LNDSCP 1

Persepolis
The site of Persepolis, the capital city

ARSITEKTUR LANSKAP of the Persian Empire, was chosen for

its strategic location. This location
allowed excellent physical access to
much of the empire, with views out
from a defensible position.

/ INTRODUCTION TO LANDSCAPE ARCHITECTURE The city itself was built to impress.

It had a sequence of spaces designed
to convey the strength of Persia and
its emperor.
SESSION 03, SEJARAH DAN PERKEMBANGAN ILMU ARSITEKTUR LANSKAP

Buddhist stupa (Stupa No. 3)

at Sanchi
The stupas at Sanchi are one of
 geometry were all extremely studied, deliberate
THE MIDDLE AGES« | THE RENAISSANCE AND BAROQUE | »THE NINETEENTH CENTU
1. HISTORY AND IDE
and used to create vast pleasure grounds.
LNDSCP The contrast between intellectual pursuit and
frivolity can often be seen in the gardens of
the Renaissance.
Italy is home to a profusion of exuberant
formal gardens, and though no one designer
quite stands as head and shoulders above the
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baroque gardens are composed of series of
terraces stepping down, which allow for the
water to be animated in fountains at each step. 2
Ingenious and beautiful devices for transporting
water were employed, and many fountains were
remarkable displays, in particular, the Water
Organ at the Villa d’Este at Tivoli.
Online CLASSROOM RULES
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3/2/09
3/1/09 12:59:11
4:10:43 PM
Title: The Fundamentals of Landscape Architecture (AVA)
Page:32
LNDSCP 3

INTRODUCTION TO
LANDSCAPE ARCHITECTURE
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Job:01233 Title: The Fundamentals of Landscape Architecture (AVA)
3rd Proof
1st Proof Page:36
- HISTORY OF LANSDSCAPE ARHITECTURE
- LANDSCAPE ARCHITECTURE IN PRESENT
TIME
LITERATURE REFERENCES:
- The Fundamentals of Landscape Architecture (Tim Waterman, AVA Publishing, Thames & Hudson, 2009)
- Landscape Architecture : An Introduction (Robert Holden & Jamie Liversedge, Laurence King Publishing, UK, 2014)
- Illustrated History of Landscape Design (Elizabeth Boults & Chip Sullivan, Wiley & Sons, 2010)
LNDSCP 4

HISTORY OF LANDSCAPE ARCHITECTURE

LNDSCP 5

/ INTRODUCTION TO LANDSCAPE ARCHITECTURE

HISTORY OF LANDSCAPE ARCHITECTURE / SEJARAH ARSITEKTUR LANSKAP
C

The history of humankind is

written in the landscape. Every
civilization, every empire, has
left its mark in some significant
way.
People have, for millennia, felt
the need to build and create,
not just to provide for the basic
needs of food, shelter and
companionship, but to make
glorious monuments that
symbolize their collective
ambitions

D
LNDSCP 6

/ INTRODUCTION TO LANDSCAPE ARCHITECTURE

HISTORY OF LANDSCAPE ARCHITECTURE / SEJARAH ARSITEKTUR LANSKAP

HISTORICAL TIMELINE

PRE ANCIENT MIDDLE

HISTORIC WORLD AGES

15TH TO 18TH 19TH

CENTURY CENTURY

20TH MILLENIAL
CENTURY LANDSCAPE
LNDSCP 7
COSMOLOGICAL LANDSCAPES COSMOLOGICAL LANDSCAPES

3500 BCE
! c. 3200 BCE
NEW GRANGE, IRELAND
The circular passage tomb at New Grange is over 250
feet wide and contains three recessed chambers. On
the winter solstice, the sun rises through a clerestory
above the entryway, illuminating the central chamber.
A curbstone carved with triple-spiral motifs marks
the entryway.
! SONGLINES, AUSTRALIA
Indigenous creation myths relate how ancestral beings
walked the continent singing the world into existence. Native
peoples were believed to have used these songlines as way-
finding mechanisms. Traditional paintings illustrate similar
spiritual journeys.

200 BCE
" 200 BCE – 600 CE
NAZCA LINES, PERU
An extensive series of straight lines, geometric shapes,
and animal figures were inscribed on the dry lake bed by
" 2950 BCE–1600 BCE overturning gravel and exposing the lighter-colored earth
STONEHENGE, ENGLAND below. Archeologists are not certain which culture produced
Built by different groups of people at different times, these geoglyphs, nor whether their purpose was related to
this particular site on the Salisbury plain in southwest religion, ritual, water sources, or astronomy.1
England evolved from an earthen embankment, to a
wooden structure, to the stone circles we recognize to-
day. A circular ditch and bank (or “henge”), about 330 2000 BCE
feet in diameter, marked the first phase of construc-
tion. Extant postholes within the circle indicate the
position of a wooden structure from about 2600 BCE.
The standing stones date from subsequent centuries.
All the shapes open to the northeast, framing sunrise
on the summer solstice.

# Woodhenge, located about 2 miles from Stonehenge,

was a timber circle of roughly the same diameter that
marked a burial site dating from the Neolithic era. Sunrise
on the summer solstice aligned with its entryway.

! LEY LINES, ENGLAND

Some people believe that Great Britain and continental
Europe are marked with a network of straight lines that
connect geographic features and sacred sites through
underlying paths of energy within the earth.
600 BCE

2 3
LNDSCP 8
ANCIENT GARDENS ANCIENT GARDENS

1500 BCE 100 CE

! 1380 BCE
TOMB OF NEBAMUN, THEBES
The gardens depicted on the walls of wealthy
Egyptian officials are an important primary
source of information about the ancient Egyptian
landscape. Shown here is an ordered arrangement
of specific plants around a rectangular basin
stocked with fish.

" 2500 BCE–612 BCE

" c. 100 CE
MESOPOTAMIAN HUNTING PARKS
PLINY’S SEASIDE VILLA, NEAR ROME
Written accounts describe the large enclosed parks of
In his numerous letters, Pliny the Younger (61–112 CE) recorded many aspects of his life and times, including detailed
the Sumerians, Babylonians, and Assyrians as being
descriptions of his country houses and their relationship to the landscape. He planned the rooms of his villa marittima
stocked with exotic plants and animals—evidence of early
according to their functional and climatic requirements, and to take advantage of views. The architectural form of Pliny’s
management of the landscape. The Epic of Gilgamesh villa, as well as its function as a place of escape from urban responsibility, particularly inspired Renaissance designers.
described the ancient Sumerian city of Uruk as being
composed of equal parts city, garden, and field.2

500 BCE
! 546 BCE
PASARGADAE, PERSIA
The imperial capital of Cyrus the Great was described
by ancient Greeks and Romans as having a geometric
division of space defined by water and trees, an early
example of the four-square pattern later associated
with “paradise” gardens. Existing ruins show the close
relationship of buildings and gardens and the decorative
use of water. Gardens provided visual and climatic
comfort, not spaces for active use.3

