Author Archives: Tom Turner

Is Turenscape's Qiaoyuan Park in Tianjin a model for Chinese landscape architecture? 请看一看土人景观事务所的作品-天津桥园公园

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Please have a look at Turenscape’s photographs of Tianjin Qiaoyuan Park – you can see why the American Society of Landscape Architects (ASLA) gave Tianjin Qiaoyuan Park an award.  Then please consider the above photographs. They were taken on a crisp Sunday in April: the park is bare, dry and without people. Did the ASLA act in haste? Did the ASLA judges visit Tianjin? Are the ASLA judges regretting their decision? If the design was as good as it looks on the designers’ photographs, shouldn’t it be full of people on a spring day?  North China has long hard winters. When spring arrives, everyone wants to warm their bones, stock up on Vitamin D, and admire the spring blossom. So where were all the people? Presumably they are in other parks, with water features which do not dry up and with flowers which smile at their admirers in spring.
My second thought concerns the sources for the design ideas. Designers always borrow, so where might the  ideas have come from? I sense three parents, which is an unusual number: (1) Bernard Tschumi’s design for Parc de laVillette (2) Peter Latz’ design for Duisberg Nord (3) Herbert Dreiseitl’s Waterscape approach. The use of red paint is traditional in China but it is also found at Parc la Villette.
My third thought is that borrowing visual imagery is rarely enough to make a good design. Duisborg Nord relates to the industrial history of Germany. Parc de la Villette relates to the structuralist theorizing of Gitanes cigarettes and Left Bank Paris. The Dreiseitl Waterscape approach may have a worldwide relevance – but it must be adjusted to the rainfall regimen of every locality: water cannot, should not, must not be the aesthetic focus of a design if a place which is going to be dry for half the year.
My conclusion is that the Single Agreed Law of Landscape Design should be applied as rigorously in China as in ever other square millimetre of land which the gods have made. Alexander Pope expressed it thus:

That tells the waters or to rise, or fall;
Or helps th’ ambitious hill the heav’ns to scale,
Or scoops in circling theatres the vale;
Calls in the country, catches opening glades,
Joins willing woods, and varies shades from shades,
Now breaks, or now directs, th’ intending lines;
Paints as you plant, and, as you work, designs.

请看一案土人景观事务所设计的天津桥园公园的照片， 然后你就知道为什么美国风景园林师协会授予天津桥园公园授奖。然后请再考虑一下上面的几幅图片。这组照片拍摄于今年四月一个舒爽的周日：天津桥园公园几乎是“赤裸裸”，干旱而鲜见游客。是不是ASLA草率地授奖了呢？ASLA的评审专家是否来天津参观过呢？ASLA的评委现在是不是在对他们的评审懊悔不已呢？ 如果这个设计真的像设计师所拍摄的照片那样，为什么在春季美好的日子里公园中不是充满了游客呢？中国北方的冬季漫长而寒冷。当春季来临，每一个人都希望到户外晒晒太阳，贮存更多维他命D，并欣赏花开。但是，这里的人们都哪里去了呢？或者，他们都去了其它公园了吧，那里有春水和鲜花的微笑。

我的第二点思考是关于桥园公园设计理念的来源。设计师们总是喜欢“借用”。所以这个公园设计理念从何而来呢？ 我感觉它至少有三个“家长”，这个数量还挺不寻常的：（1）伯纳德·曲米的維葉特公園设计 （2）彼得·拉兹的杜伊斯堡·诺德设计（3）赫伯特·德莱赛特尔的理水方法。红色是中国传统的象征，但是在维葉特公园也使用了红色。

我的结论是“园林设计单一约定法规”应该在中国被严格执行，正如在上帝创造的其余哪怕是一平方毫米的土地上执行一样。正如亚历山大·蒲柏（Alexander Pope）所言。

White elephant museum in Granada

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What should this white elephant be used for?

