HISTORY OF LANDSCAPE ARCHITECTURE

FORMAL AND INFORMAL

STYLES

Both of these are terms that are often misunderstood, being used to describe a mood
rather than a specific style.
The classification of the various styles is done on the basis of arrangement of elements
and features around an axis (symmetrical and asymmetrical)
SYMMETRY
Formal gardens are laid symmetrically, so that one side or end -mirrors the other
along a central axis.
Such a pattern tends to be static and can look best at its best surrounding a period
building as a set piece.
Smaller formal gardens can be surrounded by walls or hedges, to form a room that
would be ideal for a specific theme.
ASYMMETRY
On the other hand, asymmetric or more informal styles are rather different,
relying on balance rather than reflection, and can be simply explained by
imagining weights on either side of a fulcrum.
One feature can be balanced or offset by another in a different position.
In other words a terrace with raised beds and overhead beams to one side of the
house could need balancing by a tree or number of trees at the bottom of the
garden on the other side.
Alternatively, a rock outcrop that forms a major feature in one position might need
the counterweight of a summerhouse or arbor elsewhere in the garden.

FEATURES
BRIDGE
Most important architectural feature developing conjunction with
water.
Utilitarian purpose often overshadowed by its symbolic importance
and surface decoration.
Different styles used in different countries.
Most prevalent were simple stone three or five arched bridges, often
of impressive size and occasionally decorated with balustrade rails
or with statues or urns.

THE PALLADIAN BRIDGE

Had colonnades and pediments

Represented peak of decorative architectural for gardens.

Sometimes false bridges were made at the end of the stretch of

water to give impression that it is continued further.
Painted wooden bridges were made in variety of styles.
Mostly wood or stone were used but iron has been used for
decorative railings.

FEATURES
LAKE
These have been major focus of natural gardens.
Paths were created along the edges of the lake
unveiling a series of different views and features
along the way.
Large lakes were symbolic of kings power also
symbolic of sea with small islands which were
destinations of boating expeditions.

Centre pieces of water side planting .

Also presented image of serenity.

BATH HOUSE
Incorporated in Roman villa garden.
Ancient equivalent of swimming pool pavilion.
Classic origins made bath houses fashionable
features for English gardens.

FEATURES
POND
Commonly incorporated in the garden .
Banks are usually adorned and enlivened
with waterside planting.
Often used as a way to convert small area of
boggy land to make a far more desirable
garden feature.

RILL
Narrow channel of water used to give
impression of naturalness by following
windy course.
Use of sinuous lines to give natural look.

FEATURES
STREAM
Provides harmony between flowing water and
plants.
Where water enters the garden it is dramatized
into a waterfall and the points of entry and exit
were both traditionally designed to give an
impression that stream continued in both
directions.

BOAT HOUSE
Tradition of boating on the lakes of water gardens
in China and Japan ensured their popularity in the
garden design of these countries.
Used in public parks where recreation has always
been a prime consideration.
Combined practical use with pleasing
architectural appearance

CONTENTS

ENGLISH GARDENS

INTRODUCTION
The English garden is a style that emerged in England in the early 18th

century, and spread across Europe.

It replaced the more formal, symmetrical Garden la franaise of the
17th century as the principal gardening style of Europe.
The English garden presented an idealized view of nature.
They were often inspired by paintings of landscapes and some were
influenced by the classic Chinese gardens of the East.
By the end of the 18th century the English garden was being imitated by
the French landscape garden.

It also had a major influence on the form of the public parks and

gardens which appeared around the world in the 19th century.

History:
The English garden is a style of
landscape garden which emerged in
Britain in the early 18th century, and
spread across Europe, replacing the
more formal, symmetrical Garden
la franaise of the 17th century as
the principal gardening style of
Europe.
It usually included a lake, sweeps of
gently rolling lawns set against
groves of trees, and recreations of
classical temples, Gothic ruins,
bridges, and other picturesque
architecture, designed to recreate an
idyllic pastoral landscape.

