LANDSCAPE DESIGN

LECTURE 2- LANDSCAPE HISTORY

SUBJECT CO-ORDINATOR: Ar. Manjinder Kaur
PERSIAN GARDENS
 Traditionally, an Islamic garden is a cool place of rest and reflection, and a reminder of paradise. The
Qur'an has many references to gardens, and the garden is used as an earthly analogue for the life in
paradise which is promised to believers:

Allah has promised to the believing men and the believing women gardens, beneath
which rivers flow, to abide in them, and goodly dwellings in gardens of perpetual
abode; and best of all is Allah's goodly pleasure; that is the grand achievement (Qur'an
9.72)

The sources
Xenophon – the Greek essayist and historian was the first person to mention a Paradise garden, who saw it in
401 BC in Persia where he fought with Greek mercenaries. He explains that the Persian king not only excelled in
the art of war but also in cultivation, he regarded it as a noble and necessary pursuit, wherever he resides or
travels, he is concerned that there be gardens filled with all the fine and good things that the earth wishes to
bring forth.
The form of the Paradise garden evolved from the traditions of the early dessert dwellers of the Near East.
From earliest times, religious symbolism has exerted a powerful influence on their design.
 The Geographical setting

The center of the Iranian plateau

is 4000-5000 feet in elevation and
is an. elongated saucer of salt and
gravel dessert basins
From the Persian gulf in the
south, wide parallel ranges of the
Zagros mountains form a barrier
for the moisture bearing winds to
reach the central land.
In the north, the steep chain of
Alburz ranges separate the the
central dessert from a narrow
strip of lush vegetation along
Caspian coast.
Winters are bitter with harsh
winds followed by scorching
summers and relentless sun.
Few rivers and streams irrigate
the Iranian plateau, most fading
out in the heat or turning into a
salt-swamp
The only source of water is the
snow which falls on the high
peaks. Ancients have devised an
elaborate method of harnessing
the water through – Qanats.

Understanding a Persian Garden - a ‘Paradise’ garden

 THE CONCEPT OF PARADISE
The Persian garden was an answer to the aridity of the harsh desert
climate. Fertility and Sumptuousness; marked the essence of
paradise, where there is plenty, where there is perpetual
springtime, and life is eternal.

The Koran describes paradise as a garden of eternity with four rivers:

of water, milk, wine and honey. Banning of all figurative imagery. >>
transformation by abstracting nature through mathematics and
geometry. Representation required an imaginative transformation
of ideas into reality.
Earthly paradise : geometry of square with the four divisions
representing the four elements, four seasons, cardinal points.
Idealization of the heavens.

The Paradise was perceived within high enclosing walls with a

stream flowing out from within, to a less idealized place; a depiction
of the known world. The stream divided into four continents. It
provided shape and form within an endless and formless landscape
The Concept of Chahar Bagh
1. The ideal point with the spring of life.
2. Transition on to cosmos and the divine.
3. The four rivers and their transition to a subterranean level
4. Quadripartite divisions.
5. Shady niches froming a passage /transition from interior to exterior
Qanat
Since water evaporates quickly on the high, dry plateau,
open canals and aqueducts were not as efficient as the underground method.
A simple and elaborate method of harnessing water was devised.

Main shaft sunk to the permanent subterranean water level.

Tunnel or a conduit dug from the source to where it was required.
At intervals of about 50 feet, shafts were dug to remove excavated material
and provide ventilation for the workers.
Tunnel slightly inclined, hence water propelled by gravity.

Jubes
A simple system of watering tree roots in orchards, bordering gardens or
lining avenues , by seepage.
These are merely open channels which move water in furrows or shallow trenches
between rows of trees.
Persian miniature paintings illustrating Iranian epics and classic stories are among the world's great
art treasures. These miniatures depicted both humans ...and gardens
No one can inspire humans with hope like Mother Nature and nowhere can she playfully display the greater
extent of her will than in the garden of human mind. The summer of passion and recline, the autumn of loss
and melancholy, the winter of despair and isolation and once again the spring of growth and the rebirth of
hope. Through all cycles of life, it is only by tending to the garden and watching over it that one can notice
even subtlest weeds of fear, for even the best of gardens may have weeds.
Origin : Persian gardens originated in 4000 BCE. The decorated pottery of that time shows the typical
cross plan of the Persian gardens. This style is best seen in Cyrus the Great's garden which was built-in
around 500 BCE.
•The tradition and style in the garden design of Persian gardens has influenced the design of gardens from Spain to
India and beyond.