50 CE
! # c. 79 CE
HOUSE OF THE VETTII, POMPEII
The former Greek colony of Pompeii was a popular
resort town for wealthy Romans. Forms of 1st-century
architecture and landscape were preserved under layers
of ash and debris from the eruption of Mt. Vesuvius in
79 CE. A typical Roman town house contained a paved
atrium and a garden court surrounded by a roofed
colonnade, or peristyle. Garden scenes painted on the
walls of the peristyle garden visually extended the space.
500 CE
" 118 CE
HADRIAN’S VILLA, TIVOLI, ITALY
Located 15 miles east of Rome in the foothills of the
Sabine mountains, the complex of structures and
decorative elements that comprise the imperial villa
of Hadrian reflect the emperor’s fascination with
architecture and his love of Classical culture. Today,
ruins cover about 150 acres, or half of what scholars
have estimated as the full extent of the villa.4
! c. 540 CE
SPRING OF KHOSROW CARPET (IRAQ)
Woven with gold and precious stones, the carpet made
for the audience hall in King Khosrow’s imperial palace
near Baghdad was over 450 feet long. Depicting a lushly
planted garden of rectangular beds divided by paths and
watercourses, the carpet, which survives only through
written accounts, symbolized an Eden-like paradise in a
harsh desert environment.

4 5
LNDSCP 9
LANDSCAPE AND ARCHITECTURE LANDSCAPE AND ARCHITECTURE

1400 BCE
! 82 BCE
TEMPLE OF FORTUNA PRIMIGENIA, PALESTRINA, ITALY
This monumental piece of urban design combined
Hellenistic principles of movement about an axis with
Roman arch technology. The grand staircases, ramps,
and arcaded terraces that gracefully negotiated the
slope and culminated in an exedra influenced Italian
Renaissance designers. The sanctuary was over 1,000
feet above sea level and visible from the Tyrrhenian Sea.

# 1400 BCE 80 BCE

MORTUARY TEMPLE OF HATSHEPSUT, DEIR EL-BAHRI, EGYPT " # c. 100–225 CE
Dramatically sited at the base of a cliff on the west bank of the Nile River, Queen Hatshepsut’s tomb comprised a TEOTIHUACAN, MEXICO
series of monumental terraces and colonnades symmetrically organized around a processional axis. Tomb paintings With a population of more than 100,000 people,
show frankincense and myrrh trees imported from Somalia; archeological evidence confirms the presence of exotic Teotihuacan, the cultural center of Aztec civilization,
vegetation on the terraces.5 was the largest city in the world during the late 2nd
century. The Avenue of the Dead formed the main axis of
! 460 BCE
the orthogonally planned city, which was oriented toward
ACROPOLIS, ATHENS, GREECE the cardinal directions. The Temple of the Moon was the
A sacred hilltop site since the early Neolithic period, the northern terminus and echoed the shape of Cerro Gordo.
The Aztecs sited the Pyramid of the Sun over a cave
acropolis was once the location of a Mycenaean fortress.
near the middle of the axis. The large sunken plaza, the
It remains symbolic of Classical Greek civilization and the
ciudadela, was located across what is now the San Juan
architecture of democracy. Following the war with Persia,
River at the southern terminus of the axis.
the Athenian statesman Pericles undertook a major
campaign to restore the city and rebuild its temples. The
Parthenon dates from this era and represents the Doric
order—a proportioning system based on the length and
width of the column style.6 The Panathenaic Way marked
the route from the city gates to the acropolis.

400 BCE

100 BCE

" 200 BCE

ATHENIAN AGORA
The agora was the civic heart of Athens, where
people gathered to conduct personal business and
participate in municipal affairs. Tracing the use and
development of this open space over the centuries
frames an informative picture of Greek culture
during the Archaic (c. 750–c. 480 BCE), Classical
(c. 500–323 BCE), and Hellenistic (323–146 BCE)
periods. The shaping of public space became more
self-conscious.7 $ # 120 CE
PANTHEON, ROME
Marcus Agrippa constructed a small temple on this site in 27 BCE. The current structure dates from the reign of
Hadrian, and until the 15th century was the largest concrete dome ever built. The height of the dome equals its width;
200 BCE its proportions and construction methods were studied by Renaissance architects, particularly Brunelleschi, who
designed an even larger dome for the cathedral in Florence. An opening in the center of the dome, the oculus, creates
dramatic lighting and atmospheric effects.

6 7
LNDSCP 10
LANDSCAPE AND ARCHITECTURE LANDSCAPE AND ARCHITECTURE

1400 BCE
! 82 BCE
TEMPLE OF FORTUNA PRIMIGENIA, PALESTRINA, ITALY
This monumental piece of urban design combined
Hellenistic principles of movement about an axis with
Roman arch technology. The grand staircases, ramps,
and arcaded terraces that gracefully negotiated the
slope and culminated in an exedra influenced Italian
Renaissance designers. The sanctuary was over 1,000
feet above sea level and visible from the Tyrrhenian Sea.

# 1400 BCE 80 BCE

MORTUARY TEMPLE OF HATSHEPSUT, DEIR EL-BAHRI, EGYPT " # c. 100–225 CE
Dramatically sited at the base of a cliff on the west bank of the Nile River, Queen Hatshepsut’s tomb comprised a TEOTIHUACAN, MEXICO
series of monumental terraces and colonnades symmetrically organized around a processional axis. Tomb paintings With a population of more than 100,000 people,
show frankincense and myrrh trees imported from Somalia; archeological evidence confirms the presence of exotic Teotihuacan, the cultural center of Aztec civilization,
vegetation on the terraces.5 was the largest city in the world during the late 2nd
century. The Avenue of the Dead formed the main axis of
! 460 BCE
the orthogonally planned city, which was oriented toward
ACROPOLIS, ATHENS, GREECE the cardinal directions. The Temple of the Moon was the
A sacred hilltop site since the early Neolithic period, the northern terminus and echoed the shape of Cerro Gordo.
The Aztecs sited the Pyramid of the Sun over a cave
acropolis was once the location of a Mycenaean fortress.
near the middle of the axis. The large sunken plaza, the
It remains symbolic of Classical Greek civilization and the
ciudadela, was located across what is now the San Juan
architecture of democracy. Following the war with Persia,
River at the southern terminus of the axis.
the Athenian statesman Pericles undertook a major
campaign to restore the city and rebuild its temples. The
Parthenon dates from this era and represents the Doric
order—a proportioning system based on the length and
width of the column style.6 The Panathenaic Way marked
the route from the city gates to the acropolis.

400 BCE

100 BCE

" 200 BCE

ATHENIAN AGORA
The agora was the civic heart of Athens, where
people gathered to conduct personal business and
participate in municipal affairs. Tracing the use and
development of this open space over the centuries
frames an informative picture of Greek culture
during the Archaic (c. 750–c. 480 BCE), Classical
(c. 500–323 BCE), and Hellenistic (323–146 BCE)
periods. The shaping of public space became more
self-conscious.7 $ # 120 CE
PANTHEON, ROME
Marcus Agrippa constructed a small temple on this site in 27 BCE. The current structure dates from the reign of
Hadrian, and until the 15th century was the largest concrete dome ever built. The height of the dome equals its width;
200 BCE its proportions and construction methods were studied by Renaissance architects, particularly Brunelleschi, who
designed an even larger dome for the cathedral in Florence. An opening in the center of the dome, the oculus, creates
dramatic lighting and atmospheric effects.

