With the creditable exception of Burle Marx, and perhaps James Corner, landscape architects have been slow in responding to Suprematicism. Kasimir Malevich used this term as an alternative to Non-objective Art, which is itself an alternative to the more common Abstract Art. Malevich was thinking of its supremacy over previous art movements. Part of Malevich’s inspiration, like Corner’s, was from aerial photography: he abstracted patterns from landscapes. His suprematist ‘grammar’ was based on the elemental geometric forms, particularly the square and the circle. In the Eastern Orthodox tradition the holy family were believed to have a presence in icons. Comparably, a square is a square: it is not a picture of a square. This gives non-objective art a supremacy over representational (objective) art. Landscape architecture shares this type of supremacy over landscape painting: it is about making real places, not pictures of places. But landscape architects should also be fine artists in the sense of expressing truths about the nature of the world. Green-on-Green abstracts a truth about humanity’s relationship with the natural world: the works of man are always part of nature and always distinguishable from nature. We can guess that the term Abstract Art did not appeal to Malevich because of its use to mean ‘abstracted from the external world’. Malevich believed that art is spiritual. One can however, imagine that Malevich would have been happy to describe the ‘other’ type as Concrete Art, using concrete in the logician’s sense as an opposite to abstract.
Geography and the origins of landscape architecture in Scotland
James Hutton lived 15 km south of the Bass Rock and used the geology of the region to support his Theory of the Earth, which argued that the Earth had evolved slowly, rather than being created in a week (as described in the Bible).
Gilbert Laing Meason invented the term ‘landscape architecture’, in 1828. Meason lived near Forfar (60 km north of the Bass Rock) which might be visible on the above photograph if it had been taken on a clearer day
John Claudius Loudon was the most prolific writer on gardens and architecture of his age. He designed some of the first public parks, proposed a system of Breathing Zones for London and transmitted the term ‘landscape architecture’ to Downing and Olmsted . Loudon spent his childhood at Gogar 40 km west of the Bass Rock
John Muir is regarded as the Father of America’s National Parks. John Muir was born in Dunbar (15 km from the Bass Rock) and the estuary in the foreground of the above photograph is now the John Muir Country Park.
Patrick Geddes, the first European to use ‘landscape architect’ as a professional title was the most innovative town and country planner of the twentieth century. Patrick Geddes was born near Perth (25 km north of the Bass Rock) and lived in Dundee and Edinburgh
Ian McHarg wrote the most influential landscape architecture book of the twentieth century (Design with nature) and contributed to the development of Geographical Information Systems (GIS) McHarg was born in Clydebank, 80 km west of the Bass Rock and near the boundary between the tectonic plates which were joined to make Britain
George Eliot wrote, in Adam Bede, that ‘a gardener is Scotch, as a French teacher is Parisian‘. She lived 1819–1880 and would have been on even stronger ground if writing about landscape architecture and planning!

The Bass Rock (centre of photo) is one of many extinct volcanoes which form the landscape architecture of Scotland's Central Belt
See map history of How Britain was Formed. When the sun is setting (above) one gets a glimpse of how the region looked when the boundary between the Gondwana and Euramerica plates was full of volcanic activity, as Iceland is today, but the Devonian climate was hotter and drier.
And/Or & Both – when more is more.
It would be unfortunate to lose the distinction between [1] garden design and [2] [3] landscape architecture much as the trend towards [4] interior architecture is actually unfortunate for [5] interior designers. The differences of focus and attention to scale provide a variety of design insights which are not replicated.
Why? Because the rich tradition of garden design is the foundation and a source of inspiration to landscape architecture, to urban design and to city design. In the future we may say more as gardens move from the [6] ground plane to vertical surfaces and [7] roofs. Parc Eduardo VII in [8] the city of Lisbon is an example of the axis and hedges of gardens informing the structuring of city vistas.
There is much to be said for the process of abstraction. Landscape architects, arguably coming into being with the [9] English landscape tradition, have evolved a language and way of working of their own, which is continually evolving. Viva la difference!
