century Based on symmetry and the principle of imposing order on nature. ◦ Ideals of measure and proportion, and to remind viewers of the virtues of Ancient Rome. Characteristics Symmetrical and geometric planting beds or parterres Plants in pots Paths of gravel and sand Terraces Stairways and ramps Moving water in the form of canals, cascades and monumental fountains Extensive use of artificial grottoes, labyrinths and statues of mythological figures parterres Broderie (Embroidery) Bosquet Alle Topiary Patte d Oie PRINCIPLES OF FRENCH GARDENS The residence - Should be the number one focal point in the French landscape style with large paths that provide axial views. No trees are planted close to the house; rather, the house is set apart by low parterres and trimmed bushes. The most elaborate parterres, or planting beds, in the shape of squares, ovals, circles or scrolls, are placed in a regular and geometric order close to the house, to complement the architecture. ◦ The parterres near the residence are filled with broderies, designs created with low boxwood to resemble the patterns of a carpet, and given a polychrome effect by plantings of flowers, or by colored brick, gravel or sand. ◦ Geometric plan - Virtually everything in the design is geometric and planned with symmetry.  Terraces - Are located in the landscape where the entire garden and all of its detail can be viewed. Water - Is incorporated as a number one element within the landscape. Referred to as “reflecting pools” in circular, oval and rectangular shapes. Serve as mirrors, doubling the size of the house. ◦ The principle axis is crossed by one or more perpendicular axis. ◦ Perspectives and alleys. ◦ Trees are planted in straight lines, and carefully trimmed at a set height. ◦ Statuary -Is a key feature as your making your way through the French garden CONTRIBUTION Architectural symbolism Hedges – Walls Lawn, ground cover / broderie – Carpets Avenue of trees – Curtain Water cascade – Steps Long basins of water – Mirrors Fountains / sprinklers – Chandeliers Optics and Perspective Enhanced perception of depth by making converging pathways Technological contribution Geoplastie – French gardens are flat unlike natural typography of Italian gardens. The science of moving large amounts of earth. Came from the military, led to the development of baskets of carrying earth on the back, wheel barrrows, carts, wagons. Andre Le Notre used these methods to build the level terraces and to dig canals and basins on a grand scale. Hydrology and Irrigation Bringing of water to the gardens for the irrigation of the plants and for use in many fountains Hydroplasie Art of shaping water – depends on type of pump (pressure) and on the type of nozzle. Associated with fireworks at the time, Often accompanied by music. VAUX-LE-VICOMTE GARDEN OF VERSAILLES The French Formal Garden: Grandeur and Precision Design Philosophy: Gardens as a statement of royal authority and control over nature. Key Features: Axial Layouts: Long, central avenues (axes) extending into the distance. Vast Perspectives: Gardens that extend seemingly without end, symbolizing control. Ornamental Parterres: Intricately patterned flowerbeds designed to be viewed from above. Water Features: Grand canals, ornamental fountains, and reflecting pools. Topiary and Structured Groves: Carefully trimmed hedges and arranged bosquets (wooded areas). Examples: Versailles Gardens (Paris): Designed by André Le Nôtre, epitomizes the formal French garden. Vaux-le-Vicomte (Maincy): A precursor to Versailles, also by Le Nôtre, with intricate parterres and water features. ENGLISH GARDENS Stowe, Buckinghamshire ◦ History of English Landscape The classic English garden may date as far back as the first century A.D. when the Roman conquerors invaded Britain. ◦ It is believed that this primitive English garden included symmetrical gravel walkways, carefully planted short hedges, park-like open lawn space, and a small kitchen garden with herbs and vegetables. ◦ In the Middle Ages, when the English garden appeared in our history once more, it still contained a carefully planted kitchen garden along with an outdoor “room” of sorts in which to play lawn games. ◦ Surrounded by tall hedges perfectly manicured, with a walkway usually leading around the lawn space, these outdoor rooms would become one of the defining features of the English garden. ◦ These formal landscapes often punctuated with raised flower beds were kept close to the house or castle, while the large amount of unused land surrounding the dwelling was often used to keep cattle or deer. Although the English garden has changed over the centuries. The historic Longleat House set in parkland landscaped by Capability Brown in the 18th century FACTORS OF ENGLAND INFLUENCING REVOLUTION IN LANDSCAPE DESIGN IN ENGLAND DURING THE 18TH CENTURY:- ◦ SOCIAL ◦ CULTURAL ◦ POLITICAL ◦ ECONOMIC ◦ TRADE AND ◦ TRAVEL ◦ PAINTING ◦ LITERATURE Common characteristics of an English garden: ◦ Lake-There was always a lake in the English gardens, most were man-made but all appeared to be natural forming basins. Their edges were meandering and irregular and often had pathways weaving through the trees and close to the water’s edge. ◦ Rolling lawns-topography allow for surprises as your coming around mounds or niches. Even if you create a small mounding area, this represents nature better___ than a completely levelled landscape. Stowe, Buckinghamshire ◦ Tree groves-were spread throughout the landscape with paths that allowed the gardens users to wander in and out of the groves and provide a view of rolling lawns against mass tree plantings Stowe, Buckinghamshire ◦ Ha ha Fence-was a type of wall used to prevent animals from entering too close to the house without obstructing the view of the countryside. ◦ Sculpture-Was entirely different than previous garden art. Part of the English landscape ideals was to provide views from a distance of classic detailed architecture and ruins. Natural Grotto ◦ Grottos-were used as romantic hide outs. They were manmade but build to resemble a dark natural forming cave. Stowe, Buckinghamshire ◦ The English style gardens were built in a massive scale; however, it is still possible to design an English style garden in a residential landscape. ◦ Replicate the areas within an English landscape style by scaling them down. For example, you don’t have the area to create a natural looking lake; you can easily represent this by a small pond. ◦ Tree groves can be sized down to consist of a small grouping, and a small wooden foot bridge can be incorporated over the small pond area. Plant groups of