Author Archives: Tom Turner

Urban forestry and landscape architecture

In addition to being beautiful, the trees and gravel in the Place des Vosges are good for microclimate, wildlife and hydrology.

All good foresters know that tree planting must serve multiple objectives: beauty, timber production, habitat creation, water management, public recreation, carbon cycle re-balancing etc. Urban landscape architects, on the whole, are less enlightened. Too often, they think of tree planting as decorative activity akin to the placement of public art in cities. Urban foresters should broaden their horizons, as rural foresters claim to have done.

Image of Place des Vosges courtesy of cripics

SUDS LID WSUD Urban Drainage Systems and landscape architecture

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The bioretention facility at LID feature at Harrison Crossing Shopping Center in Spotsylvania County, Virginia.

SUDS Sustainable Urban Drainage is a UK term, equivalent to LID Low Impact Development is the US and WSUD Water Sensitive Urban Design in Australia.

SUDS, LID, WSUD have come a long way since I first came across the idea, about 20 years ago (see Chapter 9 River engineering, channelization and floods). But it is a pity that it remains dominated by engineering concepts. Of course the engineering is important, but the idea also has poetic and visual aspects which are rarely explored, except by Herbert Dreiseitl’s Waterscapes practice. Have a look at the Flickr groups on Sustainable Urban Drainage Systems and SUDS. The designs are very worthy but, except for the traditional ‘craft’ examples, they lack design inspiration. Most of the ideas hover between wartime economy furniture and a boy scout aesthetic. Then look at the CIRIA website’s treatment of SUDS. Only a whiff of wildlife saves the ugly concrete detailing from prison architecture. The illustrations from America’s Low Impact Development Center are better without coming anywhere near the Dreiseitl standard. If sustainable landscape architecture is to have the glorious future it deserves, it must be beautiful as well as useful.

(Image of The bioretention facility at LID feature at Harrison Crossing Shopping Center in Spotsylvania County, Virginia courtesy fredericksburg)

Saana Pavilion at the Serpentine Gallery

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: The Saana Pavilion would be EVEN more beautiful with water and bamboos, instead of white chippings and trad flower pots

The Saana Pavilion is the most beautiful, so far, in the Serpentine Galleries series of Summer Pavilions, but it is a disappointment for no fault of the architects. Obviously, it should have been integrated with an equally brilliant garden design.

The Online Etymology Dictionary has this for Pavilion: 1297, “large, stately tent,” from O.Fr. paveillun (12c.), from L. papilionem (nom. papilio) “tent,” lit. “butterfly,” on resemblance of wings. Of unknown origin. Meaning “open building in a park, etc., used for shelter or entertainment” is attested from 1687. Saana have done the butterfly idea to perfection and it integrates with the plane trees better than any of its predecessors. But it could have been so much beautiful if integrated with, for example, water and bamboos. I hear the pavilion has been sold, so perhaps I will visit a garden some day and find this has been done. I hope so.

My suggestion to the Director and Trustees of the Serpentine Gallery is that they move heaven and earth, in their customary style, to raise additional funding for a combined pavillion+garden and then invite entries from integrated professional teams. This would:

easily outdoo the best designs at the Chelsea Flower Show, which are often architecturally disappointing (see design reviews of Chelsea Flower Shows and Haruko Seki’s 2008 Silver Moonlight Garden)
attract many extra visitors and far more media coverage, because gardens get far more media attention than buildings
match the etymology of ‘pavilion’ as a building integrated with its setting
achieve the wondrous goal of encouraging indoor and outdoor designers to work together on every possible occasion
in all probability, make a series of contributions to the cause of sustainable green design

The Serpentine Gallery has a better opportunity to promote garden and landscape design than any other gallery in London: the Serpentine itself was once a leading-edge design. I think it is one of those occasions when an opportunity becomes a duty.

Niwt symbol: ancient Egyptian city determinative hieroglyph

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First draft: niwt determinative heiroglyph logo

Second draft: stylized niwt determinative heiroglyph logo

From virtually thousands of emails, I know that many of our readers are throbbing with curiosity about the significance, if any, of the Gardenvisit.com logo. There being no reason for secrecy, and the explanation will now be given. The symbol was inspired by the Egyptian hieroglyph niwt (pronounced ‘nee-oot’). Niwt is used as a determinitive so that, for example, if written with a pictogram of a falcon (Horus) the combination of symbols means ‘the city of Horus’ (which the Greeks called Hierakonpolis).

Most heiroglyphs began as pictograms and many people think that this must be true of the niwt symbol. It is read as a protective wall round a settlement with crossing roads within. But it is also known that niwt was used for small towns before it was used for large towns, and it could therefore have meant a house-and-garden before it meant a town. My own reading of the symbol is that it reflects two very ancient and fundamental truths about dwelling places:

they must provide safety and security
they must be connected to the world outside the dwelling place

IF this is correct, then the niwt hieroglyph can be read is the world’s most ancient ‘plan’ of a dwelling place, representing a linkage between indoor and outdoor space – as the great majority of historical gardens have done. We therefore judged it a most appropriate logo for a website dealing with ‘design on the land’ by landscape architects, garden designers and others. We hope you like it. Logo design is an interesting craft.

The Egyptian settlement which most obviously reflects the ‘niwt’ plan is the worker’s village of Dier el Medina.

Capernaum House of St Peter and landscape archaeology

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The Octagon Church is a fine example of context-insensitive design, despite its octagonal shape

When building a visitor centre on an archaeological site the best policy is assemble a group of experts and ask them to make a reconstruction of the original building. The worst policy is to invite a trendy designer to exercise his or her creative imagination. The Octagon Church at Capernaum shows ‘how not to do it’. The building dominates the ancient town. I find it no comfort at all that visitors can look through the glass floor and see the ruins of the octagonal church which the Byzantines built on the supposed ruins of St Peter’s House.

” According to Luke 4:31-44, Jesus taught in the synagogue in Capernaum on the sabbath days. In Capernaum also, Jesus allegedly healed a man who had the spirit of an unclean devil and healed a fever in Simon Peter’s mother-in-law. According to Matthew 8:5-13, it is also the place where a Roman Centurion asked Jesus to heal his servant… One block of homes, called by the Franciscan excavators the sacra insula or “holy insula” (“insula” refers to a block of homes around a courtyard) was found to have a complex history. ..The excavators concluded that one house in the village was venerated as the house of Peter the fisherman as early as the mid-first century AD, with two churches having been constructed over it (Lofreda, 1984).” Info from Wiki. Photo courtesy kokorokoko

There is a great need for landscape architects to become involved with archaeological sites. They are far too important to be left to the care of archaeologists.

Robbie Williams and the Compton Bassett garden design

Garden Design and Landscape Architecture

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