6 7
 spirits inherent in nature. As cultures advanced and humans gained more control over the natural world, we organized
the landscape for physical and spiritual comfort. The idea of the garden as a managed pleasure ground evolved from the
simple enclosed hunting grounds of Europe and Asia. In ancient Greece and Rome, a new trust in human logic resulted in
LNDSCP 11
the substitution of anthropomorphic deities for nature spirits. Sacred structures soon replaced sacred landscapes.

IMPORTANT CONCEPTS

An AXIS MUNDI is a symbolic
line that extends from the
sky to the underworld with
the earth at its center.
Trees, mountains, pyramids,
and earth mounds might all
be considered axes mundi.
An EQUINOX is the day the
sun crosses the equator,
marking days and nights
of equal length. The vernal
(spring) equinox is March
20; the autumnal equinox
is September 23.
GENIUS LOCI refers to
the unique spiritual force
inherent in a place.
OTIUM is the Roman
concept of leisure afforded
by a natural setting. It is
exemplified by the idea of a
country villa.

A POLIS is an ancient Greek
city-state. The mountainous
topography and island geog-
raphy of Greece promoted
the formation of indepen-
dent city-states.
A SOLSTICE is the furthest TEMENOS is the Greek TOPOS is Aristotle’s philoso-
point the sun reaches in the word for a delimited sacred phy of place as defined by
sky. The summer solstice on precinct. specific natural features.
June 21 is the longest day
of the year; the winter sol-
stice on December 21 is the
shortest day of the year.
LNDSCP 12

/ INTRODUCTION TO LANDSCAPE ARCHITECTURE

HISTORY OF LANDSCAPE ARCHITECTURE / SEJARAH ARSITEKTUR LANSKAP

HISTORICAL TIMELINE

PRE ANCIENT MIDDLE

HISTORIC WORLD AGES

15TH TO 18TH 19TH

CENTURY CENTURY

20TH MILLENIAL
CENTURY LANDSCAPE
 MIDDLE AGES / A BRIEF CHRONOLOGY
LNDSCP 13

532 752 836

CONSTANTINOPLE GREAT BUDDHA SAMARRA
500 600 700 800

c. 750 – 1035
VIKING AGE

c. 700 – 1400
HOHOKAM CANALS

c. 1100 – 1200 c. 1200

CATHEDRALS ANASAZI
1100 1200
c. 1200 – 1300
THE “SHAMBLES”

c. 1125
ANGKOR WAT

16
LNDSCP MIDDLE AGES / A BRIEF CHRONOLOGY 14
c. 1000
SERPENT MOUND

1074 – 1291
CRUSADES

900 1000
1070 1088
BAYEUX TAPESTRY FIRST UNIVERSITIES

1260
FLOWERY MEAD 1346
BLACK DEATH
1300 1400
1305
VILLA MANAGEMENT

1325
AZTEC CAPITAL

17
LNDSCP MIDDLE AGES / A BRIEF CHRONOLOGY 15
c. 1000
SERPENT MOUND

1074 – 1291
CRUSADES

900 1000
1070 1088
BAYEUX TAPESTRY FIRST UNIVERSITIES

1260
FLOWERY MEAD 1346
BLACK DEATH
1300 1400
1305
VILLA MANAGEMENT

1325
AZTEC CAPITAL

17
 MIDDLE AGES / JAPAN / HEIAN PERIOD (794–1185)
LNDSCP MIDDLE AGES / MOORISH SPAIN / SEVILLE 16
THE GOLDEN AGE OF GARDENS

ALCAZAR PLAN: The palace gardens maintain their Moorish character through the geometric SHINDEN-ZUKURI: Heian gardens were settings for poetry contests, flower-
division of space into small-scale garden rooms defined by raised walkways. viewing festivals, boating parties, and musical events.

35 48

06_289334_ch02.indd 35 12/28/09 4:11 PM 06_289334_ch02.indd 48 12/28/09 4:12 PM

 DESIGN VOCABULARY
For further exploration
LNDSCP WESTERN EUROPE BOOKS MIDDLE AGES / CONCLUSION 17
Fences, Walls and Fountains ADVENTURES OF MARCO POLO
CANTERBURY TALES, by Geoffrey Chaucer
SUMMARY
THE DECAMERON , by Giovanni Boccaccio
THE DIVINE COMEDY, by Dante Alighieri
The gardens examined in this chapter responded to a wide range of environmental and cultural conditions, but despite their dif-
INVISIBLE Cferent
ITIES, by Italo Calvino
contexts, they expressed a similar desire to create areas of significance through the functional and aesthetic modifica-
THE NAME tion of R
OF THE OSE, by Umberto Eco
nature.
ONE THOUSAND AND ONE NIGHTS
(variousDuring
Englishthetranslations)
Middle Ages, nature was largely uncontrollable, and political order was unstable. Whether for protection or defense,
THE ROMANCEto mitigate forces
OF THE ROSE , byofGuillaume
nature, orde
toLorris
create a more perfect representation of nature, medieval gardens were enclosed. The act of
enclosing space creates a realm distinct from its surroundings; a locus amoenus that in the Middle Ages often symbolized an
TALES OF THE ALHAMBRA, by Washington Irving
idea of paradise.
THE TALE OF GENJI, by Murasaki Shikibu
MOORISH SPAIN THE TALE OF HEIKE,
Runnels and Raised Paths translated by Helen Craig McCullough
DESIGN PRINCIPLES
FILMS
THE ADVENTURES OF ROBIN HOOD (1938)
BRAVEHEART (1995)
EL CID (1961)
GENGHIS KHAN (1954)
KINGDOM OF HEAVEN (2005)
THE LION IN WINTER (1968)
THE SEVENTH SEAL (1957)
UTILITY CONTRAST SCALE BALANCE APPROPRIATION
The medieval cloister A small plot of plea- The Moorish courtyard The Chinese garden Shakkei is the principle
CHINA PAINTINGS is an embodiment of sure amid a landscape is an outdoor living is a microcosm of of “borrowed” scenery.
Rocks and Water EMPEROR M ING HUANG
utilitarian ’S JOURNEY TO Sof
geometry. ,
HUlabor—the carefully room—human-scaled nature where inherent The landscape beyond
artist A
unknown (8th century) tended pleasance is
simple square open space defined by forces are balanced a garden’s borders
EARLY SPRING , by Kuo
bounded Hsiarcade
by an (1072) set in opposition to its architecture. The tran- visually, symbolically, is appropriated to
becomes
SIX PERSIMMONS , byan
Muambulato- untamed surroundings.
Chi (13th century) sition between inside and experientially. An become a visual com-
SCROVEGNIryCHAPEL
to facilitate
FRESCOESprayer.
, by Giotto (1305) and outside is medi- intuitive equilibrium is ponent of Japanese
A square,
THE EFFECTS OF GOODsubdivided
AND BAD GOVERNMENT ated by architectural created between rock gardens.
byITYraised
ON THE C AND Cplanting
OUNTRYSIDE, elements; porticos and and water, solid and
by Ambrogio Lorenzetti
beds, becomes (1338)
a living loggias provide sec- void, word and image.
encyclopedia of herbs ondary thresholds.
and flowers.