the flowers that will provide color and a nice fragrance. ◦ These gardens are designed to look natural and be a place for meditation and relaxation. ◦ This style values nature and encourages visitors to wander through the gravel paths. ◦ This style has been molded throughout the years to include a balance of traditional formality and organic flow. ◦ The English landscape design style is guaranteed to introduce a sense of mystery to your landscape. Return to Garden Styles ENGLISH GARDEN EXAMPLES ◦ English garden from 1450 to mid 18th century, express two garden planning systems. ◦ English upper class, strong conservators of land, held fast to practicality ◦ European garden concepts crept into their plans  HADDON HALL -1470:- ◦ CONCEPT-Formal, introvert layout, typical English garden planning form ◦ PHYSICAL ASPECTS Location-Near Sheffield, Derbyshire Layout-Square terracing of immediate grounds like " castle" of Italy Middle terrace laid in small squares beds ◦ AESTHETICAL ASPECTS Hierarchy-Two levels of garden Axis- Gardens lay in cross axis of the house Harmony-Hardscape feature ◦ DETAILS ELEMENTS IN GARDEN Soft scape-Entrance green lawn ◦ Hard scape-Dorothy Vernon's walk-Avenue of tree on both side STOWE-1739 TO 1780 ◦ Important influential garden art of English country estate. ◦ Principal example of "English landscape park". pope called it as " work to wonder at". "Bridgeman and Vanbrugh made it. ◦ CONCEPT-Strong influence of environment on form. ◦ PHYSICAL ASPECTS Location-400' above sea level. Rolling arable countryside location. Site is intersected by shallow valleys, but not so as to give views. ◦ Access-Old roman road in north. Intensive/Extensive development-Extensive development ◦ Context:- To south and east of house, Stowe village was located, with its church, had access to roman road by another east-west lane. Lands north of roman road owned by a family ◦ contained a timber forest used for production. ◦ Elysian Fields lake ◦ Home park lake ◦ Ha ha wall The English Landscape Garden: Romanticism and Naturalism Design Philosophy: A return to nature with a focus on organic, picturesque landscapes. Key Features: Naturalistic Layouts: Curving paths, irregular lakes, and rolling lawns. Scenic Vistas: Views framed by trees and natural elements. Garden Follies: Decorative structures like mock temples, ruins, and bridges to create points of interest. Lakes and Groves: Water bodies with irregular shapes and clusters of trees mimicking nature. Examples: Stourhead (Wiltshire): Known for its picturesque lake, bridge, and classical temple. Stowe (Buckinghamshire): Features open landscapes with hidden follies and sweeping views. Designers like Capability Brown emphasized natural beauty with minimal formal structuring. CHINESE GARDENS CLASSICAL G A R DE N ~ Lions Grove ◦ typical Chinese ga r d e n - enclosed by walls a n d includes on e or more ponds, rock works, trees a n d flowers, a n d a n assortment of halls a n d p a v ilions within the garden, c on n e cted by winding paths a n d zig-z a g galleries. ◦ evolved over three thousand years. ◦ includes both the v ast gardens of the Chinese emperors a n d members of the imperial family - built for pleasure a n d to impress, ◦ intimate gardens - created by scholars, poets, former government officials, soldiers a n d merchants, m a d e for reflection a n d e s c a p e from the outside world. ◦ idealized miniature landscape - express the harmony that should exist between ma n a n d nature. ◦ There are five design elements in classical Chinese garden design. They are water, plants, architecture, rocks and tracery windows (borrowed views). TIMELINE – CHINESE GARDENS S h an g Dynasty Han Dynasty Wei Dynasty Tang Dynasty Song Dynasty Yu a n Dynasty Ming Dynasty Qing Dynasty (1600–1046 BC) (206 B C – 220 AD) (221–618 AD) (618–907 AD) (960–1279) (1279–1368) (1368–1644) (1644–1912) v alley of imperial Gardens for considered two periods enlarged Peak time for the Yellow garden, which poets a n d the first golden - northern the artificial garden River combined the scholars. a g e of the and lakes building. features of classical southern enclosed botanical a n d built gardens Chinese a striking Placing parks where zoological where they garden known for contrast buildings – the kings gardens, as could e sca p e the between main a n d nobles well as the the outside plant introduct construction curving technique to hunted traditional world a n d ion, domestic of famous banks of ma ke scenic game, or hunting concentrate on ation, transpla gardens the lake spots. where fruit grounds nature a n d ntation, and and literature. a n d grafting Nature garden Function of vegetables abstracted a n d the living were grown. strict reinforced geometry along with viewing.  Sh a ng Dynasty (1600–1046 BC) that time, the garden was called "You" or "For Your Amusement", which translated to "an enclosure reflecting concinnity, for the raising of animals for hunting." The early Chinese garden was thus more of a carefully designed wood, or park, for the purpose of hunting than a garden in the modern-day British sense  Han Dynasty (206 B C – 220 AD) ◦ During the Han dynasty, this garden-park ("Yuan") b e c a m e a regular extension of the emperor's villa. ◦ Here the emperor could relax in a restful atmosphere, perhaps with guests, where the affairs of state could b e discussed an d decided. ◦ "Lin Yuan" imperial garden was originally established during the Qin (BCE 221 - 207) Dynasty, but was expanded during the Han Dynasty. ◦ The enlarged garden park h a d a pond, the Tai Qing Chi, a n d three man-m a d e islands called Penglai, Fangzhang, an d Yinzhou. ◦ h a d small palaces, pavilions, a n d diverse living quarters. ◦ Today, this type of pond-and-island, the garden-park arrangement is referred to as the Qin & Han Style.  Wei Dynasty (221–618 AD) ◦ the e c o n o m y flourished a n d society prospered ◦ the upper classes travelled to a famous site of natural beauty – to a particularly beautiful mountain range or a river – purely for pleasure ◦ Influenced by this new practice - the garden park was exp anded from a relatively small, well-tended hunting grounds to an area comparable to a modern-day nature park, incorporating mountains a n d rivers.  Tang Dynasty (618–907 AD) ◦ interest in integrating the grand plan, or scheme, of the garden with literary and artistic themes. ◦ constructed gardens b ased on the description of the elements of a particular scene from a famous poem or painting, thus paying h o m a g e to the author of the literary or artistic work in question. ◦ Sometimes an architect would construct an exact replica of a given scene from a famous literary or artistic work. ◦ Thus the concept of the garden-park as a "garden with natural mountains and rivers" b e c a m e the "garden imitating mountains an d rivers".  