It is nice for Granada to have a Museum of Memory designed by Alberto Campo Baeza. The idea for the Cultural CajaGRANADA Memoria de Andalucía was to mimic the much un-loved courtyard of the Palace of Charles V in the Alhambra, ‘to which it pays aesthetic tribute’. The only review on Tripadvisor says ‘I’d rather have a tour of Granada see something interesting’. The design has a sculptural quality but, in sharp contrast to the old buildings on the Alhambra plateau ignores garden and landscape considerations. History should speak. This is a dumb project – can anyone think of a better use for the building? I suggest healthcare. They should have wrapped the museum round a beautiful garden cafe. Images courtesy Landahlaut and José Agustín

Robert Holden and Jamie Liversedge Construction for Landscape Architecture – book review

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Holden and Liversedge have produced the best book on landscape architecture construction. It is well written and well illustrated. More important, it is well conceived and based on the authors’ personal experience of design projects and construction sites. The authors describe their book as ‘an introductory text’. It is true that no prior knowledge is assumed but the scope of the book is not limited to introductory matters. Robert Holden is the leading European landscape architecture critic of his generation. The book contains much wisdom and sets a new standard for this type of book by combining:

  • technical principles
  • design judgment
  • knowledge of materials
  • sustainability considerations
  • weathering and life cycle considerations
  • examples of construction/site/weathering problems

The illustrations, which are excellent, include analytical hand-drawings, photographs of traditional details, modern details and sequential photographs showing stages in the construction process. I particularly commend the annotations on the drawings. Instead of giving near-useless data (eg “200mm layer of 10mm pea shingle”), the captions are explanatory (eg “filter media improves fast filtration”).
One aspect of the book deserves a sharp criticism: the front cover shows is ugly. It shows an inexplicable CAD drawing tinted in what a friend used to call “architects’ green”: an insipid vomity yellowish-green. WHY? Publishers need to be nice to authors: the age of the eBook is upon us and it will be as easy for authors to cut publishers out of the loop as it will be for recording artists to cut the record labels out of the loop. Authors are less dependent on the marketing skills of publishers than musicians. Authors may prefer receiving 70%+ of the cover price from Googlebooks to receiving the 10%+ ‘royalties’ currently on offer from traditional print publishers. One can’t be sure.
I look forward to future books on specific aspects of landscape construction and recommend giving priority to a book on the construction design for water and water features.
When I was a landscape student we only had one good book on landscape construction: Elizabeth Beazley’s Design and detail of the space between buildings, for which I retain an affection. It combined photographs of high-quality designs with over-detailed technical information. Since then, many landscape construction books have been published – most of them with too many specifics and too few explanatory principles. Here is a list:

• David Langdon Everest, Spons External Works and Landscape Price Book 2009
• Pitman, Phil External Works, Roads and Drainage: A Practitioner’s Guide Spon: 2001
• Stephen Bird External Works (ENDAT standard indexes) : annual
• Charles W. Harris and Nicholas T. Dines Time Saver Standards for Landscape Architecture: McGraw Hill: 1998
• Alan Blanc Landscape Construction and Detailing Batsford : 1996
• Black and Decker Complete guide to landscape construction : 60 Step-by-step Projects for Creating a Perfect Landscape Creative Publishing International: 2006
• J.William Thompson and Kim Sorvig Sustainable Landscape Construction: A Guide to Green Building Outdoors Island Press: 2008
• James Blake Introduction to Landscape Design and Construction Gower: 1999
• Derek Lovejoy, C.A. Fortlage,Elizabeth Phillips, Landscape Construction: Earth and Water Retaining Structures Ashgate:2001
• David Sauter Landscape Construction 2e Delmar Learning: 2004
• Harlow C Landphair and Fred Klatt Jr Landscape Architecture Construction Prentice Hall: 1998

Romantic new garden for the cafe in Chiswick Park?