•The Persian garden styles follow the

gardening styles of Egypt. The local
climate, high walled structures, shady
trees, water streams and fountains are
the factors which makes the Persian
garden a paradise on earth.

•The different styles of Persian garden

are Hayat, Meidan, Chahar Bagh, Park
and Bagh.
•The Persian gardens are planted with different
types of fruit, flower trees, shrubs, shady
plants, etc.

•The irrigation canals are also planted in the

gardens. The canals were planted straight to
provide water to the plants which were also
planted straight along the canals.

•The Persian garden style spread eastwards to

India and westwards via Spain with the spread
of Islam and by the Romans.
•During the reign of Sassanids and under the influence of Zoroastrianism, water was considered an important
factor in the art of garden.

•The greater emphasis was given on ponds and fountains in the garden.

•During the Arab occupation, gardens were built by taking into consideration aesthetic rules.

•The best example of this is 'Chahar bagh', with four rivers and four quadrants representing the world.

•After 18th century, European Garden design began to influence Persia, especially those of France, Russia and
United Kingdom.

Rivers
Persian Garden layout on a Persian Carpet
History:

•These gardens are enclosed.

•The main purpose behind

building such gardens was to
provide relaxation in different
manners such as spiritual,
leisurely (e.g. meetings with
friends).

•“ Pairi daeza” means enclosed

space in Persian language. This
Christian mythology adopted this
term to describe the Garden of
Eden or paradise on earth.

• Garden of Eden
•The construction of garden may have an emphasis
either on nature or on structure, however the main
thing this garden should allow is maximization of
function.

•The Persian gardens were built as a retreat from

the harsh landscape.

• These gardens are followed by modern-day

garden, from the sanctuaries and hunting parks of
5th century B.C., 19th century magical nightingale
gardens of Tehran, etc.

•The Cyrus's garden had a geometrical plan and

stone watercourses. Cyrus's garden Geometrical
plan Water courses Water course
Geometrical
 •This style was widely used with the
spread of Islam, from Moorish gardens
(Spain) to Mughul gardens (India).

• In contrast with the European gardens of

the time the Persian gardens were very
lavish.

•These gardens consisted of herb plants

around monasteries.

•The gardens also had red and yellow beautiful, colourful fruit plants in it.

•Bagh-e-Shahzadeh is one of the remaining few persian garden.

• It has series of split level fountains and it is full of tender beauty of nature.

•The Persian gardens have influenced the gardeners of Andalusia to India and other countries also. Bagh-e-
Shahzadeh
Basic styles of Persian garden :

Hayat:

•This is the old classical Persian garden layout which highly

emphasizes on aesthetics.

•The grounds are covered with gravels flagged with stones.

•Planting is very simple.

•The trees are planted in a line with a

shade. The pools are the source of
humidity in the surrounding atmosphere.

•These gardens are mainly pool centred

and structure centred.
Meidan:

•This is a public, formal garden which

emphasizes more on biotic elements than
structure.

•Here we see bedding plants, trees,

shrubs, grasses, etc.

•In this garden also the elements like

gravel pathways, pools divide the lawns.

•The shade providing structures pavilions

are also built.
Chahar Bagh:

•These gardens are formal and private.

•The garden structure mainly consists of four quadrants

divided by pathways and waterways.

•This garden has a balanced structure with proper pathways

and greenery or plants around the periphery of the pool.
Park:

•These are casual parks used for public functions.

•These are full of various plants. Here we see

pathways and seating but these gardens are
limited in terms of structural elements.

•The purpose of such gardens is relaxation and

socialization.

Bagh:

Like other casual gardens, it focuses on natural

and green aspects of nature.

•These gardens are often attached to houses

consisting of trees, lawns and ground plants.

