Author Archives: Tom Turner

Forms can follow functions in garden design, landscape design and urban design

Dark brown is the river.
Golden is the sand.
It flows along for ever,
With trees on either hand
(Robert Louis Stevenson Where Go the Boats?)
The form of the Dark Brown River derives from the function of conveying peaty water from the mountains to the sea. Its obvious, but the design maxim that ‘form follows function’ has had too little influence on garden and landscape design. The phrase was coined by Louis Sullivan in 1896 and his sometime partner, Frank Lloyd Wright, observed that ‘We see an airplane clean and light-winged – the lines expressing power and purpose; we see the ocean liner, streamlined, clean and swift – expressing power and purpose. The locomotive too – power and purpose. Some automobiles begin to look the part. Why are not buildings, too indicative of their special purpose? The forms of things that are perfectly adapted to their function, we now observe, seem to have a superior beauty of their own. We like to look at them. Then, as it begins to dawn on us that form follows function – why not so in architecture especially?’ Wright produced a brilliant project, appropriately called Falling Water and I wish he had found more time for garden and landscape design. One reason for functionalism having little affect on outdoor designers is an unimaginative appreciation of the ‘functions’ of outdoor space. Now that we have to make cities more sustainable, we can also make them more beautiful – by deriving forms from functions. The outdoor environment of cities can be arranged to protect buildings from solar gain, to make cities quieter, to manage surface water, to encourage non-motorised transport, to produce food, to produce firewood – and to serve many other functions. If we can make places which are as ‘perfectly adapted to their function’, as a darksome burn, they have an aesthetic of ‘power and purpose’. A functionalist approach, guided by zen perfectionism and what used to be called ‘the principles of art’, could result in great new city forms. Slurping greenery over every horizontal and vertical surfaces holds less promise, though I like greens better than brutalist concrete. My heart is with Hopkins. I hope we can keep the ‘wildness and wet’ and I hope we can make better cities by giving them more weeds, more wilderness – and more ecological functions.
This darksome burn, horseback brown,
His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.
….
What would the world be, once bereft
Of wet and of wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.
(Gerard Manley Hopkins Inversnaid)

Much of the supposedly Functionalist architecture of the ’50s and ’60s was very non-functional: too much glare, too much solar gain, poor construction, bad microclimatic affects etc. So I hope landscape architecure and garden design will become one of the great success stories for the Form follows Function design approach.

Hypnerotomachia Poliphili and renaissance garden design history

An original copy of Hypnerotomachia Poliphili by Francesco Colonna (1499) is available on the web. It is a fabulous book and has been translated into English by Joscelyn Godwin. Colonna’s dreaming imagination embraces architecture, landscapes and gardens in a tale of passionate love – and eroticism.

'comely and beautiful maidens, taking their ease on the flowery grass and in the cool pleasant shade'

Polyphili meets a group of ‘friendly nymphs’ who invite him to join their bath – in a scene which might have inspired the much smuttier Hugh Hefner Playboy grotto: ‘Now that we had happily entered into such fragrance as could never have grown in Arabia, they spread out their silken garments neatly on the stone seats that served as dressing room… and unconcernedly let their shapely and delicious bodies be seen naked in every particular… I certainly could not prevent the ardent fires from leaping up to assault me in my furnace of a heart… but the nymphs, noticing it, found girlish amusement in laughing at my bashful demeanour’. Colonna was a Dominican monk but, as Godwin observes ‘we can surmise that Brother Francesco’s experience of women’s love was not limited to his dreams’.
The design dreams of the Hypnerotomachia are so rich that some scholars have attributed its authorship to Alberti. The word Hypnerotomachia is a compound of hypnos (sleep), eros (love) and mache (strife). Godwin, whom design historians must thank for his translation, renders this as The Strife of Love in a Dream and one wonders if the visions, both erotic and architectural, came to Colonna in a dream. I have not experienced such a combination but the best landscape design ideas I have had have all been when asleep. They have all been forgotten but Colonna may have put his dreams in words and images.

The graphic design of the Hypnerotomachia is admired as a masterwork from the printer, Aldus Pius Manutius (1450-1515), who devised the italic type and established the semicolon. This is the only illustrated book Aldus published and it is a brilliant example of the way in which words and images can be combined. I think garden design works best as a ‘word and image’ discipline (and regret that architecture seems to have lost much of this interest). Colonna had a far-reaching influence on gardens with his detailed descriptions of images, planting and construction ideas. He must be telling us something about the gardens he knew and he had a profound influence on the imagery used in renaissance, baroque and romantic gardens. Colonna influenced the Villa d’Este, Bomarzo, Versailles and Chiswick House. He also drew the earliest known image of what is called a knot garden in English. In Italian they were called compartmenti (compartments).

Nonsuch Tudor Palace Garden in Ewell, Surrey

The autumn weather was beautiful and I went to see the Nonsuch garden today. Little survives and I agree with the local Nonsuch historians that it represents ‘both a responsibility and a challenge.. [regarding] the proper management, preservation, and presentation of the site of one of the great houses and gardens of England’. A simple first step would be to attempt a re-creation of one of the Knot gardens shown on John Speed’s plan of Nonsuch. The plan was drawn in 1610 and a re-created knot would make a great contribution to garden history, for a small outlay. Since various interpretations of Speed’s drawing are possible, a different knot could be produced each year and they could become famous.

