Author Archives: Tom Turner

Ginkgo avenue in Japanese Meiji Shrine garden

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This brilliant photograph, by Masahiro Hayata, combines the spiritual glory of a gothic vault with the transcendent luminance of a stained glass window.

The avenue is formed with the oldest surviving tree species on earth, the only survivor from prehistoric times. The Ginkgo was widespread 270 million years ago but disappeared – except from a small area in Central China. The seed was taken to Europe, from a Japanese temple garden, by Engelbert Kaempfer in 1692. Kaempfer  was a German naturalist, traveller and physician who wrote an important account of Japan and also made the first accurate drawings of Persian gardens.

The 300m Ginkgo Avenue is in the garden of the Meiji Jingu (shrine) in Tokyo. It commemorates the 1867 Meiji Restoration, which led directly to the astonishing modernization of Japan: the landscape architecture of this photograph involves many interests.

Graffiti in Berlin park design

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Berlin has more of a graffiti ‘problem’ than London. So much of the city is so dull that local artists are taking the problem into their own hands. But look at this: Sudgelande Natur Park, along with many other intelligent uses of public art, has let local artists adorn the ugly hunks of concrete left by engineers and architects. [Images courtesy Olivier Six and Jens Uwe Liepelt]

We are grateful to Grün Berlin for the recently uploaded photographs of Sudgelande are also pleased to have a Head Gardener’s Comment. We look forward to having Visitor Comments and  Head Gardener’s comments throughout our Garden Finder Section. It had details of 2,440 gardens on 10th December and has 2,442 places on 11th December. New entries are always welcome and we worry that some countries (eg Israel) are seriously under-represented.

Cornwall gardens, hotels and tours

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Cornwall Gardens and Recommended Garden Hotels eBook

Cornwall Gardens and Recommended Garden Hotels eBook

Only 12 days until the winter solstice: its time to be thinking about next year’s garden tours!

While planning a Cornwall garden tour, we produced an eBook on the subject. It is available for free download from our Gardens in Cornwall page. If any readers have further suggestions on where to go and which hotels have good gardens, please add a comment below! We would be pleased to include the information in a revised edition of the Cornwall Gardens eBook.

The eBook has information on eight top Cornwall Gardens – and also John Claudius London’s notes on his 1842 Cornwall Garden Tour. He was very ill and only spent a few days in the Duchy but his remarks are of considerable historic interest. Loudon was the most prolific garden writer who ever lived and perhaps the only polymath to take on the subject.

See also: Garden Tours in Cornwall.


Greenwich Park Restoration after 2012 Equestrian and Modern Pentathlon Events

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Greenwich residents mostly oppose the plan to convert ‘their’ park into what the organizers call ‘A world-class venue on your doorstep‘. I support them but believe that, as at public inquiries, the objectors should also have a list of conditions to be imposed on the developers in the unwelcome event of permission being granted. For the horse riding events in Greenwich Park, this should include:

  • extensive protection and conservation of ALL historic landscape and architectural features
  • even more protection for the most ancient artefacts in the park: the remains of a roman temple and the Saxon burial mounds. The greatest possible care should go to the vestegial grass on the burial mounds: it may be the most ancient grassland in the whole of South London.
  • a full archaeological investigation and restoration of the Le Notre parterre. This is the only work in England by the greatest landscape designer of the seventeenth century and, some will argue, the greatest landscape architect who ever lived. The parterre is currently managed as though it were a football pitch. The lawn and its chiseled grass banks should be maintained with the precision they deserve.
  • the Giant Steps which ran up the axis from the parterre to the Greenwich Observatory should be restored using modern grass reinforcement techniques. They were the central visual component of the seventeenth century design for Greenwich Park. Restoration has been considered on several occasions. The proposed 2012 Olympic Equestrian Event creates an opportunity to act.

Unless the 2012 organizers can demonstrate beyond reasonable doubt their willingness to leave Greenwich Park in  better condition than they find it, they should be thrown into the deepest dungeon in the Tower of London, thus creating what would undoubtedly be a popular tourist attraction. I will supply the salt beef and when dropping it in will ask “Why not use Charlton Park instead?”

Note: for more discussion see article on The Conservation of Greenwich Park.

See also Mass Protest against Greenwich Olympic Equestrian Event

A revised plan for the equestrian route was published in The October 2009 “Greenwich Park Venue Update”. It is shown below, on a Googlemap. Their plan shows it avoiding the Anglo-Saxon Tumuli but without a geophysical survey how can they be sure?

October 2009 Revised plan for the equestrian route

October 2009 Revised plan for the equestrian route

Context-sensitive design

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This view, in Bundi, inspired Kipling to write Kim - which is full of 'context-sensitive' local character.More design (cities, architecture, landscapes, gardens etc) should be more context-sensitive:

  • it is more sustainable (less energy, local plants, local materials etc)
  • traditions which have survived what Christopher Alexander calls ‘an endless period of time’ are likely to be adapted to local cultural and geographical circumstances
  • local character is what local residents usually want
  • local character is what tourists usually want

I am NOT however arguing against innovation, which local people and tourists can all appreciate. I am arguing that every design team MUST explain and MUST justify the contextual approach they have adopted. Similarity, Identity and Difference are all welcome in the right circumstances. Garden travel is one of life’s great pleasures – and it helps one see that Russian design should not be copied in China, French design should not be copied in Russia, American design should not be copied in Dubai, British design should not be copied in India, Japanese design should not be copied in America, etc etc etc. Mobile phones and cameras are international go-anywhere products. Designed gardens and landscapes should have local roots, however much they learn from elsewhere. Curiously, designers often understand this best when working outside the countries in which they were born.

The photograph is of the garden in Bundi where Rudyard Kipling wrote Kim, and possibly wondered:


Winds of the World give answer! They are whimpering to and fro

And what should they know of England who only England know?



Mirei Shigemori and modern Japanese garden design

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Christian Tschumi has written a very useful book on Mirei Shigemori – Rebel in the Garden – Modern Landscape Architecture (Birkhauser 2007) though it puzzles me why he does not see it as a book on garden design.

Mirei Shigemori (1896–1975) wanted Japanese gardens to be modern but he did not want them to be western, despite the fact that in admiration of the west he had named his children after Immanuel Kant, Victor Hugo, Johann Goethe, Herman Cohen,  and Lord Byron – an astonishing group.  I have often admired photographs of the Moss garden at Tofuku-ji (1939), as illustrated in the Wiki article on his work. But the designs illustrated by most of the photographs in Tschumi’s book do not reach this standard and another photograph of the same garden (image, right, courtesy I-Ta Tsai) makes this point: the design is too experimental; the scale is not well judged; the geometry is unsophisticated.

Shigemori  identified three possible approaches to Japanese garden design (1) pursuit of the classical style (2) using the best of classical and modern ideas (3) creating something completely new (modernism). These policies are discussed elsewhere on this website as Similarity, Identity and Difference (SID). I support them all!

Shigemori  was an artist and a scholar whose own approach, ‘(2)’ in the above list, was certainly context-sensitive. So what went wrong? I have not seen his work except in photographs but will hazard two guesses:

  • his adoption of a western design method (design-by-drawing) detached him from the intimate craftsmanship and immaculate judgment of scale which is crucial in Japanese gardens
  • his introduction of concrete to Japan was a complete mistake – the material is inherently at odds with the wabi-sabi aesthetic and ill-suited to the interpretation of nature on which the Japanese garden depends.