Son g Dynasty(960– & Yuan Dynasty (1279–1368) 1279) ◦ garden architects b e c a m e skilled at incorporating large rocks, or boulders, into the garden park. ◦ drew in the authors a n d artists themselves in the creation of garden-parks, and thus the interaction between the creator- designer of garden-parks a n d the participating community of authors a n d artists brought about rapid ad v an ces in the scope a n d design of the Chinesegarden. Son g Dynasty : Master of the Nets Garden in Suzhou. Mi ng Dynasty (1368– & Qing Dynasty (1644–1912) 1644) ◦ The "golden era" of Chinese garden construction took place ◦ The Royal Gardens at Beijing was undertaken during the period. ◦ main themes pursued by the architects of gardens of the period were "natural", "enjoyable", "poetic" a n d "graphic". ◦ Especially scenic parts of a garden were further e n h a n c e d by the addition of buildings, inviting greater participation on the part of the viewer, thus breaking with the former notion of artistic detachment; ◦ the garden increasingly b e c a m e a place in which to live rather than just a place to b e viewed. Ming Dynasty: Humble Administrator's Garden | Suzhou  A Chinese scholar’s garden: Garde n of the Humble Administrator (Suzhou) ◦ maintain a delicate balance between the m a n m a d e an d the natural, seeking to convey the effect of a wild landscape through the careful and deliberate manipulation of every element. ◦ typically and primarily dictated by the experience a visitor would h av e when walking around and enjoying it.  A Chinese scholar’s garden: Garden of the Humble Administrator (Suzhou) ◦ Everywhere the eye turns in the Garden of the Humble Administrator it meets craggy shapes, asymmetrical heaps of rock, a n d willfully bent plantings. The m a n m a d e ponds a n d sculptured streams are all irregular and meandering. Fantastic rock formations jut out here a n d there, resembling organic growths, twisting a n d pitted with d e e p recesses. ◦ the layout is not axial or symmetrical - Instead, ponds a n d paths b e n d around one another in a seemingly haphazard manner. ◦ every single view was carefully considered. ◦ The goal was not to create a rigidly structured layout that might b e viewed from a distance, but instead, to create a seemingly endless variety of views and vistas that c a n only b e appreciated by a person moving through the garden, walking along its man y covered pathways, resting on a stone balustrade, or sitting within an o p en pavilion. ◦ paths are as curvilinear ◦ Even bridges, like the Winding Path under Willow Shade, b e n d a n d twist across the garden. ◦ do not provide the quickest route between sites, but instead encou rage the viewer to stroll contemplatively, to wander, to slowly gaze upon his or her surroundings from constantly shifting angles. ◦ Small structures are scattered throughout the garden to invite viewers to p ause and to take in particularly scenic views. ◦ At the heart of the garden is a manmade pond, a n d in the middle of the p o n d is a n artificially constructed island, which is in turn bisected by a stream, so there is water within land within water within land. ◦ Plants are heaped and draped over many surfaces, including the surface of the waters, such as we see in the lotus ponds, centered on the hexagonal Pavilion of Lotus Wind-Blown from All Sides. ◦ This small structure is little more than a raised platform with a few benches a n d a roof. JAPANESE GARDENS Ninnaji Temple  Buried shaft lantern at Sento Palace ◦ Influenced by Chinese gardens ◦ Also a n art like calligraphy a n d ink painting. ◦ Miniature natural landscapes, highly abstract a n d stylized w a y ◦ For emperors a n d nobles - recreation a n d aesthetic pleasure ◦ For Buddhist temples - contemplation a n d meditation ◦ M u c h of the landscape of Japan, an island nation, consists of mountains a n d oceans. These ever-present mountains a n d o cean s are reduced to two of the primary a n d enduring components of the Japanese Garden — rocks and water. ◦ In traditional Japanese gardens these elements has b ee n created in miniature forms, often in a highly abstract a n d stylized way. ◦ Spirit of Japanese Garden -Nature is the ideal in Japanese gardens. ◦ From ancient times to the present, living in harmony with nature has reflected the in Japanese gardens as per seasons. ◦ A traditional garden will usually h a v e an irregular-shaped pond, or, in larger gardens, two or more ponds co nn ecte d by a channel or stream, and a cascade, a miniature version of Japan's famous mountain waterfalls  ELEMENTS OF JAPANESE GARDENS - WATE R ◦ Japanese gardens always hav e water, either a p o n d or stream, or, in the dry rock garden, represented by white sand. ◦ In Buddhist symbolism, water and stone are the ying-yang, two opposites which complement and complete e a c h other. ◦ In traditional gardens, The ponds a n d streams are carefully p laced according to Buddhist geomancy, the art a n d science of putting things in the place most likely to attract g o o d fortune. An island in Koraku-en gardens, Tokyo. ELEMENTS OF JAPANESE GARDENS - ROCKS A N D SAND Rock, sand and gravel are an essential feature of the Japanese garden. Rocks are traditionally classified as tall vertical, low vertical, arching, reclining, or flat. Rocks a n d water also symbolize yin a nd yang, (in a n d yōin Japanese) in Buddhist philosophy; the hard rock (male) an d soft water (female) complement e a c h other, and water, though soft, c a n wear away rock. Rough volcanic rocks are usually used to represent mountains or as stepping stones. Smooth a n d round sedimentary rocks (suisei- gan) are used around lakes or as stepping stones. ELEMENTS OF JAPANESE GARDENS - GARDEN BRIDGES ◦ Bridges first appeared in the Japanese garden during the Heian period. ◦ Bridges could b e m a d e of stone (ishibashi), or of wood, or m a d e of logs with earth on top, cov ered with moss (dobashi); they could b e either arched (soribashi) or flat (hirabashi). ◦ Bridges c a n b e painted red if it is used for temple garden, as per Chinese tradition. ◦ During the Edo period, when large promenade gardens b e c a m e popular, streams a n d winding paths were constructed, with a series of bridges, to take visitors on a tour of the scenic views Stone bridge in Koishikawa Kōrakuen, of the garden. ELEMENTS OF JAPANESE GARDENS - TREES A N D FLOWERS ◦ Plants are used either to hide undesirable