• It gives less emphasis on waterways and

pathways.

•The primary aim is familial relaxation.

The Elements of a Paradise Garden
•Born originally in arid, dusty and dessert climate.
•Employed all possible potentials available at a given time and place.
•All elements in a Persian garden are ‘DESIGNED’ or ‘ARTIFICIALLY’ made.
•All aspects of creation of artificial ecological environment called for creative engineering of resources.
•Principle intention was not to cultivate flowers and fruits but to create a charming and pleasant
environment for refreshment and relaxation.

Wall
Surroundings
Water
Vegetation
Shade
Geometry and viewpoint
Sunlight
buildings

Understanding a Persian Garden - a ‘Paradise’ garden

•These elements provide relaxation in different manners such as spiritual, leisurely (e.g. meetings with friends) etc.

• which is the primary aim of Persian garden which is considered as a paradise on earth.

•The Persian gardens often connect internal yard gardens with the surrounding outward gardens.
Sunlight :

• The important factor to be considered while designing the Persian garden is sunlight and its effects in the
garden.

• Architects arranged the samples and forms from the rays of light to restrain the sunlight.

•The specific textures and shapes were chosen by the experienced architects to harness the light.

Shade:

• The shade is also very important due to the dry heat of Iran.

•The Persian gardens includes trees, shrubs and trellises which work as biotic shades to provide protection from
strong sunrays.

•In these gardens we can see large number of big shade trees, fruit and flower trees as well.

• Walls and pavilions are also important in blocking the harsh sunrays. Mostly cypress trees are found .
Water:

•In desert regions, there are many dry areas beside the many forests, therefore water comes as the next important
element in the Persian garden.

•The underground water canals are built on slopes to facilitate either natural or the artificial flow of water
(waterfalls).

•It is assumed that this style of irrigation is

thousand years old.

• This style works in the best way and widely

used even in modern gardening styles. For this
purpose of moving water around the surface
water systems.

•Trees are planted in a ditch called a jub, to

prevent water evaporation and allow quick
access of water to the tree roots.
Buildings:

•In many of the Persian gardens, buildings of splendour, brick works and pavilions are seen.

•Here we also get to see the different structural designs like royal palaces, mansions, temples, etc.

• Iranian architects used to build domes on square buildings very skilfully.

•These enhance the beauty of these gardens. In Persian gardens, beautiful arches were constructed.

•In front of many mansions and palaces of these gardens, the water fountains were placed as the source of cool,
peaceful atmosphere and pleasure.

• The beautiful types of glasses (e.g. stain glasses) were used for windows and other glass works.
Characteristic features of Persian gardens :

• The most important factor of Persian gardens is to build shade type structures wherever necessary in the
garden. This helps to cope with hot climates and keep the atmosphere cool.

• These gardens are closed and walled and have very little association with the area outside these walls.

• The Persian gardens necessarily have a central water feature or ponds as water is the soul of these gardens.

• Fountains tend to be more of modern Persian garden design. It is a best way save water and maintain with
the original design consisting of a water structure.

•The gardens have crisp colours and clean alignments. Intricate mosaic tiles are occasionally used in these
gardens.

•The garden can be conservative, refined, formal or relaxed and casual.

•The different garden designs serve different purposes. Arches play an important role in Persian garden
designs. It shows typical Persian architectural theme. These arches are made from stonework or sometimes
wooden support which can be made appear as original.

• Symmetry is very important in these designs. The matching or mirroring elements can give enjoyment and
pleasure.
CASE STUDY Fin Garden,Kashan
Fin Garden is located between gardens and urban fabric
•It is also called as Bagh-e-Fin located in
Kashan, Iran. It is a historical Persian garden.

•The garden might have its origin in Safavid

period. It was built near the village of Fin
under the reign of Abbas I of Persia (1571-
1629).

•The area of garden is 2.3 hectares

consisting of a main yard surrounded with
four circular towers.

•The fin garden is full of water features.

There was a spring behind the garden on
the hillside which was the main source of
water for this garden. In this place the
water pressure was such that fountains and
pools could easily be constructed without
the use of mechanical pumps.