Characteristics
Philosophical Bases (Landscape paintings influence)
Application of the principles of painting
Travels to Italy [picturesque, rugged landscape, classic architectural orders]
Traveling to the Orient: Chinese garden
Revolt against the Renaissance mood of extreme rationalism
Typical English tradition of idealization of nature and the belief in that :
Nobility = Honesty of expression and that honesty of expression= Moral
integration
Characteristics
Rolling lawns, bounded by masses of trees
Organic forms [rather than geometric]
Still water bodies in bond-like or stream like form.
Buildings of classical design set in contrast to the surrounding landscape.
Elimination of visual break between the designed garden and the
surrounding landscape.
Regular architecture + irregular gardens
Founded on direct observation of nature

10

Characteristics
English garden on a smaller scale and more filled with eye-catchers.
The main idea of the English gardens is that they should merge the built

structures with the countryside without any artificial barriers such as

fences, hedges or etc,.
The villas were the main focus of the garden.
The form of these gardens was obtained directly from the observation of
nature.
Painting and poetry principles were followed to create picturesque
landscape.
Principle of surprise.
The main features of these gardens are curved paths, informal group of
trees, streams, artificial waterfalls, clipped hedges, flowering annuals
and architectural features or rock formations.

11

Characteristics
USE OF LANDSCAPE ELEMENTS:Landform:
Natural contours were used as far as possible. The existing slopes were
enhanced and moulded to their utmost degree. The effect was rolling and gently
undulating landforms.
The edges of the site were treated with Ha-Ha shaped like a ditch or dry
moat with a fence very often, to provide a view beyond the site but at the same time
prevent the grazing animals from entering.
Trees were planted on the hill site
to give added appearance of height and valleys were kept free to accentuate their
depth.
Water:

It was shaped in any form so that it looked as natural as possible. Existing

brooks and streams were enhanced and made to move in its typical serpentine
pleasure. Where the edges were concealed by thickets properly interspersed.
Edge delineations were made informal with drooping trees or some where a
mound crawling down into the lake or just weeds and shrubs of the natural kind

Ownership:
Private estate of nobility
Functions:
Gardens primarily used for aesthetic pleasure of the leisured nobility.
Large areas with in the estate of the country houses were designed for the pursuits
such as hunting and riding.

Spatial Organisation:
Non Geometrical approach to the landscape designed was followed. The
overall spatial organisation was not rigid. There were few foci which were visually
linked but not physically. Hence visual axis replaced physical axis.
Built structures like temples, grottos, pavilions acted as foci and their
positioning usually accentuated the visual composition of the landform at different
settings. However the palace remained to be the main focus.
Scale:

The garden as a private estate was very large in size, where the built
element formed a very small part of the overall scheme. The designed landscape
was similar in scale and character to the surroundings and it was designed to
visually extend the boundaries. Hence the scale also expanded immensely.

Siting :

The introduction of the Ha-Ha ( Sunken Fence) by Bridgeman made the

garden a part of natural wilderness. The surrounding Countryside, typical with
the pattern, tracts, gentle hills, meadows, woodlands was replicated within the site
as a result of this the whole land looked like an extension of the park.
Even the features of the surrounding lands like ruins and chapels were
made the part of the designed scene.

Climate:

The climate with its misty lights and infinite changes in season gave an
interest and mystery to compositions which would appear hard and dull in the
clear light.
Water bodies faded away gently into the mist and trees blurring the
reflections.

12

Characteristics
Vegetation:
All native trees like oak, Elms, Beeches, pines and limes were planted
sparingly to provide tone.
Trees were planted to appear as groups ( Clumps). Belts were enclosing components
like scaled down forests. These belts and clumps were placed accordingly as if to
compose a picture and to direct the eye towards a particular direction.
Symbolism:
In an overcrowded industrial world as a result of a romantic movement the
art form the English Landscape School created imaginative nostalgic spaces and
ensured individuality to architecture by inspiration drawn from nature of each site.
The Transition:
Naturally these principles were put into practice straight away. Charles
Bridgeman and John Vanbrugh started the movement from Classicism to
Romanticism.

The Romantic Era:

The landscape School born and perfected in England has three main stages
in its development. The first one was pioneered by William Kent, The second by
Capability Brown. Humprey Repton continued the principles of Brown with slight
modifications.