sights or to serve as a backdrop to certain garden features, or to create a picturesque scene, like a landscape painting or postcard. ◦ Trees are carefully chosen and arranged for their autumn colors. ◦ Flowers are also carefully chosen by their season of flowering. ◦ Some plants are chosen for their religious symbolism, such as the lotus, sacred in Buddhist teachings, or the pine, which represents longevity. ELEMENTS OF JAPANESE GARDENS - STONE LANTERNS A N D WATER BASINS ◦ Stone lanterns - a dai-doro, like the pagoda, represents the five elements of Buddhist cosmology. ◦ The piece touching the ground represents chi, the earth; the next section represents sui, or water; ka or fire, is represented by the section encasing the lantern's light or flame, while fū (air) a n d kū (void or spirit) are represented by the last two sections, top-most a n d pointing towards the sky. ◦ The segments express the idea that after death our physical bodies will go back to their original, elemental form. ◦ water basins, (tsukubai) were originally p la ced in gardens for visitors to wash their hands and mouth before the tea ceremony. ◦ The water is provided to the basin by a b a m b o o pipe a n d they usually h a v e a w o o d e n ladle for drinking the water. ◦ In tea gardens, the basin w a s p la ced low to the ground, so the drinker h a d to be n d over to get his Lantern in Koraku-engarden Water basin at Ryoan- water ji, Kyoto ORIGIN ◦ The idea of these unique gardens b e g a n during the Asuka period (c. 6th to 7th century). ◦ Japanese merchants witnessed the gardens that were being built in C hi na and brought m an y of the Chinese gardening techniques a n d styles b ack home. ◦ Japanese gardens first appeared on the island of Honshu, the large central island of Japan. ◦ influenced by the distinct characteristics of the Honshu landscape: rugged volcanic peaks, narrow valleys, mountain streams with waterfalls a n d cascades, lakes, and b eac hes of small stones. ◦ a n d by the four distinct seasons in Japan, including hot, wet summers a n d snowy winters. ◦ The earliest recorded Japanese gardens were the pleasure gardens of the Emperors a n d nobles.  Nara Period – 8th -9th century ◦ The first authentically Japanese gardens were built in this city at the end of the eighth century. ◦ Shorelines a n d stone settings were naturalistic, different from the heavier, earlier continental m o d e of constructing p o n d edges. ◦ Two such gardens hav e be en found at excavations, both of which were used for poetry-writing festivities ◦ modest versions of the Imperial gardens of the Tang Dynasty- with large lakes scattered with artificial islands an d artificial mountains. ◦ Po n d e d ges were constructed with h e a v y rocks as embankment. ◦ had some Buddhist and Daoist symbolism, they were meant to be A view of the Eastern Palace gardens pleasure gardens, an d places for festivals a n d celebrations. The golden a g e of gardens – 9th a n d 10th century Importance was given to landscape design during Fujiwara regents, an aristocratic class Sakuteiki‘ , a garden manual written by Tachibano Toshitsuna, in 11th century, describes : Concepts of rock placement Borrowed scenery Geomantic principles of estate layout Categorizes different types of waterfall Gardens blending with local environmental conditions The Heian Period Shinden Style gardens - 11th a n d 12th centuries Architecture provided framework for garden Structures were m a d e of unpainted wood Ponds represented coastal scenery Islands symbolized the myth of turtle and crane Temple gardens b e c a m e expression of earthly recreations of paradise The priesthood undertook garden design as a form of artistic expression Daikaku-ji in Kyoto, overlooking the Ō s a w a Pond Remains of a Shinden Garden (Osawa Pond at Daikakuji Temple in Kyoto) Kamakura a n d Muromachi Periods (1185– 1573) S e co n d w a v e of Chinese influence - 13th century Zen Buddhism a n d Song period art entered Japan and had profound influence o n gard en design Only ―essential characteristics ― of nature were recreated Gardens contained empty spaces like h ow paintings contained voids Gardening wa s promoted as a religious activity Zen priest M u s o Soseki (1275-1351) is credited with several Temple gardens including redesign of Tenryu-ji a n d Saiho-ji The vertical arrangement of seven stones represents islands of the immortal Rock arrangement in Japanese gardens would evolve to form more horizontal compositions Garden of golden pavilion - 14th century Less symmetrical a n d more informal style called ―reading room / Shoin-zukuri‖ style developed Shoin – an alcove projecting from exterior wall with writing desk and picture window Idea of ‗borrowed scenery‘ b e c a m e a guiding principle in landscape design Contains symbolic elements like Turtle a n d crane island Ship mooring stones Dragon gate waterfall Shift from outward to inward contemplation A g e of minimalist aesthetic – 15th century Gardens b e c a m e places to contemplate nature Zen gardens b e c a m e the ultimate expression of kare- sansui Focus on form a n d artful composition Large landscapes were represented in small spaces Gardens b e c a m e sites of meditation Miniature tray landscapes led to Bonseki a n d bonsai forms of gardening Ryonji-zen garden  The M a m o y a m a period A g e of botanic gardens – 16thtransition Gradual century to modern era ◦ developed the skills of cutting a n d lifting large rocks - artificial lakes were surrounded by be ache s of small stones a n d decorated with arrangements of boulders, with natural stone bridges a n d stepping stones. Number of known plants increased by 20 fold - Botanical gardens c a m e into existence Development of colourful a n d flamboyant painting style. The garden at Tokushima castle on the island of Shikoku  The Edo period – 17th century Tea gardens on a grander scale led to Stroll gardens Stroll gardens were designed to recall the natural scenery of Japan It referenced Mt.Fuji , maple covered hillsides a n d the ―eight bridges‖ river system Interior courtyard gardens b e c a m e popular in urban houses Landscape represented the appeal of the experience of rustic nature The garden of Katsura Imperial Villa in Kyoto (1641–1662), the prototype for the promenade, or stroll garden Meiji period – 19th Century ◦ In 1871, a new law transformed many gardens from the earlier Edo period into public parks, preserving them. ◦ Garden designers, confronted with ideas from the West experimented with western styles, Murin-an in Kyoto Moder n Japanese gardens (1912 to present) ◦ During the Showa period (1926– 1989), m