•The garden contains many cypress trees

•The plan is a sophisticated charhar bagh with grids of canals and paths.

•The canals are lined with blue-green tiles, a colour which contrasts wonderfully with the desert outside the
garden walls.

• At Fin, all the channels are lined, sides and bottom, with blue faience tiles so that the very water seems bright
and gay until it flows into one of the larger pools, lined with great trees.
Plan of Source of
Water and
Irrigation System
in Fin Garden
•Donald Newton Wilber wrote (in Persian gardens and
pavilions, 2nd edn 1979, p90): 'Fin merits close attention
because it is an admirable example of the monumental
royal garden, and because it is the very epitome of the
Persian garden - this single example displaying all the most
desired features and elements...

•The garden expresses a series of accentuared contrasts

between the arid, inhospitable landscape outside the walls
and the lush foliage within.

•Outside, water is scarce and precious; here it flows with

superabundance to produce a dense jubgle of growth.

• The monotone of the landscape is replaced by the colors of

foliage, of flowers, of blue tiles, of fountains, and of painted plaster
and woodwork, Axial symmetry contrasts with areas of almost
impenetrable growth.
•The plan of Fin calls sharply to mind the Persian garden carpet, for all elements of multiple channels, orchards,
flowers, and pavilions are present in similar relationship.

Mansion (maryam s, Feb 2013) Bagh-e Fin Garden

• At Fin, all the channels are lined, sides and bottom, with blue faience tiles so that the very water seems bright
and gay until it flows into one of the larger pools, lined with great trees
•The cross axis of the chahar-
bagh is created by a channel
that cuts at right angles
across the two vertical
channels. It is also this
channel (horizontal on the
plan) that runs through the
pavilion to join with the
channel that surrounds the
whole garden.

•At the intersection of all the

axes there are small square
pools, each with a tiny
fountain in them. Little
fountains have also been
placed along many of the
channels. (In fact there are
more than two hundred of
these low fountains in this
garden).
•These fountains are powered by water kept under pressure in subterranean channels, fed by a reservoir
outside the walls. This reservoir supplies the bubbling jets of the channels and basins.

•All of these channels, fountains and pools lie in the shade of four hundred year old cypress trees. Planting the
cypresses ensured that as little water as possible evaporated. In fact four of the pools are, in addition, covered
with cupolas “…as a sign of respect for water.”

•In the centre of the garden is the customary rectangle of the chahar-bagh, created in this case by a pool and
immediately beyond it a pavilion. Water channels run through it on three of its four sides; it even has its own
small square pool in the middle of it.

•The pavilion is a square building with an arched ceiling supported on four great pillars which, in turn, support
large arches providing a view down the shady promenades and channels with running and bubbling water. The
walls and ceilings of the pavilion are patterned with typical Arabic designs, which reflect the light on the pool,
fountains and channels.
•The use of water within the pavilion
is a common feature.

•It was used to calm and cool the

people and the air within it.

•The pavilion becomes therefore, a

perfect sanctuary protecting those
who sat in it from the heat and dust
of the region.

•It was a type of ‘open air’ living

room, and was in keeping with the
idea of contemplating the garden,
rather than walking
around in it.
 Platanus Orien talis trees Cupressus Senpervirens trees Willow trees Plane trees
(Khoshnood, 2009) (Khoshnood, 2009) (Khoshnood, 2009) (Khoshnood, 2009)

Box trees Marigold( Jayh ani,2007) Decorative flowers

(Khoshnood, 2009) (Khoshnood, 2009)

Old cedars known as Leyli

and Majnun(Jayhani,2007)

Akhtar flower
(Jayhani,2007
Rose Flower Uince Bloom (Jayhani, 2007)
(Jayhani,2007)
Landscape Aspect
This aspect is one of the most important aspects of the water which with the help of other features seeks to
create an allegory of paradise on earth. Considering water presence in Bagh-e Fin from a landscape point of
view, several points can be cited:
First of all the fluidity of the water represents the trans parency of spaces and the unity of garden space. Fluidity
complements a link of water aspects in the garden beside water gushing which suggests the concept of spring
as well as water resting
Howz-e Joosh (Khoshnood,
2009

