http://www.archtracker.com/the-garden-house-takeshi-hosaka-architects/2009/04/

Apart from what looks what looks unfortuneately like artifical turf on the roof - the Garden House by Takeshi Hosaka Architects with its tight triangular plan is a surprise and delight! Definitely a garden for my soul! The living spaces are designed around the edges of an enclosed garden courtyard, cleverly stacked and arranged to take advantage of every square mm of space, create privacy and capture views. In the photographs the garden is very young…it would be fantastic to revisit the house as the tree grows and the potted garden matures.

If you can’t resist viewing more  maybe a trip to Japan is in order…

The cover of The Garden At Highgrove by the Prince of Wales and Candida Lycett Green illustrates the postmodern character of even the central vista (the cedar tree has since died)

Gods bless the Prince of Wales

I once wrote that ‘Royal leadership in the art of garden design began to decline after the accession of George I in 1714‘. His successors lacked the garden enthusiasm of their predecessors. No one could say this of Prince Charles. With talent and resources, he is making one of England’s great gardens. Should he become Charles III, as I  hope, he will be the most talented garden designer ever to sit on the throne of England or Great Britian. He has substantial talents in garden design, landscape architecture and landscape painting. Charles is already The Green Prince. But will future historians state that ‘royal leadership in the art of garden design resumed when the Duchy of Cornwall bought Highgrove from Maurice Macmillan in 1980′? It is possible. But it is too early to judge. The Prince has, he tells us, put his soul into Highgrove. You can find a few images on the web and many in his book  but unless you manage a visit, as I was lucky to do, you will not get a good idea of the garden. With 6 full-time gardeners and 4 part-time gardeners, it is a fast-changing and, as yet, a rather admirably untidy place.

I will try to put my analysis into the standard format of a design critic and teacher: classifying the approach, saying what is good, saying what is not so good, and making suggestions re ‘what could do with further thought’.

The style of the Highgrove garden

The house dates from the 1790s and the design theory underlying the garden dates from much the same time. Humphry Repton, who once worked for a Prince of Wales, would have strongly supported the use of a compartmented structure and, unlike Arts and Crafts compartments, they would have had design themes.  I do not doubt that Repton would have approved the use of contemporary themes at Highgrove - and the view of Tetbury steeple from the front of the house is uncannily like a Reptonian sketch. But the visual character of Highgrove is uncompromisingly postmodern - to a far greater extent than the Abbey Garden in nearby Malmesbury by the brash postmodern developer-architect Ian Pollard. In detail, it may well be that Prince Charles has drawn inspiration from his annual visits to the Chelsea Flower Show and, perhaps, from Ian Hamilton Finlay’s Little Sparta and from the work of Geoffrey Jellicoe.

What’s good about the Highgrove garden design

The Prince has been very brave. His skill with pen and brush have educated a discerning eye and a creative imagination, able and willing to work as a patron for talented craftworkers.  Individual compartments are highly experimental, with some notable successes and some requiring further thought. He also has a grand theme - sustainability-  which,  it must be hoped, will unite the compartments into what could become the greatest Postmodern Garden in Britain. At present Portrack, by Charles Jencks, is its chief rival.

What’s not so good about the Highgrove garden design

The Highgrove garden lacks spatial coherence. This flaw may be a consequence of its youth. But it may also result from the lack of a ‘master plan’ at the outset of the project. It is perfectly logical for a Postmodern garden to be without a master plan but its lack may diminish the eventual quality of the design.

Respectful suggestions for the Highgrove garden

I saw Highgrove in early autumn. It may be that a flowing springtime meadow, billowing  around the geometrical core, gives more coherence. But I doubt if this would be enough, even though Miriam Rothschild advised on the composition and management of the wildflowers. My first suggestion to Prince Charles is to get some feint outlines of the garden plan printed onto the best watercolour paper and then to lay some washes to create a shape and a pattern for this space. My second suggestion is to give some more thought to the pedestrian circulation. This should be done first by user analysis (records of walks: by residents, visitors, staff, animals etc) to plot desire lines, and then by the Prince, if he can find the time, doing a series of quick watercolours to show views along a ‘processional route’ (ie a recommend route for visitors). They should be arranged in sequence and used as a design tool for future projects. Eventually, it might be found that they can be edited to tell a story.

PS I use ‘gods’ instead of ‘god’ in the heading for this post for several reasons (1) Prince Charles has stated his desire to be the Defender of Faiths, rather than Defender of the Faith (Fidei defensor), (2) many ‘gods’ appear to be respected and represented at Highgrove, (3) Christianity has not been a fruitful religion with regard to garden design.

PPS I also liked the Orchard Room designed by Charles Morris and consider Jonathan Glancey’s piece on A royal bungalow in the Tesco style bigoted.

The living green bridge was made from the branches of two India Rubber trees Ficus elastica.

How will we define the gardens of the future if many are no longer dominated by greenery? See Kengo Kuma & Associates water/glass villa http://www.e-architect.co.uk/japan/japanese_houses.htm

Do plants have to be vegetable? Solar panels reminiscent of vegetation and slim line turbines feature as technological ‘plants’ in the Lotus Garden for Seoul. http://www.thedesignblog.org/entry/lotus-garden-for-seoul/

What happens when city buildings start looking more like vegetation than architecture? http://webecoist.com/2009/03/02/beyond-green-roofs-15-vertically-vegetated-buildings/

What is the future of water architecture? [  http://wiki.provisionslibrary.org/blog/index.php/2008/02/06/water-architecture-a-floating-alternative-for-the-future/ ] Surely it is zen. http://www.whatsonyourplate.msstate.edu/architecture/water.html Or…. http://www.cmoa.org/exhibitions/popup/diller.html

Corbusier’s influence continues to inspire and to produce some of the most evocative architecture sensitive to its landscape setting. The building does not dominate the landscape, rather the landscape is both shield and platform. Garden is both formal and informal. http://www.archdaily.com/374/os-house-nolaster/

We have begun updating the list of 100 Best Books on Landscape Architecture and would be pleased to have suggestions for additions - since it has does not yet have 100 books. There are overlaps with garden design, urban design, architecture and planning. For the convenience of second hand book buyers we have added links to the Abebooks website (from which books can be ordered and delivered to any country). What are your favourite books?