an y traditional gardens were built by businessmen a n d politicians. ◦ After World War II, the principal builders of gardens- banks, hotels, universities and government agencies ◦ became an extension of the landscape architecture with the building. ◦ New gardens were designed by landscape architects - used concrete. ◦ Some modern Japanese gardens, such as Tōfuku-ji, designed by Mirei Shigemori, were inspired A contemporary Japanese garden at the Kochi Museum of Art by classical models The different types of J a p a n e s e Garden s ◦ Karesansui (Rock, Dry, Zen Garden) ◦ Tsukiyama (Hill a n d Pond Garden) ◦ C h an i wa (Tea Garden) ◦ Kaiyushiki-teien (Stroll Garden) ◦ Japanese Paradise Garden. ◦ Chisen-shoyū-teien (Japanese Pond Garden) ◦ Tsuboniwa (Courtyard Garden) Karesansui (Rock, Dry, Zen G a r d e n ) ◦ The Karesansui Garden consists mainly of carefully arranged rocks of varying shapes a n d sizes surrounded by sand. Flowing sand a n d gravel are used to represent the sea or rivers, while rocks embodies an island. ◦ The garden represents the spiritualism of Zen Buddhism, a n d provides a space a nd simplicity that’s ideal for meditation. ◦ The dry garden was introduced in the 14th century when military rulers emb raced the newly introduced Zen Buddhism, which h a d a strong influence Takao Komagino Dry Karesansui Garden- city of on garden design. Hachioji Tokyo.  Tsukiyama (Hill a n d Pond Garden) ◦ Tsukiyama refers to the creation of man-m a d e hills, a n d is a classic type of Japanese garden that embodies a miniature of natural scenery. ◦ Hills, ponds, streams, stones, bridges, flowers, plants a n d long winding paths c a n all b e found in a Hill Garden, with the aim to facilitate a peaceful stroll. ◦ It is typically larger than the Zen Garden.  C h a n i w a (Tea Garden) ◦ Like the Hill Garden, a Tea Garden is bigger than a Zen Garden, a n d features a path often m a d e of stepping stones leading to a tea ceremony house. ◦ Tea Gardens reached the height of their development during the Azuchi- M o m o y a m a Period (1573-1603) when the tea masters refined their design by embodying them with the spirit of "wabi", or rustic simplicity. ◦ The garden is m a d e up of an inner and outer garden, with guests using a stone basin (tsubaki) for ritual cleansing when entering the inner garden through the middle gate. Stone lanterns provide both effective lighting a n d an atmospheric decorative element. Tea gardens Influenced by new form of landscape poetry Hints at perfection of nature unattainable by humans Carefully prescribed path indicates the p assage from outer world to inner world Stepping stones, walls , basins, gates a n d lanterns formed points of reference along the path Careful selection of style a n d type of lanterns, fences a n d stones to set the tone of the experience D etach ed tea hut (3‘X6‘) brought the essence of country side into the city  Kaiyushiki-teien (Stroll Garden) ◦ A beautiful garden designed in the Edo period (1603 – 1867) for a leisurely stroll al ong its winding circular path, which is walked clockwise. ◦ This garden typically contains a pond, islands, trees, artificial hills a n d rocks, as well as features from other styles of gardens. ◦ Beautiful views c a n be admired from different viewpoints when visiting a Stroll Garden. ◦ chisen kaiyu-shiki gaídens of Kyoto.Surrounded a lake Incorporated views of distant l andscape features Revelation of series of independent scenic events Contained tea houses, pavilions, sculptural lanterns a n d pagodas Lakes h a d deeply recessed bays a n d large rocks emphasized shore lines Principle of ― hide a n d reveal ―adde d an element of anticipation a n d surprise to the experience Focus on both internal features a n d outward views Composition of s p a c e base d on the principles of foreground. midground and background Japanese Paradise Garden ◦ Japanese Paradise Gardens (also known as a Pure Land Garden) were introduced during the Heian Period by Buddhist monks a n d devotees of the A m i d a sect. ◦ The garden consists of a p o n d with lotus flowers, trees, islands, a bridge a n d a large Buddhist pavilion, a n d resembles a Buddhist paradise. ◦ This garden represents the Buddha sitting on a raised level surface or island, contemplating in the middle of a lotus pond. ◦ These gardens are peaceful and relaxing, taking guests b ack in time to the Heian era (794-1185).  Chisen-shoyū-teien (Japanese Pond Garden) ◦ Also from the Heian (794-1185) period is the Japanese Pond Garden, which was originally introduced in China. ◦ This style of garden contains a large p o n d in front of a building with two distinct wings. ◦ They are places of stunning scenery where guests c a n sit and relax, soaking in the surroundings.  Tsuboniwa (Courtyard Garden) ◦ The small s pa c e often found between Japanese buildings c a n b e turned into a scenic beauty spot known as a Courtyard garden, made up of simple arrangements with elements from Zen, Hill a n d Tea Gardens. ◦ In the past many traditional samurai properties boasted Courtyard Gardens, as did various Japa ne se merchants. ◦ Today they are more likely to b e found in temples, a n d the residences of aristocrats. They were introduced in the Heian period a n d developed into the Edo (1603-1867) era.  Indian garden design shaped by religious, cultural, and historical influences SACRED MUGHAL RAJPUT GARDEN GARDEN GARDEN which have deep religious showcase architectural grandeur and aesthetic refinement. significance Sacred Groves Definition: Sacred groves are patches of forest or land preserved for religious or cultural reasons, often considered the abode of deities or spirits. Religious Significance: They are seen across India, especially in states like Kerala, Tamil Nadu, and Karnataka, where they are known as Kavu (Kerala), Devarakadu (Karnataka), and Kovil Kaadu (Tamil Nadu). Sacred groves are dedicated to local deities, especially forest spirits and snake gods (Naga worship in South India). Design: Sacred groves are typically natural landscapes left undisturbed by human intervention. The flora consists of indigenous species, often home to medicinal plants. Specific trees like the Peepal (Ficus religiosa) and Neem (Azadirachta indica) hold sacred importance. Ecological Role: These groves act as biodiversity hotspots, preserving native species and serving as cultural reminders of environmental stewardship. Sacred Garden in Braj Bhoomi: Nidhivan, Vrindavan Nidhivan, located in Vrindavan, Uttar Pradesh, is one of the most revered and mystical sacred groves in Braj Bhoomi. This sacred garden holds deep religious significance as