Lateh-Gaah, Soleymanieh Lateh-Gaah(Khoshnood,2009)

Spring (Khoshnood,2009)

Safavids Shotor Gal u(Khoshnood

Mardaaneh (men’s in Farsi) Howz-e Joosh and 12 The aqueduct that conduct the water of the
Spring (Jayhani,2007) Fountain Basin (Khoshnood, Fin Spring (Khoshnood, 2009)

The water division point in front of Safavid Shotor
Galu(Khoshnood, 2009
The Audio Aspect of Water Presence
Water melodies and symphonies are an
integrated part of the garden space utilized by
garden designer. In order to represent water
more optimally, different featuressuch as
fountains, ponds, pools, brooks, etc...have been
used resulting in better achievements in
showing water volume as well as eliciting
various water symphonies in Bagh-e Fin
.
•The interaction of water system and garden floor
provides an appropriate bed for the presence of holy
water by scraping the bed ground.
•The dominant color composition of the visible part of
the water system is noteworthy irrespective of its
aesthetic unifying effect as well as in relation with other
dominant colors
of the garden.
The Freshening and Life-giving Aspect
Bagh-e Fin on the edge of desert has been transformed
into a heaven of trees and other plants which cause its
vitality and vivacity. The presence and distribution of
water in various levels and at all nooks and corners not
only enhances the landscape aspect but also increases
local air moisture and coolness particularly during warm
seasons
The Spiritual Aspect of Water Presence
The water motion in the garden indicates meanings such
as transiency, a sense of novelty as well as the freshness
concept. Water makes possible contemplation about
existence. Probably for this reason The great Persian
prophet, Zoroaster used to teach his followers inside a
garden.
CASE STUDY -Isfahan (Esfahan)
 Shah Abbas made the plan

•Isfahan is a city in a garden. Like Paris,

France, Karlsruhe, Germany and
Washington DC, USA, it is one of the
prime examples of city plans which have
been strongly influenced by garden
plans.

• Shah Abbas made the ancient town of

Isfahan into a great city, after 1587, by
developing the land between the old
town and the river.
•In the seventeenth
century John Fryer wrote
'Through these we were
directed to the Midan or
Hypodrome, an oblong
square court where the
horses are exercised
before the king's palace,
and where the upper and
lower walks, with open
arches for spectators; not
inferior, though of
different shape, to the old
amphitheatres'.
Naghsh-i Jahan Square, Isfahan, Iran
• A great Maidan (square) survives in the heart of the old town, beside the Shah Mosque. The outer
wall of the mosque is aligned with the Maidan but the building itself is aligned with Mecca.
•The central feature was a great Charhar Bagh avenue
leading from the old town to a wonderful Bridge.
•The avenue survives but the central canal has been
replaced by a traffic artery. South of the bridge lay the
square Bagh-e Hezar Jarib and the rectangular Bagh-e
Farahabad.
CASE STUDY-THE PALACE OF ALHAMBRA
The Alhambra is a palace complex in Granada, the last Muslim enclave of al-Andalus in southern Spain, which was
built by the Nasrid dynasty over several centuries. It sits on a large rocky outcrop, or mountain spur , within the
present-day city. Alhambra literally means “the red castle".
The Alhambra was not developed as a solitary defensive fort, but in relationship to its surroundings; both the city
below and the hills around. It is a fortified enclosure of irregular shape located on a hill known in medieval sources
as a Sabikah. The Sabikah as a spur; as an extension of the Sierra Nevada; as the backdrop. It was strategically
placed atop the Sabikah, barding access from the North , the West and surrounded by a ravine in the South-east.

Postcard perfection of the Alhambra complex with the Sierra Nevada as its backdrop.
 The Fortress
The whole complex consists of several palaces, reception
halls, a 14th-century tower, mosques, and courts that were
linked as they were added. They are connected by a series of
patios and arcaded courtyards usually graced with fountains
and running water. The rooms are usually richly decorated
with inscriptions, colorful tiles, wooden ceilings, and heavenly
vaults formed of stucco supported by beautiful niches and
bearing hanging stalactite ceilings. The stucco stalactites are
symbolic of the cave in which Prophet was handed over the
Koran by Allah.