Features:
idea of the English gardens is that they

should merge the built structures with the

countryside without any artificial barriers
such as fences, hedges or etc,.

The villas were the main focus of the garden.

The form of these gardens was obtained

directly from the observation of nature.

Principle of surprise.
The main features of these gardens are

curved paths, informal group of trees,

streams, artificial waterfalls, clipped hedges,
flowering annuals and architectural features
or rock formations.

Claremont_Belvedere

Stowe Park Palladian bridge

Blenheim_Palace

Stourhead Garden

 VEGETATION:
Thicket of trees was used to mark the

boundaries.
Horizontal edging with the help of
vegetation.
Drooping trees and shrubs were used.
All native trees were planted .
Planted in groups. Tree belts are used
to enclose space or scale down the
forest.

WATER:

It was shaped to give it a natural look.

Streams were enhanced and

accentuated to move in serpentine

streams.
To conceal edges thickets are used.

FRENCH GARDENS
In the 16th century there was a growing use of parterres,

fountains and stone ornamentation.

Louis XIV, the sun king ruled shrewdly and efficiently for

fifty years during his rule (1661-1715) France became

dominant power in Europe.

Louis XIV encouraged arts and science to create Versailles a

civilization of pleasure that had no equals

FRENCH DESIGN PHILOSOPHY

Man over nature

Power over nature

French garden reflect the wealth and power and rigid social structure

of France and the evolving concept of mans dominance over nature

The French regarded landscape in its natural state as barbarian.

They didnt hesitate to remake nature and transform its trees and

shrubs into manmade, perfectly geometric creations. They moved

huge quantities of earth to make hills.

The basic quality of French classic garden is that it bends the laws of

nature to the human intelligence. Absolute command over nature was

the underlying philosophy of French garden.

 Monumentality created an illusion of infinite extent by exaggerating

the dimensions physically.

The entire composition with exceedingly long axis bordered by forest

providing view of nearly unlimited extent overwhelmed the guests.

This became the design intent for show, display and delight of wealth
and power. Behind it of course, lay the example of the Italian garden,
which however the French drastically reshaped and transformed.

Using Italian garden features as such was not possible due to less

undulating land as compared to terraced land of Italy.

Also it was difficult to achieve harmony and unity among the existing

building and gardens.

 Strong axial layout, symmetry, mathematical proportions, infinite

perspective reflected the power,wealth and rigid social structure of

France.
The french nobility,quite fond of hunting,founded that by cutting

long straight axsis clearing in the forests they could spot game
running from one wood to another.
Such vista pathways intersecting at acute angles at certain places

in the hunting forest helped the hunter, standing at an intersection,

to scan two or more pathways simultaneously. High ground were
chosen for the intersection. For it afforded a better view , some
hunting forests eventually became intricate spider web of
intersecting pathway and rond points, places of social meetings.

 Such points could be social gathering places in the

woods, they could also be focal point in the

landscape for a palace. such type of arrangement of
pathways is known as goose foot.

Allees

Types of garden
Social garden
Public garden

Social garden
These garden were the center of government
functionaries with all the diplomatic political and
entertainment functions. E.g. vaux-le-vecomte

Public Garden
These garden were designed for the use of many

people at one time .e.g. Versailles.

 Yards are contained of square frames

and constantly shuddered by neat,

squared bushes.
Flowerbeds are geometrical in shape

rectangular, oval or circular.

Parterres are an important feature of

formal French gardens.

These gorgeous, vast geometrically

designed patterns on the ground were

made with flowers, dirt, gravel and
stones of all different colors.
Parterres are often lined with

boxwood, lavender, or rosemary.

Parterres de broderies or rather,
embroidery parterres, are

 French Garden Ornaments:

statues, columns, trellises,

sundials, birdbaths and more.

Symmetrical placement

occurs with ornamental

objects.

Water features used are

mostly canals and large, flat

pools.

A fountain or accenting

garden ornament of some

kind is the usual destination
of such straight pathways

 Most of these water fountains have

engines to operate them.