it is believed to be the site where Lord Krishna performed the divine Raas Leela with Radha and the Gopis (milkmaids) during the night. Religious and Cultural Significance Mythological Importance: According to legend, Nidhivan is where Lord Krishna would dance with Radha and the Gopis each night. It is believed that even today, Krishna and Radha return to Nidhivan after sunset to perform the divine dance. Due to this belief, the grove is closed to visitors in the evening, and no one is allowed to stay inside after sunset. Spiritual Reverence: Devotees deeply revere the trees, soil, and atmosphere of Nidhivan, considering them sacred. Many believe that the grove is still inhabited by divine beings, and the area is filled with mystical energy. Climate Semi-Arid: Vrindavan has a hot, dry climate with scorching summers and mild winters. Rainfall is concentrated during the monsoon, making water conservation critical. Cooling Effect of Groves: Despite the extreme heat, the dense vegetation in Nidhivan provides a cool and peaceful atmosphere. The sacred trees create natural shade, helping regulate temperature and offering relief from the heat. Biodiversity Sacred Flora: Nidhivan is famous for its unique Tulsi (holy basil) and Banyan trees, which are considered sacred. Unlike typical trees, the trees in Nidhivan appear twisted and intertwined, which many believe symbolizes the presence of divine forces. The trees are treated with reverence, and many devotees offer prayers and tie threads around their trunks as a mark of devotion. Divine Mystique: The trees in Nidhivan are often described as unusually short, and their intertwined branches are said to take part in the nightly Raas Leela. The belief is so strong that no one dares to question this mystery. Animal Life: Monkeys, parrots, and peacocks inhabit the area, adding to the vibrant and spiritual atmosphere of the grove. Need for Preservation Ecological Value: Nidhivan, like other sacred groves in Braj Bhoomi, plays a vital role in maintaining the local ecosystem. The trees not only provide shade and cooling but also help with soil conservation and groundwater recharge. Spiritual and Cultural Heritage: Due to its deep religious significance, Nidhivan needs to be preserved as a cultural and spiritual landmark. Protecting this sacred grove ensures that future generations can connect with the spiritual traditions of Braj. Threats: Urbanization and human encroachment pose challenges to the preservation of Nidhivan. Pollution, deforestation, and uncontrolled tourism are putting pressure on this sacred space, making conservation efforts critical. Social Ideology Community Responsibility: The locals, known as Brajwasis, consider it their duty to protect and maintain the sanctity of Nidhivan. They follow strict rules to preserve the sacredness of the grove, such as closing the area at night to respect the divine legends associated with it. Cultural Festivals: Nidhivan is a focal point during religious festivals like Janmashtami and Holi, where devotees gather to celebrate the life of Lord Krishna. These festivals strengthen the community's bond with the sacred landscape and reinforce the cultural ideology of protecting nature. Conclusion Nidhivan is not just a natural grove but a living symbol of divine presence and a crucial part of Braj Bhoomi's spiritual landscape. Preserving Nidhivan is essential not only for its ecological benefits but also for maintaining the mythical and cultural heritage of the region. Mughal Gardens  Historical Context: Mughal gardens were influenced by Persian garden design, especially the Charbagh (four-part garden), symbolizing the Garden of Paradise as described in Islamic texts. Features: Symmetry and Geometry: Mughal gardens are characterized by a strong sense of geometry and symmetry, with water channels (reflecting Islamic beliefs in paradise rivers) dividing the space into four quadrants. Water Features: Fountains, pools, and canals were integral to cooling the gardens and adding a tranquil ambiance. Water also symbolized life, purity, and divine beauty. Flora: Mughals planted fragrant flowers like roses, jasmine, and marigolds, alongside fruit trees such as pomegranate, mango, and cypress, representing eternal life. Examples: The gardens of the Taj Mahal (Agra), Shalimar Bagh (Srinagar), Nishat Bagh (Srinagar), and Humayun's Tomb (Delhi) are prime examples. Taj Mahal Gardens, Agra Concept: Symbol of Paradise: The Taj Mahal garden represents the Islamic concept of paradise, often referred to as the "Garden of Eden," with rivers and lush vegetation. Heavenly Perfection: It reflects symmetry, balance, and harmony, symbolizing the eternal peace and perfection of paradise. Design Philosophy: Charbagh Layout: The garden is laid out in the Charbagh style, divided into four sections by water channels, representing the four rivers of paradise as described in Islamic texts. Ethereal Transition: The garden is intended to symbolize the spiritual journey from the material world to the divine, with the Taj Mahal as the final destination, representing the celestial throne. Features/Elements: Water Channels and Reflecting Pool: The garden is bisected by two main walkways with water channels that converge at a central reflecting pool. The pool mirrors the Taj Mahal, creating a sense of infinity and eternal beauty. Flora: Flowering plants such as roses, jasmine, and lilies, along with fruit-bearing trees like pomegranate and cypress (symbolizing death and eternal life), are prominent. Symmetry: The garden is strictly symmetrical, with paths leading towards the tomb, reflecting the Mughal desire for order and precision. Shalimar Bagh, Srinagar Concept: Royal Pleasure Garden: Built by Emperor Jahangir for his wife Nur Jahan, Shalimar Bagh was designed as a retreat and place of leisure. Fusion of Nature and Architecture: It blends the natural beauty of Kashmir’s landscape with Mughal architectural design, representing a harmonious relationship between man and nature. Design Philosophy: Terraced Garden: The garden is terraced, with three distinct levels representing three different aspects of life—public, semi-private, and private spaces. Spiritual Experience: The use of flowing water, natural surroundings, and pavilions aims to provide a serene, meditative atmosphere. Features/Elements: Water Features: Shalimar Bagh has a central water canal called the Shah Nahar, running through all three terraces with fountains and water cascades. These water elements symbolize the importance of water in paradise. Chinar Trees: The garden is lined with majestic Chinar trees, which provide shade and