Palm Springs may show how Upland Britain will look in the age of renewable energy

David MacKay states that onshore wind farms are likely to generate 2W/m2 and offshore wind farms to generate 3W/m2. To supply the UK energy demand of 50kWh/day would therefore require an area twice the size of Wales to meet the demand with from offshore farms and three times the size of Wales to meet the demand from onshore wind farms. Wales (8,022 sq mi ) has approx 8%  of the area of the UK. At present 13.5% of the UK is urbanized. David MacKay asks ‘would the public accept and pay for such extreme arrangements?’ Please study the above photo of Palm Springs in California before giving an answer. Some people might find a blanket of turbines ugly.

Scotland has 32% of the UK’s land area and only 8.4% of the population, so it would be relatively easy to win a democratic vote to blanket Scotland with wind turbines and solve the UK’s energy problem, though the cost would be high. We could omit the Forth-Clyde Valley and include parts of Northumberland and Central Wales  in the interests of ‘equity’. Too many southerners have holiday homes in the Lake District for this area to be included - so it could be a good place for property investment.

Above image courtesy slworking

Would the Scots mind having wind turbines embellishing Arthur's Seat and Edinburgh's historic skyline?

Thinking, sometimes, that landscape designers can turn to artists, much as we turn to  engineers and  ecologists, for specialist inspiration on projects, I went to the Frieze Art Fair this afternoon. By way of a review: I found about 2% of the exhibits wonderful and 40% of them trash. Judging from the way other visitors were pacing up and down the aisles, I suspect this opinion is common. Fortunately, we visitors were in disagreement as to which works of art fell into which  category. I came away with some design ideas but, better than that, I stopped on the way home to buy a box of Liquitex Heavy Body Acrylic Color. I did not bang into any celebs, unless you count the blue statue of Norman Foster. He can be seen on the video and on this webpage. I was very impressed by the high style in which most visitors were dressed - but instead of high style bikes outside there was a fleet of sinister Black Series 7 BMWs labelled ‘Frieze art 2009 VIP transport’. Trust me, life is better on a Brompton.

Here is a CGI image of London’s 2012 Olympic ‘Village’ flanked by photos of the Student ‘Village’ it is replacing. One regrets that the Trade Descriptions Act does not apply to the word ‘Village’. The Online Etymological Dictionary entry for Village has: “late 14c., “inhabited place larger than a hamlet but smaller than a town,” from O.Fr. village “houses and other buildings in a group” (usually smaller than a town), from L. villaticum “farmstead” (with outbuildings), noun use of neut. sing. of villaticus “having to do with a farmstead or villa,” from villa “country house” (see villa)” with Villa coming from from PIE *weik- “clan” (cf. Skt. vesah “house,” vit “dwelling, house, settlement;” Avestan vis “house, village, clan;”

So “village” is one of our most ancient words and it should mean a group of dwellings occupied by people who are related to each other and who relate to the surrounding land. The design for the London 2012 Olympic Village looks as though it might be in the valley of the Yellow River, providing modern blocks for groups of workers who no longer have any cultural or horticultural connection to the land on which they live.  Where are the sustainable green roofs on the Olympic ‘Village’? Or do they plan to build a new Pruitt-Igoe in London?

The Demolition of Pruitt-Igoe in St Louis is identified (following Charles Jencks) as the moment when Modernism in architecture died.  Architects are the bad guys in this story.[ http://affordablehousinginstitute.org/blogs/us/2009/07/big-bad-blocks-part-1-blame-the-architects.html ]

And viewing the following sequence  of the Pruitt-Igoe demolition in the film Koyaanisqatsi it is not difficult to follow the popular sentiment.[ http://www.youtube.com/watch?v=7ZF1e24FPpo ] Music by Philip Glass.

However, the world we sometimes do acknowledge, is a complex place…

Christine Wonoseputro contextualises the ‘moment’ in theoretical terms within the history of architecture as art.

[ http://transmaterialasia.wordpress.com/2006/11/01/hadids-metaphors-reading-her-biography-from-the-way-of-thinking/ ]

Yet the memoirs of a medical student and his wife a nurse “in a 9 story large reddish-tan brick building in the Pruitt-Igoe city housing at 1300 S. 14th” presents quite another picture of the development as it was when first completed and occupied (and imagined). In Urban Design: a typology by Jon T Lang (2005) Pruitt-Igoe is described as the first racially integrated public housing development in St Louis. (p181)

Not the slum - it was to become  - usually associated with the legend.[ http://gagronert.com/chapter6.htm ]

It is said that the residential mix of the development “overwhelmingly welfare dependent single mothers” (p182) was not the household mix that had been expected when the complex was designed.

The couple in question occupied their flat for only a year. I assume this was the duration he was working at the St Louis hospital? From a landscape persepctive it is worth asking - what happened to the rivers of trees?

The architect is said to have lamented “I never thought people were that destructive.”

[ http://reference.findtarget.com/search/Pruitt-Igoe/ ]