The gardens form an inseparable part of the architecture

penetrating the interiors with the intention of blurring the
division between the layers.

Just as architecture was expressed beyond necessities of

shelter, so gardens started to be seen as means of expressing
ideas of the sacred and of human aspiration towards
perfection - to be appreciated by owners and occupiers – for
needs other that those met by the production of food. This
understanding of the garden as more that a space of utility
in Alhambra was the point of departure where architecture
and garden enclosure formed an intimate relationship.
Transition through layers

The entire complex provides immersive experiences with contrasting perceptions.

Transition towards the Fortress is through a Renaissance style gateway, a verdant
forest, resting thresholds and the Moorish Gateways that freeze the ever changing
seasonal backdrops from time to time.
The sequence is marked with a gradual build up of imagery providing subtle hints of what lies beyond but also with-
holding a greater part of a motley of Imaginatively unconfined spaces.

Cypress hedges with arched openings A flowering almond tree viewed through a Cypress arch
 The Palace of Charles V was built in a sense to create a contemporary entrance to the Nasrid complex,
after the re-conquista of the Nasrid citadel by the Christians. The Palacio de Carlos built in Renaissance
style seems to contradict; in terms of scale, style and feels mostly arrogant in context.

Torre de Armas, the highest viewing prospect towards the citadel and beyond.
 The Nasrid Palaces

1. Patio de Machuca
2. Patio de Mexuar
3. Patio de los Arrayenes
(Court of the Myrtles)
4. Patio de los Leones
(Court of the Lions)
5. Patio de los Cypresses
6. Patio de Lindaraja

Proportions and juxtaposition of the palatial courts

Patio De Machuca

Carefully arranged openings give a preview of what

we one will experience upon entering.

From outside a view into the enclosure arouses

curiosity, and encourage one to to search for a hidden
entrance.

Mimicry of the built surrounds with the cypress hedge

on side imitating the colonnade and the other as a
gateway to the court; the mirador at the back.
Patio de Mexuar

The proportions of the Mexuar patio are simple, with no plants, but a
central pool. The proportions along with the pool standing solely in the
centre and the stark non-existent vegetation present it as an intermediate
court for momentary escape while travelling between the larger areas.

Water filled up to the brim symbolizes Paradise’s inexhaustible springs of

pure water as well as Feelings of luxury and plenty.
Patio de los Arrayanes or The court of the Myrtles

The court of the myrtles is dominated by the Comares tower and

a long rectilinear pool, proportioned to perfectly reflect the
building facades. There are two circular pools at both ends each
with a central fountain representing birth and life. The Court
presents a paradox between reflection and noise in terms of
the reflecting pool and the fountain at the end.

The Hedges help in framing the observer towards the building

façade and the its reflection. Nature is represented by the two
myrtle hedges that act as an intermediary layer between the
façade and water.
Patio de los Leones or The court of the Lions

The garden is a rectangular palace, about 35 meters long and 20

meters wide, surrounding by a marble-column covered corridor.

The fountain of the lions is a perfect example of the four rivers of

paradise flow.
The court of the lions is inward looking, containing the clear
indication of the Chahar Bagh, with its central fountain and rills
that divide the court into four. The court is discovered upon
through a forest of columns that project on all four sides as
pavilions. The channels of water represent agricultural control over
the land. The vegetation is restricted to four citrus bushes in each
division.
Inscription on the fountain that says: ‘Look at the water and look at the pool and you will not be able to see if it
is water that ripples or the marble that is moving’ ;a conscious blurring of the border between what was man-
made and a more transient element, water.

The transition between interior and exterior is blurred by the colonnades and water canals that link garden
and buildings. Rhythm of changing light quality through layers, creates an atmosphere of calm as a well as a
sense of separation.
The quadripartite beds were originally sunken so that the
flowering tops of the orange trees reached over the arms
of the cross and symbolized the divine miracle.

This is a principle that was found again and again in

Islamic horticulture; bringing the visitor to the level of
the flowers using sunken beds or terraces. The flowering
tops or fruit trees are so essential that all means are used
in an effort to place them at eye level.