beauty, reflecting the Mughal preference for combining nature and aesthetics. Pavilions: The garden has elegant pavilions with intricate designs, particularly the Black Pavilion, which was reserved for the emperor and his close family. Nishat Bagh, Srinagar Concept: Garden of Bliss: Nishat Bagh, built by Asif Khan, brother of Nur Jahan, represents the Mughal ideal of the "garden of joy," offering breathtaking views of Dal Lake and the surrounding mountains. Natural Grandeur: The garden combines Mughal geometry with Kashmir’s natural beauty, serving as a place for relaxation and royal gatherings. Design Philosophy: Nine Terraces: Nishat Bagh is known for its nine terraces, which represent the nine levels of paradise. Each terrace offers a different perspective, increasing the sense of height and grandeur. Integration with Landscape: The garden integrates seamlessly with the mountainous terrain, symbolizing the Mughal belief in the harmony between human design and nature. Features/Elements: Terraced Layout: The nine terraces rise progressively, with cascading water connecting each level. The water channels lead from higher to lower levels, creating a flowing movement through the garden. Ornamental Plants: The garden features fragrant flowers and fruit-bearing trees such as almond, cherry, and apple trees, which contribute to the garden's sensory experience. Viewpoints: The terraces offer spectacular views of Dal Lake, enhancing the garden’s atmosphere of peace and beauty. Humayun’s Tomb Gardens, Delhi Concept: Garden of Eternity: The garden surrounding Humayun’s Tomb represents a Mughal version of paradise, a place of eternal rest and peace for the emperor. Symbolic Perfection: The garden’s design symbolizes the unity of the material and spiritual worlds, providing a peaceful setting for contemplation and remembrance. Design Philosophy: Charbagh Layout: The garden follows the classic Persian Charbagh design, divided into four equal sections by pathways and water channels, symbolizing the four rivers of paradise. Tomb-Centric Design: The tomb is placed at the center of the garden, with the greenery and water features serving to highlight the grandeur and solemnity of the mausoleum. Features/Elements: Raised Platforms and Water Features: The garden is characterized by raised walkways and large water channels, which converge at a central pool. The sound of flowing water enhances the tranquility of the space. Plantings: Fruit trees and flowering plants create a sense of fertility and abundance, symbolizing life, while the cypress trees represent death and eternity. Symmetry: As with other Mughal gardens, symmetry is a key feature, symbolizing the divine order of the universe. These Mughal gardens, though built for different purposes (tombs, pleasure, and royal retreat), share a common design philosophy of creating a harmonious space that integrates water, plants, and architecture to reflect the celestial gardens of paradise. Rajput Gardens  Historical Context: Rajput gardens, especially in Rajasthan, were influenced by the desert environment, Hindu culture, and Mughal architecture. These gardens were often linked with palaces or temples. Features: Water Conservation: Given the arid climate, water features in Rajput gardens focused on storage and conservation. Step wells (baolis or baoris) were common for water collection. Layout: While adopting the Mughal Charbagh layout, Rajput gardens integrated their unique features, such as temple-like pavilions (chhatris), terraces, and courtyards. Terracing: Gardens were often terraced, with water cascades connecting different levels, as seen in the famous gardens of Amer Fort in Jaipur. Flora: Indigenous plants, especially hardy, drought- resistant species like Neem and Babul (Acacia), were commonly used, along with fragrant flowering plants. Two prominent examples are the Saheliyon Ki Bari in Udaipur and the Kesar Kyari Bagh in Amer Fort, Jaipur. Saheliyon Ki Bari, Udaipur Location: City: Udaipur, Rajasthan Built By: Maharana Sangram Singh in the 18th century Purpose: Created as a garden retreat for the royal ladies, especially the queen and her companions (saheliyon), it was meant to provide a private space for leisure and relaxation. Concept: Royal Retreat: Saheliyon Ki Bari was designed to be a tranquil escape from the palace, where the queen and her attendants could enjoy the cool breeze, shade, and beauty of nature. Romantic Design: The garden's layout and features reflect a focus on aesthetics, beauty, and romance. It emphasizes the calming influence of nature on the mind and body. Climatic Aspects: Arid Climate of Udaipur: Udaipur has a hot, dry climate, which makes water management crucial. The garden's design maximizes the cooling effects of water and shade, providing a comfortable environment even in summer. Monsoon-fed Lakes: Udaipur's water bodies, including the nearby Fateh Sagar Lake, serve as a water source for the garden, with monsoon rains replenishing these lakes. Features/Elements: Fountains: The garden features numerous marble fountains, which are fed by water channels coming from the Fateh Sagar Lake. The sound of water creates a soothing atmosphere. Lotus Pools: The garden is home to large lotus pools, which add beauty and serenity. Lotus flowers are also symbolic of purity and royalty. Pavilions and Kiosks: Intricately designed marble pavilions provide shade and a place to rest. The central pavilion is the most striking, with an elevated platform surrounded by fountains. Lush Greenery: Despite the dry climate, the garden boasts lush vegetation, with a variety of flowering plants and trees, especially Chinar and palm trees. Marble Sculptures: Decorative marble sculptures of birds, elephants, and other animals enhance the garden's royal ambiance. Kesar Kyari Bagh, Amer Fort, Jaipur Location: City: Jaipur, Rajasthan Part of: Amer Fort (Amber Fort) Built By: Maharaja Man Singh I in the late 16th century Purpose: Kesar Kyari Bagh was designed as an ornamental garden at the base of Amer Fort, showcasing the Rajput kings' aesthetic sense and engineering skills. Concept: Royal Showpiece: Kesar Kyari Bagh was built as a symbol of Rajput wealth and power, with its symmetrical and ornate design highlighting the royal family's connection to beauty and grandeur. Mughal Influence: The garden incorporates Mughal Charbagh elements, showing the fusion of Rajput and Mughal architectural styles during this period. Climatic Aspects: Desert Climate of Jaipur: Jaipur has an extreme desert climate, with hot summers and mild winters. Water management in such gardens was essential, as rainfall is