Image courtesy Artifolio
GM Green Wall in Trafalgar Square designed by Shelley Mosco landscape architect
It is a pleasure to have a green wall in Trafalgar Square this summer, to cover some scaffolding. The green wall was sponsored by GE and the National Gallery, as part of its Carbon Plan. It was designed by landscape architect Shelley Mosco. It is based on Van Gogh’s Wheat Field with Cypresses (below left). Shelley’s planting design (below right) uses pointillist planting blocks for texture. The wall has 36 different species in 250x500mm modules, each containing 14 cells of 125x76mm). The living green wall is 4.8m x 7m and has over 8000 plants. Shelley is also interested in living green walls made with native plants,using a GIS system to guide plant selection for particular localities.
Sir Geoffrey Jellicoe – a Blue Plaque for a landscape architecture but not for Susan
English Heritage Blue Plaque Scheme marks the dwellings of famous Londoners with Blue Plaques. Only one landscape architect has been honoured in this way. It is Sir Geoffrey Jellicoe. Famed for his design projects, his books and his role in founding the International Federation of Landscape Architects in 1948, the honour is well deserved. It is however regrettable that the family’s suggested inclusion of his wife’s name on the plaque was not acted upon. Married to each other and to landscape architecture, they were partners in every sense. Susan was an extremely capable woman who worked with Geoffrey on all his schemes. A friend told me that Geoffrey was vague about the difference between deciduous and coniferous plants. Susan did all his planting design and edited his books. Her contribution to the Landscape of man was even more significant: she took most of the photographs herself, did the picture research for the other photographs – and probably wrote the captions. We should also remember that the International Federation of Landscape Architects might not have been founded but for her linguistic skills. If English Heritage was not overtly sexist, it was less than generous in its decision to leave Susan’s name off the Blue Plaque. The Blue Plaque on 19 Grove Terrace, Dartmouth Park, NW5 IPH, reads: “Sir GEOFFREY JELLICOE 1900-1996 Landscape Architect lived here 1936-1984”
Chelsea Flower Show Trends 2011 – and the Chelsea Fringe Garden Show

Sustainable and theatrical themes at Chelsea help argue the case for an Unofficial Chelsea Fringe Garden Festival
Amongst other things, garden design an arena for fashion. This tempts the critic to look for trends and what I noticed was more an extension of previous trends than anything completely new:
- the visual language of sustainability is becoming stronger, with green walls and green roofs tending towards the norm
- there is more use of food plants each year, as in the above photograph (of a design by Bunny Guiness)
- the interest in green roofs is trending towards high-rise gardens: Sarah Eberle designed an accessible roof garden; B&Q designed a multi-storey garden; Dairmud Gavin hung a garden from a crane [see 2011 Chelsea review]
- the financial trend is to more-and-more money being spent on the show gardens each year
The financial trend reminds me of a previous suggestion: the Official Chelsea Flower Show should be supplemented with an unofficial fringe event. We therefore renew the proposal, made in 2005, for a Chelsea Fringe Flower and Garden Show. The advantages of a Chelsea Fringe would include:
- there could be sustainably Permanent Show Gardens, as well as Temporary Show Gardens. People often remark on what a waste of money it is that Chelsea Show Gardens are only on view for a single week. The Chelsea Fringe would allow some of the show gardens to become permanent.
- many summer visitors to London, who cannot get tickets for the Official Chelsea Flower Show, would be able to see wonderful gardens. The gardens could be opened in sync with the official show and would then be at their best for the whole summer.
- the Chelsea Fringe would re-inforce London’s position as the World Capital of Gardening
- the Chelsea Fringe Show Gardens could be combined with theatrical and other events, as in the above photograph
- there could be Floating Chelsea Gardens on the Battersea Reach of the River Thames
Here are the 2007 proposals for the type of events which could be brought within the umberalla of a Chelsea Fringe Flower and Garden Show Events.