JAPAN
Courtyards, Lakes, and Islands

56
LNDSCP 18

/ INTRODUCTION TO LANDSCAPE ARCHITECTURE

HISTORY OF LANDSCAPE ARCHITECTURE / SEJARAH ARSITEKTUR LANSKAP

HISTORICAL TIMELINE

PRE ANCIENT MIDDLE

HISTORIC WORLD AGES

15TH TO 18TH 19TH

CENTURY CENTURY

20TH MILLENIAL
CENTURY LANDSCAPE
LNDSCP 15th CENTURY / CONCLUSION
DESIGN VOCABULARY
ZEN GARDENS
Raked sand and Rocks
IMPERIAL CITIES
Gates, Courts, and Platforms
ITALIAN VILLAS
Terraces, Loggias, and Porticos
19
For further exploration
15th
BOOKS CENTURY / CONCLUSION
THE BIRTH OF VENUS, by Sarah Dunant
THE LADY AND THE UNICORN, by Tracy Chevalier
THE SUMMARY
PRINCE, by Niccolo Machiavelli
TRES RICHES HEURES DU DUC DE BERRY, by the Limbourg
Intellectual horizons expanded along with political territories in the 15th century. The landscape became manageable as horticul-
Brothers
tural practices improved and designers better comprehended site planning principles. Landscape spaces were ordered in service
to human desires: as aids to meditation, as places of repose, and as signifiers of an idealized agrarian model.
FILMS
1492: CONQUEST OF PARADISE (1992)
HENRY V (1989)
HUNCHBACK OF NOTRE DAME (1939)
JOANDESIGN PRINCIPLES
OF ARC (1948)
TOWER OF LONDON (1939)
PAINTINGS AND SCULPTURES
BRANCACCI CHAPEL, frescoes by Masaccio (1424)
DAVID, by Donatello (1425)
GATES OF PARADISE (DOORS TO THE FLORENCE BAPTISTERY),
by Lorenzo Ghiberti (1425–1452)
PORTRAIT OF GIOVANNI ARNOLFINI AND ABSTRACTION
REDUCTION HIS WIFE, by Jan van HIERARCHY SYMMETRY PROPORTION
Eyck (1434)
Tray landscapes elimi- Kare sansui gardens Nested geometries Perpendicular axes According to Alberti,
SAN MARCO CONVENT, frescoes by Fra Angelico (1436)
nate the unessential express the charac- concentrate power at subdivide space in a the parts must equal
BATTLE OF SAN ROMANO, by Paolo Uccello (1445)
to create a powerful teristics of rivers and the center, as illus- chahar-bagh, or four- the whole—nothing
MAGI CHAPEL (PALAZZO MEDICI-RICCARDI), frescoes by
minimalist
Benozzo aesthetic.
Gozzoli (1460) streams using a selec- trated by the plan of square garden. can be added or taken
tive language
THE BIRTH OF VENUS, by Sandro Botticelli (1482) of stone the Forbidden City. away without destroy-
ST. FRANCIS IN ECSTASY, by Giovanniand sand.
Bellini (1485) ing the integrity of the
MANTIQ AL-TAIR (THE LANGUAGE OF BIRDS), Timurid design.
miniature (1486)
 16 TH CENTURY/ CONCLUSION
LNDSCP 20
16 TH CENTURY/ CONCLUSION
DESIGN VOCABULARY For further exploration
ITALY
Hydraulics, Compartments, and Sculptures BOOKS
BABURNAMA (THE SUMMARY
MEMOIRS OF BABUR)
THE ENCHANTRESS OF FLORENCE, by Salman Rushdie
InWilliam
“THE HISTORIES,” by the 16th century people began to call into question the many assumptions they had made about the way the world worked.
Shakespeare
Creative
THE LIFE OF GARGANTUA forms flourished. Renaissance design principles became manifest in Italian art, architecture, and gardens. Other cul-
AND OF PANTAGRUEL, by Francois
Rabelais tures claimed the landscape in significant ways through similar uses of geometry, water, and the idealization of nature.
THE LIVES OF THE ARTISTS, by Giorgio Vasari
ORLANDO FURIOSO, by Ludovico Ariosto
THE SIXTEEN PLEASURES, by Robert Hellenga
UTOPIA, by Thomas More

FRANCE DESIGN PRINCIPLES

FILMS
Parterres, Canals, and Galleries
THE AGONY AND THE ECSTASY (1965)
ANNE OF THE 1000 DAYS (1969)
ELIZABETH (1998)
THE RETURN OF MARTIN GUERRE (1982)

PAINTINGS AND SCULPTURE

DAVID, by Michelangelo (1501)
MONA LISA, by Leonardo da Vinci (1503)
GARDEN OF EARTHLYAXIAL , by Hieronymous BoschOCCUPYING
DELIGHTSSYMMETRY (1510) SPACE BOUNDARY TRANSITION HARMONY
THE SCHOOL OF ATHENS, by Raphael (1510)
ENGLAND Italian Renais- Timurid and Mughal French gardens were The sequence and Palladio’s work dem-
SISTINE CHAPEL, ceiling frescos by Michelangelo (1511)
Mazes, Mounts, and Topiary sance gardens were gardens provided edged by moats, progression of space onstrates how all
LAURENTIAN LIBRARY (VESTIBULE AND STEPS), by Michelangelo
(1524–58) organized along spaces for passive canals, and galleried in a Japanese tea parts correspond to
BAHRAM GUR IN THEcentral
TURQUOISElines of, Safavid
PAVILION enjoyment of the
sight,manuscript walkways, defining garden represents a each other through
(1524)
creating a geometric landscape, either ordered ground planes psychological as well harmonic ratios.
PORTRAIT OF HENRY VIII, by Hans Holbein the Younger
(1540) ordering of space. on Persian carpets within an untamed as physical transi-
SALT CELLAR, by Benevenuto Cellini (1540) or on flat, elevated landscape. tion.
THE FOUR ACCOMPLISHMENTS, by Kano Motonobu (c. 1550) platforms called
RETURN OF THE HUNTERS, by Pieter Brueghel the Elder
(1565)
chabutras.
RAPE OF THE SABINE WOMAN, by Giovanni Bologna (1583)
JAPAN
Stepping stones, Basins, and Lanterns

