Category Archives: Garden Design

Concepts of sacredness and beauty

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It is likely that the history of Japanese gardens finds its origins in Shinto traditions. In particular the sacred nature of rocks: “from the ancient remains of rock arrangement” of the fifth century AD, we find a resemblance to existing Japanese gardens. “However it appears they were used for the spiritual rituals and not designed as a stone arrangement for the beauty of gardens.”

The earliest known Japanese gardening texts are a medieval text, Sakuteiki, and an illustrated text dating from the Muromachi period (1333-1573). The origins of Japanese garden design principles are said to be traceable back to these two texts. The location of Shinto shrines were near striking natural formations, waterfalls, caves, rock formations, mountain tops or forrest glens reflecting the idea that kami spirits were located in nature. The earliest shrines were mounds, caves or groves. Kami occur in two categories (object kami) and mythical and historical persons (active kami). Illustrated is off-shore rock kami.

The following story is related of an off-shore rock just off Oshima:
“The kami enshrined here is Ichikishimahime, daughter of Susano, and eldest of the three Munakata princesses. Just off Oshima is a large rock protuding from the sea. The story is when Ichikishimahime heard she was going to be enshrined on Oshima, she was really excited and proud because Oshima means ‘Great Island’, but when she got here and saw just how small it really was, her tears formed the rock.”

With the introduction of Buddhism into Japan the earliest interaction saw local kami asking to be saved from their kami-state by means of Buddhist ritual.

Is it garden design? Is it fine art? Is it conceptual art? Is it beautiful?

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Question "But is it art?"

A few years ago, the RHS introduced the interesting category of Conceptual Gardens to the Hampton Court Flower Show. The above example, from the 2011 Show, is by Andrew Cook, Nicola Greaves, Camilla Moreton. The concept is explained as follows ‘Raising awareness of skin cancer this circular gravel garden, designed by students from Falmouth University, is a place where plants can plants bask in the sunlight whilst humans (represented as shadows on the ground) can escape to the shady shelter of the trees which line the garden.’
Let’s try some Qs&As:
Q ‘Is it a garden design?’ : A ‘It makes use of plants and it has an aesthetic quality, but it does not have the traditional garden roles (producing food, a place to sit, beside a house, etc)’
Q ‘Is it fine art?’ : A ‘It passes the test of having been in an exhibition, and this section of the Hampton Court Show could be counted an art exhibition, so “maybe”. ‘But it falls short of the requirements for fine art in having an explict message which makes it too like an advertisement (for skin cancer awareness)’
Q ‘Is it conceptual?’ A ‘Yes to the extent that it rests on an idea. But no because of the nature of the idea in question: it is far too “obvious”‘
Q ‘Does it produce the pleasurable quiver and sharp intake of breath which often comes from viewing a work of art?’ A ‘No.’
Q ‘Is it beautiful’ A ‘Not quite. The watery figures are good with the gravel and umbelifers. But the tree interrupts the composition, the wire sculpture spoils the purity of the figures and the peripheral planting is an untidy distraction’

Patronage – and the lovliest dolphin and naked boy fountain in the world

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Dolphin boy fountain by David Wynne

I once worked in the garden of the David Wynne, who made this fountain – and am glad that his client was not the Caliph El Madhi

What a beautiful fountain, with the silver dolphin and the naked boy!.

A Greek of Constantinople made it, who came travelling hither in the days of my father, the Caliph El Madhi (may earth be gentle to his body and Paradise refreshing to his soul!). He showed this fountain to my father, who was exceptionally pleased, and asked the Greek if he could make more as fine. “A hundred,” replied the delighted infidel. Whereupon my father cried, “Impale the pig.” Which having been done, this fountain remains the loveliest in the world.

The fountain delighted David Wynne’s clients and, I guess, it pleases most visitors to Tower Bridge in London. My advice to those who commission public art is: beware of abstract art. They should think in terms of cultural strata. However much the the organizer of a disco may adore Karlheinz Stockhausen, it would not be a popular choice for the playlist.