limited. Water Conservation: The garden's design ensures that water from the nearby Maota Lake is used efficiently. The lake provides the necessary water for the garden through a series of underground channels. Features/Elements: Star-Shaped Flowerbeds: The garden is known for its unique star-shaped flowerbeds, which are filled with seasonal flowers. These beds are laid out in intricate patterns, which can be admired from the fort’s higher levels. Central Water Pool: At the center of the garden is a large water pool, fed by channels from the nearby lake. The pool reflects the surrounding landscape, enhancing the garden's serene atmosphere. Terraced Layout: Like many Rajput gardens, Kesar Kyari Bagh is terraced, with the different levels adding to the sense of height and grandeur. The garden’s terraces are connected by water cascades, symbolizing the flow of life and continuity. Kesar (Saffron): The name "Kesar Kyari" comes from the saffron (kesar) that was once planted here. Though saffron cultivation is rare in such climates, the garden symbolized the wealth of the king by showcasing exotic plants. Maota Lake: The garden overlooks Maota Lake, whose waters were essential for the garden’s irrigation and water features. The lake not only served practical needs but also added aesthetic beauty to the landscape. Comparison of Gardens Kesar Kyari Bagh (Amer Fort, Aspect Saheliyon Ki Bari (Udaipur) Jaipur) Ornamental showpiece at Concept Royal retreat for leisure the base of the fort Use of water from nearby Water conservation from Climatic Adaptations lakes; shaded pavilions to Maota Lake; terraces and cool the space water cascades Fountains, lotus pools, Star-shaped flowerbeds, Key Features marble pavilions, lush central water pool, terraced greenery layout, view of Maota Lake Rajput-Mughal fusion, Design Influence Aesthetic, romantic geometric patterns Water Source Fateh Sagar Lake Maota Lake Persian landscape architecture renowned for its unique blend of beauty, philosophy, and functionality. Rooted in ancient traditions, it combines elements of spirituality, art, and science to create lush, serene environments in otherwise arid regions. Persian gardens, or Pairidaeza (meaning "enclosed garden"), are symbolic representations of paradise, reflecting harmony between nature and human life. Philosophy Symbolism of Paradise: Persian gardens are designed to evoke the concept of paradise on earth, symbolizing abundance, tranquility, and eternity. The layout often represents the Garden of Eden, embodying harmony with nature and the divine. Balance and Order: These gardens emphasize symmetry and order, reflecting a cosmic balance. The four-part division, called Chahar Bagh (four gardens), mirrors the four elements (earth, air, water, and fire) and the four cardinal directions, uniting earth with the heavens. Spirituality and Reflection: Persian gardens are spaces for contemplation, a retreat from the chaos of the world. The inclusion of water reflects not only practicality but also the flow of time, life, and the eternal. Design Aspects Geometry: Central to Persian garden design is symmetry and geometric precision. Most gardens follow the Chahar Bagh structure with a rectangular layout divided by water channels or pathways into four sections, symbolizing order. Axis and Perspective: A clear central axis, often leading to a pavilion or a focal point, helps direct views across the landscape. This also represents the connection between man and nature. Elevation and Terracing: Persian gardens are often set on different levels, using terraces to enhance the feeling of hierarchy and grandeur while maximizing water distribution. Key Elements 1.Water: Essential for irrigation in arid climates, water features like canals, ponds, and fountains are not only practical but also symbolic, representing life, purity, and infinity. 1. Qanat System: A technical innovation, qanats are underground channels that bring water from distant mountains to irrigate the gardens, ensuring sustainability even in dry environments. 2.Plants: Vegetation is selected for fragrance, shade, and beauty. Trees like cypress (symbolizing eternity) and fruit-bearing plants like pomegranate (abundance) are common. 3.Pavilions and Walls: Built structures like pavilions, viewing platforms, and walls create shade, frame views, and provide serene areas for rest. The walled enclosures reflect protection and a defined boundary between the chaotic outside world and the peaceful garden within. Plant Palette Persian gardens are carefully curated to include plants that thrive in dry climates and offer aesthetic and symbolic value: Cypress trees (Cupressus sempervirens): Symbol of eternal life. Fruit-bearing trees: Pomegranate (Punica granatum) and citrus trees for abundance. Roses (Rosa damascena): Fragrance and beauty, symbolizing love and purity. Platanus trees (Oriental plane): Providing shade, essential in hot climates. Seasonal flowers: Tulips, jasmines, and lilies add color and fragrance. Technical Know-How Qanat System: This ancient engineering marvel taps underground aquifers, delivering water to the surface via gentle slopes, crucial for sustaining the gardens. Hydraulics: Used for water movement in fountains and streams, creating a cooling microclimate in the garden. Irrigation: Efficient use of water through raised walkways (which also serve as pathways) ensures even distribution of water to all sections of the garden. Fin Garden, Kashan Layout: The Fin Garden uses the classic Chahar Bagh layout with a central pavilion surrounded by lush greenery and water channels. Water Features: Qanats provide continuous water flow to a series of fountains and streams, creating a cooling effect and adding a tranquil soundscape. Plant Palette: The garden is filled with cypress trees and a variety of fruit trees like pomegranate and figs, which offer both beauty and utility. Shazdeh Garden, Mahan Layout: Shazdeh Garden is terraced, with water cascading down each level, reinforcing the symbolic connection between water and life. Water Features: Fed by a mountain spring, the garden’s fountains and pools create a cooling effect in the otherwise dry desert landscape. Plant Palette: Dominated by tall cypress trees, this garden also features rose bushes and citrus trees, offering shade and fragrance. Persian landscape architecture is a testament to human ingenuity, creating lush, tranquil spaces in harsh environments. Its blend of spiritual symbolism, geometric precision, and technical innovations continues to inspire modern landscape design, representing the timeless pursuit of harmony between humans and nature.