The photograph of Nonsuch (and the painting on the board) are approximately from the bottom of the palace plan

The photograph of Nonsuch (and the painting on the board) are approximately from the bottom of the palace plan

Non-environmental noise barriers

Non-environmental noise barrier

Non-environmental noise barrier

Environmental noise barriers can improve the design of cities, especially when they are built with a context-sensitive appreciation of construction and planting. Or they can be a waste of time and money. The design aim should be to create quiet areas for people to enjoy. I do not know of any evidence for fauna and flora being troubled by noise. So let’s think about how to create quiet areas in towns for busy people, like the garden of the Royal Library in Copenhagen (below). Can anyone recommend other examples of urban quiet places?

Image courtesy bankbryan


Image courtesy Sigfrid Lundberg

The view that changed the world and its gardens: what Petrarch saw from Mount Ventoux

View from the summit of Mount Ventoux

View from the summit of Mount Ventoux

Francesco Petrarca (1304-1374), known Petrarch is said to be the first man since antiquity to have climbed a mountain for pleasure alone. His ascent of Mount Ventoux, on April 26 1336, is described in his letter, below, and the view is shown in the photograph above (image courtesy Mark Madsen). The results of this famous climb include (1) humanism (2) renaissance literature and science (3) a re-birth of mimesis as the dominant theory of art and as a zest to ‘imitate nature’ (4) the change from inward-looking medieval gardens to outward-looming renaissance, baroque and romantic gardens (5) the tourist industry – Petrarch is known as the first tourist, in the sense of a man who travels for the pleasure of study, learning and views.
“To-day I made the ascent of the highest mountain in this region, which is not improperly called Ventosum [Mount Ventoux]. My only motive was the wish to see what so great an elevation had to offer. I have had the expedition in mind for many years; for, as you know, I have lived in this region from infancy, having been cast here by that fate which determines the affairs of men. Consequently the mountain, which is visible from a great distance, was ever before my eyes, and I conceived the plan of some time doing what I have at last accomplished to-day. The idea took hold upon me with especial force when, in re-reading Livy’s History of Rome, yesterday, I happened upon the place where Philip of Macedon, the same who waged war against the Romans, ascended Mount Haemus in Thessaly, from whose summit he was able, it is said, to see two seas, the Adriatic and the Euxine…. At first, owing to the unaccustomed quality of the air and the effect of the great sweep of view spread out before me, I stood like one dazed. I beheld the clouds under our feet, and what I had read of Athos and Olympus seemed less incredible as I myself witnessed the same things from a mountain of less fame. I turned my eyes toward Italy, whither my heart most inclined. The Alps, rugged and snow-capped, seemed to rise close by, although they were really at a great distance; the very same Alps through which that fierce enemy of the Roman name once made his way, bursting the rocks, if we may believe the report, by the application of vinegar. I sighed, I must confess, for the skies of Italy, which I beheld rather with my mind than with my eyes. An inexpressible longing came over rne to see once more my friend and my country.
Happy the man who is skilled to understand
Nature’s hid causes; who beneath his feet
All terrors casts, and death’s relentless doom,
And the loud roar of greedy Acheron.

PS apologies for using the hackneyed ‘changed the world’ header for this post.

Cheonggyecheon river reclamation and landscape architecture in Seoul, Korea

Brilliant landscape planning, and dreary landscape architecture, for the Cheonggyecheon River in Seoul, Korea

Korea has implemented a brilliantly ambitious and life-enhancing river restoration project which, unfortunately, is no masterpiece for Korean landscape architecture or garden design. Seoul, formerly Hanyang became Korea’s capital city in 1394 and a new city was built beside the lovely Cheonggyecheon River. Floods arrived from time to time but King Taejong (1400-1418) believed that nature should be allowed to run its course. A great stone bridge was built and the valley became a resort, a laundry, a children’s playground, a place for lantern festivals – and a sewer. During the Japanese occupation (1910-1945) the river was ‘improved’ in the sense of being dredged to protect the occupier’s property. Korean engineers decided the river should be buried and by 1967 it had disappeared from view. Construction of the Cheonggye Elevated Highway began in 1967 and was completed in 1976. It was built above the buried river. An elevated highway was then built above the valley It took 20 years to complete the project. The highway, 50-80m wide and 6km long, was opened in 1984. So far – so awful. But for the great good fortune of the Seoul’s citizens, the engineers were lousey and the steel beams began to rot. A report from the Korean Society of Civil Engineering, in 1992, recommended repairs. The programme of repairs went on for a decade but was innefective.
It was for this reason that the Cheonggyecheon Restoration Project was formulated. Engineers promised to transform Seoul’s grey concrete image. Their professed goal was “a lush, green city where clear waters flow. Through this and other such projects, Seoul will be re-born as a human-oriented environmental city, greatly increasing Seoul’s ‘brand’ value.” Tragically, the project was run by engineers and architects, with some planting, fountains, exterior lighting and ‘works of art’ stuffed in at the last minute. The result can be classed as brilliant landscape planning with crap landscape architecture. It is a terrible wind corridor and looks like the defensive ditch outside a walled Chinese city. Next time, they should make landscape architects the project co-ordinators.
I wish the UK had a river restoration project which was half as good as the Cheonggyecheon project – restoration of the River Fleet would be a good start. But the Koreans do seem to have learned something from the UK. Just as the Dunkirk disaster of June 1940 was proclaimed a victory, so the Cheonggyecheon disaster (photo below) is being presented as a triumph. Both boasts did some good and Seol has been nominated as the World Design Capital for 2010, partly on account of the Cheonggyecheon river reclamation. Still, I don’t think they read my chapter on River engineering, channelization and floods

The badly engineered Cheonggye Elevated Highway - before the river restoration