Garden design and the history of art

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Developments in gardens parallel developments in the fine arts


The top pictures show a medieval statue, Michaelangelo’s David and Bernini’s David.
The lower pictures show a medieval garden, a renaissance garden and a baroque garden.
The pairs represent the devotional attitude of the middle ages, the static calm of the renaissance the drama of the baroque.
I think there are closer parallels between the histories of gardens and fine art than between the histories of gardens and dynasties, which makes me doubtful about the categorisation of British gardens as Tudor, Stuart, Georgian, Victorian, Edwardian etc. Nor do I think kings and queens have had a leading role in the development of garden design. So why are royal names so popular in Britain? Are garden historians flunkies? And how do the Irish manage without royal names for garden styles?

Are garden historians flunkies?

La Primavera, Plato, Alchemy, Love, Flora and Venus in a garden grove with a flowery mead

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La Primavera (‘Spring’) was painted by Sandro Botticelli c1482 and is one of the world’s most popular paintings. It shows a playful group of young maidens, two males and one putti. They are in a garden grove of orange trees with a flowery mead beneath their feet. The charming scene is interpreted as an allegory of Neoplatonic and Alchemical love, according to the philosophy of Marsilio Ficino. Venus is the central figure, as she is in many garden scenes. The Zephyr on the on the right tries to rape Chloris but then transforms her into Flora (the goddess of flowers). Alchemists believed one must go through difficult times in the progress of the soul towards perfection, as base metals must go through fire to become gold. The garden represents the physical world and the painting was partly inspired by Ovid’s description of the arrival of Spring

George Hargreaves as landscape architect for the 2012 London Olympic Park

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George Hargreaves gave the first Geoffrey Jellicoe lecture to the Landscape Institute yesterday and, in truth, there was something of Jellicoe’s style about it. He began with a terse proposition and then mused through a large set of images. Hargreaves proposition was that the design of public open space takes place around three poles: Site, Sustainability and Memorability. He took us though a portfolio of former projects, so many in fact that common features became obvious: a stylized geometry (which reminded me of Alphand) but projected as sculpture into three dimensions. This worked well on occcasion but, so far as I could see had nothing to do with Site, Sustainability or Memorability. Thinking about the 2012 London Olympics, the first questioner made the point I raised on this webpage when the site was chosen and made again more recently: ‘what about the existing site and its memorability?’ ‘Ha’, said George, ‘we did not concentrate on Memorability for the 2012 Olympic Park. We did not try to keep industrial artifacts because the site was going to have too much traffic’.

Note George Hargreaves' shadow, on the left - is he reaching for something? Could it be a design theory?


So let us turn to the slide which shows the ‘Design Principles’ for the 2012 Olympic Park. They are:
1. Extend Games to Transformation/Legacy
Extend Transformation/Legacy to Games
2. Make more of the river
Make the river visible
3. Accentuate the north park as an environmentally biodiverse park
4. Accentuate the south park as an urban entertainment centre
The principles are fine – but I would call these ‘Planning Principles’ and use ‘Design Principles’ when including the aesthetic aspect of the scheme. If Hargreaves gave an explanation of the park’s aesthetic and artistic principles, I missed it. Most probably they are built into his psyche and therefore appear to need no explanation. As a design historian, I would explain it as geometrically Constructivist and thus a compatriot of Abstract Art. It is the curvilinear component of the Abstract Style Diagram.
As Tom Lehrer might have put it:
Who made me the genius I am today,
The mathematician that others all quote,
Who’s the professor that made me that way?
The greatest that ever got chalk on his coat.
One man deserves the credit,
One man deserves the blame,
And Kazimir Severinovich Malevich is his name.
Hi!

Hargreaves was also questioned about the differences between his landscape master plans for the Sydney Olympics and the London Olympics. He explained: ‘they are completely different – at Sydney the river was on the edge of the site and in London it is in the middle’. Site is obviously an important consideration.