Allees, meaning axes or rides, is the

term used for the garden walks or

pathways, bordered by trees or neatly
clipped hedges that provided the
framework of the French garden style.

 Vegetation: Planting designs are most often created according to color.

French gardens predominantly use colors with a touches of yellow, red or

orange and some lilac and blue. Ideally, gardeners should choose plants that
bloom all year round.

italian Renaissance gaRdens

The Italian Renaissance garden was a new style of garden which

emerged in the late fifteenth century at villas in Rome and Florence,

inspired by classical ideals of order and beauty, and intended for the
pleasure of the view of the garden and the landscape beyond, for
contemplation, and for the enjoyment of the sights, sounds and smells
of the garden itself.

 In the late Renaissance, the

gardens became larger,

grander and more
symmetrical, and were filled
with fountains, statues,
grottoes, water organs and
other features designed to
delight their owners and
amuse and impress visitors.
The style was imitated
throughout Europe,
influencing the gardens of
the French Renaissance and
the English garden.

The Classical Influence the Italian

Renaissance gaRdens
Prior to the Italian Renaissance, Italian

Medieval gardens were enclosed by walls,

and were devoted to growing vegetables,
fruits and medicinal herbs, or, in the case
of monastery gardens, for silent
meditation and prayer.
The Italian Renaissance garden broke
down the wall between the garden, the
house, and the landscape outside.
The Italian Renaissance garden, like
Renaissance art and architecture,
emerged
from the rediscovery by Renaissance
scholars
of classical Roman models.
They were inspired by the descriptions of
ancient Roman gardens

Alberti and the Principles of the

Renaissance gaRdens
The first Renaissance text to include garden design was

De Re Aedificatoria (The Ten Books of Architecture),

by Leon Battista Alberti (1404-1472).
He drew upon the architectural principles of Vitruvius
and used quotations from Pliny the Older and
Younger
to describe what a garden should look like and how
it should be used.
Alberti wrote: "...You should place porticos for giving
shade, planters where vines can climb, placed on
marble columns; vases and amusing statues, provided
they are not obscene.
You should also have rare plants.... Trees should be
aligned and arranged evenly, each tree aligned with its
neighbours."

Power and Magnificence - the

political symbolism of the
Renaissance
garden
While the early Italian Renaissance gardens were designed for

contemplation and pleasure with tunnels of greenery, trees for shade,

an enclosed giardino segreto (secret garden) and fields for games and
amusements, the Medici, the ruling dynasty of Florence, used gardens
to demonstrate their own power and magnificence.
E.g. :-The central fountain at Villa Castello featured a statue of
Hercules, symbolizing Cosimo de Medici, the ruler of Florence, and the
fishtailed goat that was an emblem of the Medicis; the garden
represented the power, wisdom, order, beauty and glory that the
Medici had brought to Florence.

Glossary of the Italian

Renaissance Garden

Fontaniere :- The fountain-maker, a hydraulic engineer who designed the water

system and fountains.

Giochi d'acqua :- water tricks. Concealed fountains which drenched unsuspecting
visitors.
Bosco Sacro :- Sacred wood. A grove of trees inspired by the groves where pagans
would worship. In Renaissance and especially mannerist gardens, this section was
filled with allegorical statues of animals, giants and fantastic creatures.
Giardino Segreto :- The Secret Garden. An enclosed private garden within the garden,
inspired by the cloisters of Medieval monasteries. A place for reading, writing or
quiet conversations.
Semplici :- "Simples," or medicinal plants and herbs.

Division of Italian Renaissance

gardens :1)

Gardens of the Early

Italian Renaissance.
(1450-1530)

2) Gardens of the High

Renaissance.
(1520-1580)

3) Mannerism and the Gardens

of the Late Renaissance
(1550-1600)

gaRdens of the eaRly italian

Renaissance
The Palazzo Piccolomini at Pienza :-

It was built by Enea Silvio Piccolomini, who

was Pope from 1458 to 1464, under the name
of Pius II.
He was a scholar of Latin and wrote extensively
on education, astronomy and social culture.
In 1459, he constructed a palace for himself and his
Cardinals and court in his small native town of Pienza.
Like the Villa Medici, a major feature of the house was the
commanding view to be had from the loggia over the
valley, the Val dOrcia, to the slopes of Monte Amiata.
Closer to the house, there were terraces with geometric
flowerbeds surrounding fountains and ornamented with
bushes trimmed into cones and spheres similar to the
garden of Pliny described in Alberti's De Re Aedificatoria.
The garden was designed to open to the town, the palace
and the view.