Finely carved columns were a metaphor to a grove of 124

palm trees. The water canal is punctuated by circular
fountains symbolic of the desert tree - irrigation canals.
Patio de Lindaraja
The gardens to the north and east which were
developed post the moors by the Catholics, display an
increased leaning towards vegetative presence. The
patio de lindaraja, has much vegetative presence to
compensate the lost view of Granada. Box trees
outline the geometric pattern, cypress and orange
trees provide shade, colour and scent.

The courtyards range from being filled with

abundance of plants, to their complete absence.
Contrast and continuity with visual connection
between the space make this an exceptional space.
The plants aid in softening the built surrounding, with
large green tree-tops forming a vault over the visitor
with dappled light and shadow over the pathway, or
floral beds that spread their colour and fragrance over a
fountain.
Water and the Alhambra

Water is the secret life of the Alhambra. Approach towards it, is

more metaphorical beyond utilitarian. It reposes in the pools
which mirror the magnificent, pillared halls, and cascades at the
fountains, and flows through the narrow channels in very center
of the royal apartments. The auditory nature of flowing water
was utilised to create a sense of anticipation.

Water is led everywhere and made to perform again and again

at each descending level. Fountains jets sparkling in reflecting
light, placed happily in the sunlit courtyards.
Water brimming and subtly overflowing into the channel in the
form of a cascade was an indication of fertility.
Prospects across Alhambra
Siting of the garden in a mountainous terrain was a highly conscious intention with a romantic attitude towards
landscape beauty and a potential for surprising lookout points.

The gardens provide a constant play between openness and closure. While enclosed spaces are defined and
contained by architecture, they are also juxtaposed with miradors offering multi-leveled views on to the palace
gardens situated on the lower slopes of the Alhambra, looking beyond to the Albaycín Hill and surrounding
countryside, and views from the Generalife across the ravine to the Alhambra with the Sierra Nevada in the distance.
The columns of the colonnades represent the palms of the oases, the arabesque of the walls represent the
intertwining foliage and tendrils; the mosaics represent the exuberant colours of the flowers. Architecture pays
tribute to fertility that is a condition for life in a desert.

Along the main canal, tall, dark cypresses that provide shade, prevent evaporation and symbolize immortality.
They block the view of a whole garden and help register the gardens buildings, axially leading towards the
building or a fountain. Fruit trees, vines and flowering bushes that provide shade for an undergrowth of clover,
grass and wild flowers.

In winter the bare vegetation devoid of its foliage gives way to the colourful tile and paving patterns; viewed as a
remainder of summer and its lushness. The Garden also applied a large area of colorful ceramic mosaic for its
pavement along with ornamental perforated windows on the vegetative walls for partially concealing and
revealing what was beyond.
The use of geometry, symmetry and regularity bring harmony with the universe. The symmetrical garden plans
intersected by the irrigation canals reflect a compulsion for order that is typical of a person wandering in a
desert. The picture of paradise is composed not merely of romanticizing around its diverse metaphors but also of
the enchanting contrast between the luxuriant vegetation and the crystalline architecture. The true paradise
possesses both these qualities in equal measure -- the fullness of life and the immutable nature of crystal.

In its entirety the garden spaces are guided more by spiritual motive and immersive experience. Though
provided with a sense of containment, they respond to both the imaginative and practical sides of natures by
letting the observer perceive it as a metaphorical space and project ideas onto it, as well as a space to dwell in
or for nurturing plants.
CASE STUDY - Bagh-e-shahzadeh, Mahan, Iran
A Prince’s garden (A garden for Rulers and Merchants)
Location of the city of Mahan

Surrounded by stony dessert and

backed to north and south
By distant mountains, snow capped
even in summer,
The beautiful Bagh-e-shahzadeh,
expresses the spirit of
a true Persian garden.

Built in early 1880’s by Naser ad- Location and surroundings

Douleh, a governor of Kerman,
during the reign of Qajars.