106
 17th CENTURY / CONCLUSION
LNDSCP 21
DESIGN VOCABULARY
For further exploration
MUGHAL EMPIRE
Chadars, Chini-kanas, Chabutras BOOKS
THE CRUCIBLE, play by Arthur Miller
DON QUIXOTE, by Cervantes
THE DIARY OF JOHN EVELYN GIRL ON A SWING: Nature overtakes the garden in the paint-
ESSAY CONCERNING HUMAN UNDERSTANDING, by John Locke ings of Neo-Romantics like Fragonard, Boucher, and Watteau.
PARADISE LOST, by John Milton
They captured the decadent gaiety of the fetes galantes that
were staged in the decaying French formal gardens at the end
THE SCARLET LETTER, by Nathaniel Hawthorne
of the 17th century.
TARTUFFE, by Molière
THE THREE MUSKETEERS, by Alexandre Dumas

FILMS
PERSIA ARTEMISIA (1997)
Talars, Chahar baghs, Flowers DESIGN PRINCIPLES
LAST YEAR AT MARIENBAD (1961)
THE NEW WORLD (2005)
RESTORATION (1995)
RIDICULE (1996)
JAMES CLAVELL’S SHOGUN, TV mini-series (1980)
VATEL (2000)

PAINTINGS AND SCULPTURE

LANDSCAPE WITH THE FLIGHT INTO EGYPT,
SHAKKEI
by Annibale Carracci (1603) HIDE AND REVEAL SUBDIVISION EXTENSION ILLUSION
PORTRAIT OFDistant HUNTING, by AnthonySpace
CHARLES Ilandscapes unfolds
Van Dyck (1635)incre- Mughal gardens are French gardens of Perspective was
ITALY WITH THE CHATEAU OF STEEN,
LANDSCAPE are “borrowed” and mentally as various characterized by the the 17th century were manipulated in Italian
Water theaters, Stairs, “Stage” management by Peter Paul Rubens (1636)
PASTORAL Lincorporated into the focal points capture
ANDSCAPE, by Claude Lorrain (1638)
four-square paradise projected into the Baroque gardens to
pictorial
ET IN ARCADIA ARCADIAN SHEPHERDSthe
composition
EGO (THE ), viewer’s atten- form. The recursive landscape through create theatrical ef-
by Nicolasof Poussin (1640)
Japanese stroll tion and imagination subdivision of the monumental axes. fects and a sense of
THE ECSTASY OF ST. THERESA, by Gianlorenzo Bernini (1645)
in the Japanese stroll four-square geometry Vistas merged with mystery.
THE LETTER,gardens. Views are
by Jan Vermeer (1666)
framed by vegetation, garden. creates interesting the horizon.
and garden elements patterns and modula-
strategically placed tions of space.
in the foreground help
place the viewer in the
FRANCE scene.
Reflective pools, Bosquets, Parterres de broderie

145

09_289334_ch05.indd 145 12/28/09 4:24 PM

146
 17th CENTURY / CONCLUSION
LNDSCP 22
DESIGN VOCABULARY
For further exploration
MUGHAL EMPIRE
Chadars, Chini-kanas, Chabutras BOOKS
THE CRUCIBLE, play by Arthur Miller
DON QUIXOTE, by Cervantes
THE DIARY OF JOHN EVELYN GIRL ON A SWING: Nature overtakes the garden in the paint-
ESSAY CONCERNING HUMAN UNDERSTANDING, by John Locke ings of Neo-Romantics like Fragonard, Boucher, and Watteau.
PARADISE LOST, by John Milton
They captured the decadent gaiety of the fetes galantes that
were staged in the decaying French formal gardens at the end
THE SCARLET LETTER, by Nathaniel Hawthorne
of the 17th century.
TARTUFFE, by Molière
THE THREE MUSKETEERS, by Alexandre Dumas

FILMS
PERSIA ARTEMISIA (1997)
Talars, Chahar baghs, Flowers DESIGN PRINCIPLES
LAST YEAR AT MARIENBAD (1961)
THE NEW WORLD (2005)
RESTORATION (1995)
RIDICULE (1996)
JAMES CLAVELL’S SHOGUN, TV mini-series (1980)
VATEL (2000)

PAINTINGS AND SCULPTURE

LANDSCAPE WITH THE FLIGHT INTO EGYPT,
SHAKKEI
by Annibale Carracci (1603) HIDE AND REVEAL SUBDIVISION EXTENSION ILLUSION
PORTRAIT OFDistant HUNTING, by AnthonySpace
CHARLES Ilandscapes unfolds
Van Dyck (1635)incre- Mughal gardens are French gardens of Perspective was
ITALY WITH THE CHATEAU OF STEEN,
LANDSCAPE are “borrowed” and mentally as various characterized by the the 17th century were manipulated in Italian
Water theaters, Stairs, “Stage” management by Peter Paul Rubens (1636)
PASTORAL Lincorporated into the focal points capture
ANDSCAPE, by Claude Lorrain (1638)
four-square paradise projected into the Baroque gardens to
pictorial
ET IN ARCADIA ARCADIAN SHEPHERDSthe
composition
EGO (THE ), viewer’s atten- form. The recursive landscape through create theatrical ef-
by Nicolasof Poussin (1640)
Japanese stroll tion and imagination subdivision of the monumental axes. fects and a sense of
THE ECSTASY OF ST. THERESA, by Gianlorenzo Bernini (1645)
in the Japanese stroll four-square geometry Vistas merged with mystery.
THE LETTER,gardens. Views are
by Jan Vermeer (1666)
framed by vegetation, garden. creates interesting the horizon.
and garden elements patterns and modula-
strategically placed tions of space.
in the foreground help
place the viewer in the
FRANCE scene.
Reflective pools, Bosquets, Parterres de broderie

145

09_289334_ch05.indd 145 12/28/09 4:24 PM

146
LNDSCP 23
18th CENTURY / CONCLUSION 18th CENTURY / CONCLUSION

DESIGN VOCABULARY
or further exploration
FSUMMARY
ENGLAND Curves, realized as sweeping lawns, serpentine lakes, and billowing trees, defined the “line of beauty” in the 18th-century English
BOOKS
garden. Here, “landscape” became an adjective descriptive of an enlightened vision of uncorrupted nature—the garden. The tradi-
Ha-has, Hills, and Lakes
CANDIDE
tion ,ofbythe
Voltaire
pastoral aesthetic as embodied in the English landscape garden influenced early American gardens and continues
DISCOURSE
today in ON THE MORAL EFFECTS OF THE ARTS AND
parks, campuses, and residential developments. The relationship between art and nature in 18th century Chinese gardens
SCIENCES, by Jean-Jacques Rousseau
and its
GULLIVER’S Timpact on English styles was also examined in this chapter.
RAVELS, by Jonathan Swift
MANSFIELD PARK, by Jane Austen
PRIDE AND PREJUDICE, by Jane Austen
ROBINSON CRUSOE, by Daniel Defoe
THEDESIGN PRINCIPLES
SOCIAL CONTRACT , by Jean-Jacques Rousseau
SYSTEMA NATURAE, by Linnaeus