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New garden landscape for the cafe beside Chiswick House


Evidently, English Heritage staff have become avid followers of this blog. In August 2010, we criticised the new cafe for being in a sea of bitmac. Now it is surrounded (top photo) by an attractive surfacing with the friendly name of ‘tar and chips’. We therefore urge EH to take another step and implement the proposal in the lower photograph.
But when I visited the park today a nice man came running towards me and advised that if seen on my bike again the fine would be £8. I should not have made this comment in August 2010: ‘I have always had a soft spot for Chiswick House and Park: my Mum used to play there; it is a key project in William Kent’s design progress; it is the only park or garden in the world where a uniformed official has told me that “you can ride your bicycle here if you want to”‘.

Plans of Chiswick House in 1729 and 2010 (EH plan; NE orientation). The canal would be below the drawing and the new cafe above the drawing


Chiswick House Park as it was and as it is

Might King Will and Queen Kate restore pagan tree-worship to its rightful place in British culture?

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Sacred trees entering Westminster Abbey and contemporary Britain?


The Daily Mail reports that ‘Miss Middleton, 29, who studied history of art at St Andrew’s, has devised a theme which she says ‘pays tribute to the Language of Flowers’ – an idea that is bound to have gone down well with her gardening-obsessed father-in-law, Prince Charles, who famously admitted that he talks to his plants’.
One wonders if her history of art course included what little is known of paganism in the British Isles. Prince Charles wanted to become the ‘defender of faiths’ (instead of merely the Defender of Faith (Fidei Defensor). As the AP photograph shows, she has used trees to decorate Westminster Abbey. Tree worship was common throughout Europe before the advent of Christianity. I might become a strong supporter of the monarchy if the King Will and Queen Kate restore paganism to its proper place as one of the world’s major ‘religions’. It has a kinship with Hinduism, Daoism, Shinto and the religions of pre-Islamic West Asia.
I wish the young couple well but was not pleased to hear that the Metropolitan Police would deal harshly with protestors. Why shouldn’t we protest against vicious despots being invited to Britain and protected with millions of pounds from the public purse? It made me wonder about a small protest of my own. The best I could think of was sticking a postage stamp to the pavement outside Westminster Abbey and taking a video of people treading upon it. Instead, I will remember the trees and send and send Will & Kate every good wish from Gardenvisit.com. Like them, I am an alumni if St Andrews University.

What were bronze age hillforts, like Earnsheugh, used for?

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Why would someone want to live in a Bronze Age hillfort?


The high point in these images is a ‘hillfort’ 150m above the North Sea and with nothing but water and ice between this point and the north pole. The name ‘hill-fort’ suggests a fort on a hill. Archaeologists have never been happy with this term but are unable to think of anything better. Hillforts were made about 2500 years ago, in many parts of NW Europe, and there is no firm evidence concerning their use. Some hillforts are thought to have been military, some residential (many contain hut circles), some religious. The hillfort at Earnsheugh in Berwickshire, in the above photographs, would seem a very odd choice for a residential site, even if for a tribe which enjoyed seaviews as much as I do. It also seems an odd choice for a military site, because it would be so easy to starve out the occupants. So what were hillforts used for? An archaeological dig at Fin Cop in the Peak District has been in the news this week with interpretations of why the skeletons of women and children, only, have been found. http://www.archaeologicalresearchservices.com/projects/fincop.html http://www.thisisderbyshire.co.uk/news/Mass-grave-holds-evidence-horrific-massacre-Iron-Age/article-3461045-detail/article.html Some newspapers have suggested they were sacrificial sites. Heaven knows. The unusual semi-circular form of the Earnsheugh hillfort may result from 2400 years of erosion. Vitruvius’ account of the aims of construction was: Commodity, Firmness and Delight. Which of these qualities, if any, does Earnsheugh have? It is a great place fort a walk, if you do not suffer from vertigo, but why would anyone want protection from the landward side when visiting the place? Is it an example of ‘landscape architecture’?