Bagh-e-shahzadeh
 The Bagh-e-shahzadeh is 5.5
hectares, rectangular shaped with an
approximate 6.4% slope
The great length of this garden
compared to other gardens
intensifies visual excitement by
deepening the perspective.
Among other outstanding features
are the Sonant fountains which
make a water symphony like a
Baroque garden.

Bagh-e-shahzadeh
Bagh-e-shahzadeh
 Vegetation
1- The ever-green and wind-
breaking trees: needle-
leaved trees such as: pines
and cedars
2- Shadow-casting
(Adumbrant) trees: Phyllode
trees such as wild and
canopy elms, ash trees, plane
trees and aspen (white
Seasonal variations experienced in the garden poplar). In addition to
making shadows, these trees
Garden vegetation follows a completely regular and calculated design. are resistant in local
The specific tree planting design of the garden and appropriate selection of plants conditions.
have played a key role in making 3- Decorative plants:
shadows as well as suitable colorings during different seasons of the year. Plants producing small flowers
arrangement system has been based during winter time.
on the shadow casting pattern of the garden so that along the main axis of the 4- Fruit trees are planted in
garden, a shaded section is seen Karts which create a
on one side of the route at all hours of the day. beautiful colorful view from
Cedar trees beside the transversal pivots of the garden cast shadows upon the line of the upper chamber angle in
motion. fruiting seasons.

Generally, trees play not an individual but a group role in general pattern of the garden
but for an exceptional case which
is a pine tree standing alone along the main axis of the garden south of the upper
chamber. This tree serves as the focal point for the entire geometry of the garden.

Bagh-e-shahzadeh
Water in this garden arrives in from its upper section.
Water entering the garden is distributed longitudinally in such a way that not only
irrigates
karts and tree linings along walkways but also utilizes the steep slope of the ground
which
is one of primary conditions for Takht gardens, subsequently it runs upon the main
middle axis of the garden in the form of a large stream and on its way creates
cascades and jets which make it the principal quality element in Bagh-e Shahzadeh.
The vital source of life in Bagh-e Shahzadeh is water currents originating from nearby
mountains.
Tigran Qanat which takes its rise in Jupar highlands, supplies the water needed for this
garden.
Its current arrives into the garden from the highest surface and creates the irrigation system
designed for it.
 The main inner views such as water motion, basins and cascades each highlight the axes perpendicular to the main axis
and together with its vegetation system present lovely internal views of the garden.
The three main courses of water current have been built upon the middle longitudinal axis in a hybrid
fashion so that amid the large stream stand the fountains and on either side of walkways, shadow casting trees have
produced a pleasant atmosphere for walking and stopping.
High walls near the double longitudinal side axes, separate the garden from the surrounding desert.

At the two ends of the main axis i.e. the first step upon which the garden pavilion stands as well as at the garden
entrance opposite the front is piece-house, there exist two pools whose large surface, ejaculation of jets water and
their noise, adds to the pleasant atmosphere of the garden.
Irrigation system in Bagh-e Shahzadeh is essentially based on
two principles.
First, watering garden plants and second, exploiting the
entities and qualities that water can create in the garden.
Water distribution in transversal and longitudinal paths of
garden is in this manner: water current flowing into the
garden from the far end of it is divided into five longitudinal
branches. Its most major branch is the route superimposed on
the main axis of the garden and carries the permanent water
flow. This route is branched off the large basin located in front
of the main building which after passing various Takhts and
creating cascades and small basins splashes into the entrance
precinct basin. Cascades and water noises play a key role in
creating a relaxing atmosphere in the garden. In order to
increase this effect, stones were laid beside cascades to
boost the water current noise and turbulence.
REFERENCES-

•ASIAN GARDENS, BY-TOM TURNER

•Bagh-e Fin Kashan historic Persian garden conservation and restoration plan _ GardenVisit.com, the garden
landscape guide
•Persian gardens - Wikipedia, the free encyclopedia
•Pasargadae The Persian Gardens Kaveh Farrokh
•Heaven is a feeling not a place The Persian Garden story - Tehran Times
•Pasargadae The Persian Gardens Kaveh Farrokh_files

“The kiss of the sun for pardon,

The song of the birds for mirth,--
One is nearer God's heart in a garden
Than anywhere else on earth”