CHINA FILMS
Pavilions, Walls, and Windows BARRY LYNDON (1975)
BRIDESHEAD REVISITED, television miniseries (1981)
DANGEROUS LIAISONS (1988)
THE DRAUGHTSMAN’S CONTRACT (1982)
MARIE ANTOINETTE (2006)
FRAMING
TOM JONES (1963)
ALLUSION NARRATIVE VARIETY OBSERVATION
Garden scenes Both English and The heroic or patriotic Picturesque gardens Plants, landscapes,
were viewed through Chinese gardens theme of an English contained contrasting scenery—all of nature
intricate latticework
PAINTINGS AND SCULPTURE contained visual garden was made ex- forms, textures, and was scrutinized and
EIGHT -PLANKEDand
windows BRIDGE (FOLDING SCREEN
screens ), by Ogata
references to Korin
literary plicit through statuary lines. classified during the
(c. 1701)
in Chinese gardens. passages. Naming and built form. Enlightenment.
PILGRIMAGE TO CYTHERA, by Jean Antoine Watteau (1717)
AMERICA Trees
ROBERT framed
ANDREW views and inscribing scenes
AND HIS WIFE, by Thomas Gainsborough
Orchards, Lawns, and Prospects of fields and hills in
(1748) assured common
English, by
LANDSCAPE Alexander Cozens (1784)
gardens. interpretations.
PROJECT FOR A MEMORIAL TO ISAAC NEWTON, by Étienne-Louis
Boullée (1784)
GEORGE WASHINGTON, by Jean-Antoine Houdon (1788)
THE DEATH OF MARAT, by Jacques-Louis David (1793)
LNDSCP 24

/ INTRODUCTION TO LANDSCAPE ARCHITECTURE

HISTORY OF LANDSCAPE ARCHITECTURE / SEJARAH ARSITEKTUR LANSKAP

HISTORICAL TIMELINE

PRE ANCIENT MIDDLE

HISTORIC WORLD AGES

15TH TO 18TH 19TH

CENTURY CENTURY

20TH MILLENIAL
CENTURY LANDSCAPE
 PARKS America. The works of both Andrew of the public’s right to open space was
Olmsted teamed up with Calvert Vaux
to enter the competition for the design
crucial to cemeteries
the eventualasrealization of
19th CENTURY
England’s Reform Bill / AMERICA
Jackson Downing and Frederick
RURAL Law
ROMANTICISM: People used pleasure grounds before public of Central Park in New York City. Their
of 1832 was Olmsted were shaped by the
wereaesthetics Central Park in Manhattan.
LNDSCP symbolic of the increased social con-
parks built. Monuments and sculptures created architectonic focal points winning entry, the Greensward Plan, 25
of the English landscape garden
against and
a picturesque background. The idea of commemorating a person’s earthly life
sciousness that followed on the heels of preserved the wooded area and exposed
the ideals of social and
reform. Downing
achievements represented the considered
individualismthe stylistic
characteristic of the 19th century.
rapid industrialization. The government bedrock in the middle part of the site,
improvement of suburban properties a
acknowledged the need for public green south of the reservoir, which they called
moral imperative and a patriotic duty.
spaces as one aspect of social reform.
The crown had opened royal properties THE NEED
ANDREW FOR
JACKSON Waves of European immigration
mid-19th century added urgency
in
to
the ments
set and
up by sculptures.
the
He believed that an inventory of finely
the
designed houses appointed
Lachaise
state,
Frederick
Cemetery
and gardens—a
and
Law
inIn 1804,
1857
Olmsted
they
to
mark was planned by the
Pere “The Ramble.” Extensive site engineering
was necessary to create the many lakes
to the public in the wealthier West End
of London, but no comparable spaces
DOWNING
URBAN OPEN
campaign for public open space
York City. The cause was taken
in
up
New
of civilization and
in the city
oversee
republican
the
the
ofproposed
Paris
project.
virtue—
as
parkone
Land values around
of the fionce
skyrocketed rst the
and sloping lawns within the park. They
cemeter-
included a formal pedestrian mall and
(1815–1852)
would give America the cultural caché
press with support from Downing and ies in which
existing plots
tenant could
farmers, be purchased
squatter villag- in
terrace to accommodate society’s need
SPACE
existed in poorer neighborhoods. Parks it lacked in the eyes of the Europeans.
were part of the housing developments William Cullen Bryant, poet, Downing
and editor of es, and
was anperpetuity. noxious industries were cleared.
It was a blend of both formal
advocate of “taste,” to see and be seen. The perimeter they
the Evening Post. After much delib- Seneca Village, an African-American
that industrialists built in the 1830s, Downing grew up in a town along the
eration and partisan
which he definedand informal
as “good geometries.
proportions,
settlement, was destroyed.
Curvy
Many im-
paths screened with trees. The total area of
but these green spaces were sur- Hudson River, north of New York City. politics, the city
pleasing form, and fitness for the use parkland eventually covered 843 acres—
rounded by gates and accessible only to With
His limited
early secured state funding
trainingopportunity to enjoy
was in horticulture. and purchased
intended”—qualities
surrounded
migrant
he believed
a to
central
populations grid of straight an area about 2–1/2 miles long, and 1/2
be were displaced to
residents. Birkenhead Park in Liverpool, His book, A space,
outdoor a site.
Treatise on A board
the
people Theory
usedof commissioners
cemeter-embodied avenues.
make way forgar-
wasby naturalistic-style the new “people’s” park.13 mile wide. The project brief necessitated
the first nonroyal property opened to and Practice of Landscape Gardening, dens. Downing reinforced the harmoni-
12

the public, was one manifestation of
11_289334_ch07.indd 189
ies as pleasure grounds. Rural parklike
Adapted to North America, written in
cemeteries addressed the needs of
growing urban populations in two ways.
They provided access to landscaped
space for recreational purposes and
they insured public health by keeping
burial sites away from populated areas.
ous relationshipMountbetweenAuburn
house andCemetery in Cambridge,
Massachusetts, was developed in 1831
189
by the Massachusetts Horticultural So-
ciety as an experimental garden, arbore-
tum, and cemetery. Its sweeping lawns,
lakes, native trees, and exotic flowers
12/28/09 4:20 PM

Church graveyards in cities were filled to were reminiscent of English landscape

capacity. The new, secularized cemetery gardens, and became the vocabulary of
was seen not just as a graveyard, but park design. Cemetery administrators
as a sentimental and inspirational prohibited slab tombs; instead, urns,
landscape, much like Rousseau’s tomb obelisks, and figurative sculpture helped
at Ermenonville. Nondenominational create a picturesque scene. The popular
cemeteries became fashionable cities appeal of cemeteries strengthened the
CENTRAL PARK: Olmsted and Vaux overcame thefor
lobby challenges
public of the orthogonal site and planted an English landscape garden
parks.
within the19th
of the dead, ornamented of CENTURY
gridwith monu-
Manhattan. / AMERICA

COTTAGE RESIDENCES: Downing 191

offered prototypical plans for the FREDERICK
design of small-scale gardens in his LAW OLMSTED
book, Cottage Residences (1842).
11_289334_ch07.indd 191
(1822–1903) 12/28/09 4:20 PM