gaRdens of the high Renaissance

The middle of the 16th century saw the

construction by the Medicis and other

Wealthy families and individuals, of a series
of magnificent gardens that followed the
principles of Alberti and Bramante; they
were usually sited on a hilltop or slopes of
a mountain; had a series of symmetrical
terraces,
one above the other, along a central axis; the
house looked over the garden and landscape
beyond and it could itself be seen from
the bottom of the garden.
Developments in hydrology meant that the
gardens were equipped with increasingly
elaborate and majestic cascades and fountains,
and statues which recalled the grandeur of
Ancient Rome.

gaRdens of the high Renaissance

Villa Castello, Tuscany,

(1538) :-

Villa Castello was the

project of Cosimo de'

Medici, first Duke of
Tuscany, begun when he
was only seventeen. It was
designed by Niccol
Tribolo who designed two
other gardens: the
Giardino dei Semplici
(1545) and the Boboli
Gardens (1550) for
Cosimo.

gaRdens of the high Renaissance

The garden was laid out on a gentle slope between the villa and the hill of Monte

Morello. Tribolo first built a wall across the slope, dividing it into an upper garden
filled with orange trees, and a lower garden that was subdivided into garden rooms
with walls of hedges, rows of trees and tunnels of citrus trees and cedars.
A central axis, articulated by a series of fountains, extended from the villa up to the
base of Monte Morello. In this arrangement, the garden had both grand perspectives
and enclosed, private spaces .

gaRdens of the high Renaissance

The lower garden had a large marble fountain that was meant to be seen against a

backdrop of dark cypresses, with figures of Hercules and Antaeus. Just above this
fountain, in the center of the garden, was a labyrinth formed by cypress, laurel,
myrtle, roses and box hedges.
Concealed in the middle of the labyrinth was another fountain, with a statue of
Venus.
Around this fountain, Cosimo had bronze pipes installed under the tiles for giochi
d'acqua ("water tricks"), which were concealed conduits which could be turned on
with a key to drench unsuspectng guests.
Another unusual feature was a treehouse concealed in an ivy-covered oak tree,
with a square dining room inside the tree.

Japanese gardens
Japanese gardens demonstrate the Buddhist influences

which were brought into Japan in 612;

An emissary from Japan, visited China and was able to
absorb enough of the Buddhist way of life to recreate it
once he returned home.
At this time, gardens in Japan were solely created as
religious representations of various beliefs
Every element of a Buddhist garden bursts with religious
significance; pathways lead to enlightenment, whilst the
soil represents the fertility and nurturing nature of
Buddhas mind.
Buddhist ideas were adopted in Japan, it was not to do so
at the expense of the ancient Japanese religion, Shinto.
It has always been firmly believed that the two religions,
Shinto and Buddhism, are able to coexist in harmony;
rather than separate each other the two religious
intertwine.
This fusion of religion has been widely demonstrated in
Japanese culture; reflected within the foundational design
of Japanese gardens.

The Tea Ceremony

Further influences infused Japan in 1192
with the arrival of Eisai, a Buddhist monk from
China. Eisai introduced the Chan, or Zen way of
teaching to Japan as well as the tea ceremony - a
ritual based on the preparation and presentation
of a powdered green tea (Matcha) which can be
conducted indoors or outside.
Between 1333 and 1573, Zen monks
promoted the tea ceremony to such an extent that
the ritual was sewn into the cultural fabric of
Japan, and has remained intricately fundamental
to Japanese culture ever since.. As a result,
these features became intrinsic to Japanese
garden design- and thus the religious significance
that once accompanied the creation of Japanese
gardens was forfeited to accommodate those who
wished to take place in alternatives past-times, or
to merely enjoy a meditative environment.