Olmsted was a gentleman farmer who

garden by suggesting improvements had a keen interest in the cultural land-
scape. He traveled widely and published
LNDSCP 26
 19th CENTURY / CONCLUSION
LNDSCP 27
SUMMARY
19th CENTURY / CONCLUSION
The Industrial Revolution brought widespread change to the landscape and to society. The shift from an agricultural to an indus-
trial economy created a new class of low-wage workers in European and American cities. Social reformers lobbied to improve the
DESIGN VOCABULARY
For further exploration
living conditions of the urban poor by providing public parks. The aesthetic language of the English landscape garden was adopted
as a model for the parks, and persists in the Western imagination as an icon of nature. The physical and social structures that
have come to define city life took shape in the 19th century.
ENGLAND
Beds and Borders BOOKS
COLDThe Romantic
MOUNTAIN sentiment
, by Charles of the 19th century contributed to a conception of nature as being restorative. People understood the
Frazier
THE Dpolitical, economic
EVIL AND THE and
WHITE CITY, bysocial value of the landscape, and campaigned to access its benefits. By the end of the century, landscape
Erik Larson
GREATarchitecture
EXPECTATIONS, was established
by Charles Dickensas a profession in America.
THE LAST OF THE MOHICANS, by James Fennimore Cooper
LITTLE WOMEN, by Louisa May Alcott
MY ANTONIA, by Willa Cather
MOBY DICK, by Herman Melville
DESIGN
NATURE , by Ralph PRINCIPLES
Waldo Emerson
PASSAGE TO INDIA, by E.M. Forster
THE RAVEN, by Edgar Allan Poe
WALDEN, by Henry David Thoreau
FRANCE WUTHERING HEIGHTS, by Emily Bronte
Place and Promenade
FILMS
AMISTAD (1997)
ANGELS AND INSECTS (1995)
DAISY MILLER (1974)
THE G ANGS OF NEW YORK (2002)
ACCESSIBILITY IDENTITY TRANSFORMATION OBSERVATION COLLABORATION
AN IDEAL HUSBAND (1999)
An awareness of Space becomes place Landscapes, both Urban environments Design is a collab-
JANE EYRE (1996)
social
OSCAR factors is criti-
when it has iden-
AND LUCINDA (1997) built and natural, are create opportunities orative and iterative
cal
THE S to(1956)
WAN a successfultifiable character. capable of altering for social exchange. process. A multi-
design.
SWEENEY TODDThe first public
(2007) Alphand’s design emotional states. Parisian boulevards disciplinary team of
parks opened in the vocabulary defined Transcendental philos- accommodated a vari- experts assembled
AMERICA PAINTINGS AND SCULPTURE
19th century. Second Empire Paris. ophers helped create a ety of interactions. to design the Chicago
Mountains and Monuments THE THIRD OF MAY, by Francisco Goya (1804)
THE HAYWAIN, by John Constable (1821)
wilderness myth about World’s Fair.
SCHROON MOUNTAIN, ADIRONDACKS, by Thomas Cole (1838) the American West.
FUR TRADERS DESCENDING THE MISSOURI, by George Caleb
Bingham (1845)
NOCTURNE IN BLACK AND GOLD, by James McNeil Whistler
(1874)
LE MOULIN DE LA GALETTE, by Auguste Renoir (1876)
THE THINKER, by Auguste Rodin (1879)
WHEAT FIELD AND CYPRESS TREES, by Vincent Van Gogh
(1889)
LNDSCP 28

/ INTRODUCTION TO LANDSCAPE ARCHITECTURE

HISTORY OF LANDSCAPE ARCHITECTURE / SEJARAH ARSITEKTUR LANSKAP

HISTORICAL TIMELINE

PRE ANCIENT MIDDLE

HISTORIC WORLD AGES

15TH TO 18TH 19TH

CENTURY CENTURY

20TH MILLENIAL
CENTURY LANDSCAPE
 ta, and pebble garden are distinguished chitectonic spatial relationships to resi- laid out the 27-acre estate for which
by their Arts and Crafts detailing. dential design in America. He conceived Platt designed the house and its 5-acre
LNDSCP 29

PLATT RESIDENCE: Charles

Platt’s own house in Cornish, New
Hampshire, exemplifies the balanc-
ing of space through the use of
lateral axes.

208
 Sculptures created dynamic focal
points in modern gardens.
LNDSCP 30

unnecessary; design elements had to be

purposeful.

“Form follows function” was the slogan

that summarized modernist intentions.6
The interdisciplinary art and design
school called the Bauhaus, in Dessau,
Germany, stressed the unity of art,
industry, and nature. Students explored
the use of industrial materials and
technologies, which were less expen-
sive and therefore indicative of a more
egalitarian aesthetic. Walter Gropius
(1883–1969) founded the Bauhaus and
was its director from 1925 to 1933.
He became the head of the Graduate
School of Design at Harvard, in 1933,
and brought the International Style to
America.
Ludwig Mies van der Rohe’s German
Pavilion, designed for the Barcelona
Exposition in 1929, became the
archetype of modern spatial
BARCELONA PAVILION: The lack of load-bearing walls created an open floor plan. composition. Its open floor plan and
modular system of support created
a new sense of space, defined by
interpenetrating vertical and horizontal
planes. Charles-Edouard Jeanneret
LNDSCP 31

20th CENTURY / MODERNISM

MIDCENTURY
MODERNISTS IN
AMERICA
The Mediterranean-type climate in
California is conducive to outdoor living.
The patios of Spain and the loggias of
Italy served as design precedents for
Californians who increasingly sought out-
door living and recreational areas in their
gardens. Sunset Magazine (originally
established in 1898) published landscape
architects’ plans, and was influential in
promoting the low-maintenance, laid-back
lifestyle of the West Coast. In response
to this new way of using outdoor space, DONNELL GARDEN SITE PLAN: The California garden style accommodated the
a group of influential designers cre- informality of midcentury lifestyles.
ated functional, user-driven, modernist
landscapes that have come to define the small-scale spaces. He believed that
“California garden style.” the organization and composition of
space itself should be the focus of the
Thomas Church (1902–1978) was a garden, and developed plans based
Beaux-Arts trained landscape archi- on user needs and functional spatial
tect based in California whose practice relationships. Eckbo was one of the first
 20th CENTURY / MODERNISM
LNDSCP 32

owcased aluminum in the garden. 20th CENTURY / MODERNISM

dernist and environmental design

NDSCAPE FOR LIVING:
vements. Halprin Thehis
started Alcoa
careergarden showcased aluminum in the garden.
the office of Thomas Church. His
erest in “process” was consis-
t. His(1912–2004)
Kiley book, RSVP Cycles:
workedCreative
for both modernist and environmental design
cesses in the Human Environment,
en Manning and the architect movements. Halprin started his career
blished
Kahn. inHis1969,
workoutlined his ideasa
demonstrated in the office of Thomas Church. His
out the relationship between
ern with form and spatial hierar- hu- interest in “process” was consis-
ns and nature, and his belief
He used strong geometries to or- that tent. His book, RSVP Cycles: Creative
olistic
he site analysis
landscape, wasthe
and like integral
French Processes in the Human Environment,
the development of a successful published in 1969, outlined his ideas
alists of the 17th century, was
sign. He developed an original tech- about the relationship between hu-
to achieve a sense of directional-
ue for “scoring” the landscape that mans and nature, and his belief that
iley worked closely with many of
ps natural, social, and cultural a holistic site analysis was integral
reat modernist architects. He
tterns.
oped a style characterized by the to the development of a successful
f overlapping planes and repeated design. He developed an original tech-
prin’s work and his approach were nique for “scoring” the landscape that
les to create a dynamic inter-
ovative. He found inspiration in maps natural, social, and cultural
tration of landscape space. The
ny different sources, and encour- patterns.
t axes, long allées, and rectilinear
ed collaboration. Halprin was also
es of
that
thedefi
firstneadvocates
the Millerfor
Garden
citizen
5),
ticipation in the design process.with
in Columbus, Indiana, work 14 Halprin’s work and his approach were
LANDSCAPE FOR LIVING: The Alcoa garden showcased aluminum in the garden.
eometry of the house designed innovative. He found inspiration in LANDSCAPE FOR LIVING: The Alcoa garden showcased aluminum in the garden.
ro Saarinen. Kiley’s practice also many different sources, and encour-
ded corporate work; he
MILLER GARDEN: Modern forces designed aged collaboration. Halprin was also Dan Kiley (1912–2004) worked for both modernist and environmental design
well-known
perate plazasgeometry.
upon formal for banks and one of the first advocates for citizen Warren Manning and the architect
Dan Kiley (1912–2004) worked
movements. Halprin started his career
for both modernist and environmental design
participation in the design process.14 Louis Kahn. His work demonstrated a in the office of Thomas Church. His
te businesses.
concernWarren
with formManning
and spatialand interest in “process”movements.
the architect
hierar- was consis- Halprin started his career
chy. He Louis Kahn.geometries
used strong His worktodemonstrated
or- a RSVPinCycles:
tent. His book, the offi ce of Thomas Church. His
Creative
DERN MAVERICK 217 der theconcern
landscape,withand like the French Processes
form and spatial hierar- in the Human Environment,
interest in “process” was consis-
MILLER GARDEN: Modern forces formalists of the 17th century, was published in 1969, outlined his ideas
ork of Lawrence Halprin (1916– chy. He used strong geometries to or- tent. His book, RSVP Cycles: Creative
about the relationship between hu-
operate upon formal geometry. able to achieve a sense of directional-
9) serves as a bridge between the ity. Kileyder theclosely
worked landscape, and
with many of like the
mans French Processes
and nature, and in the Human Environment,
his belief that
the greatformalists of the 17th
modernist architects. He century, a holistic published
was site analysis in 1969, outlined his ideas
was integral
developed a style characterized by the to the development about
of a successful
the relationship between hu-
able to achieve a sense of directional-
12/28/09 4:16 PM use of overlapping planes and repeated217 design. He developed an original tech-
LNDSCP
WHEAT WALK: Ron Wigginton was
one of the first landscape archi-
tects to approach the design of a
landscape as a conceptual work of
art. His award-winning proposal for
the arboretum at the University of
California, Davis (1988) poetically
conveyed his belief in the landscape
as a place of collective memory.
A renewed interest in metaphor was also
evident in postmodern gardens. Land-
scape design became increasingly con-
ceptual. Ideas of framing nature, using
the landscape itself as a material, and
making natural processes explicit were
common themes explored by landscape
FRACTAL LAKE: Quantum theories were explored in
Charles Jencks’s garden.
Krakow Ice Garden (1990) on Martha’s
Vineyard, Massachusetts, and Peter
Walker’s Tanner Fountain (1984), at Har-
vard University, exemplified this trend.
Conceptual projects included Martha
Schwartz’s Splice Garden (1986) at
the Whitehead Institute in Cambridge,
Massachusetts; Ron Wigginton/Land
Studio’s Wheat Walk (1988) proposed
for Davis, California; and Charles Jencks
and Maggie Keswick’s Garden of Cosmic
Speculation (1990) at their home in
Dumfriesshire, Scotland.
Postmodernist designers employed al-
legory like 18th-century Whig landowners
did. Ian Hamilton
WHEAT WALK:Finlay constructed
Ron Wigginton a
was
poet’s garden at his home in Lanarkshire,
33
LIMELIGHT: Landscape
architects David Meyer and
Ramsey Silberberg celebrated
one of Britain’s “champion”
trees in their installation at
the 2003 Westonbrit Inter-
national Festival of the Gar-
den. Set within a constructed
earth mound that imitates
an amphitheater, the tree
occupies center stage. FRACTAL LAKE: Quantum theorie
Charles Jencks’s garden.
poetry”—words carved into stones and
set into provocative pictorial composi-
tions. His garden, Little Sparta, came to LIMEL
reflect his fascination with the French archit
Revolution and his disappointment in Rams
contemporary society.18 one of
trees
At the end of the 20th century, interna- the 20
tional garden expositions and festivals nation
resurfaced as popular cultural phenom- den. S
ena. The Chaumont Garden Festival in earth
Chaumont-sur-Loire, France, initiated an am
the trend in 1992, showcasing the work occup
of renowned landscape designers as well
as emerging talents. Annual festivals
in England, Germany, Canada, and the
Krakow Ice Garden (1990)themed
on Martha’s poetry”—word
Netherlands feature temporary,
Vineyard, Massachusetts, and Peter set into provoc
 20th CENTURY / CONCLUSION

LNDSCP DESIGN VOCABULARY

For further exploration 34
Grids Shifted axes 20th CENTURY
BOOKS / CONCLUSION
1984, by George Orwell
THE AGE OF INNOCENCE, by Edith Wharton
BRAVE NEW WORLD, by Aldous Huxley
SUMMARY THE FOUNTAINHEAD, by Ayn Rand
THE GRAPES
New resources, OF WRATH, by John Steinbeck
technologies, modes of transportation, and communication systems transformed the way people interacted with
THE GREAT GATSBY, by F. Scott Fitzgerald
each other and with the natural world in the 20th century. The ideals expressed in the landscape reflected these changing values.
THE JUNGLE, by Upton Sinclair
ON THE ROAD, by Jack Kerouac
LandscapeOdesign in the 20th century was subject to a variety of influences. Space became very architectonic. Trends in the art
VERLAY, by Lucy Lippard
world wereSinterpreted by landscape
AND COUNTY ALMANAC architects. Analyses of site conditions and user needs determined the form and function
, by Aldo Leopold
of the modernist landscape.
SILENT SPRING Postmodernist
, by Rachel Carson designers searched to rebuild a traditional sense of community. The so-called green
Arcs and Biomorphic
tangents shapes revolution focused the profession on ecological design.
FILMS
ALL’S FAIR AT THE FAIR (1938)
APOCALYPSE NOW (1979)
THE CABINET OF DR. CALIGARI (1920)
DESIGNCASABLANCA
PRINCIPLES (1942)
CITIZEN KANE (1941)
DR. STRANGELOVE (1964)
GONE WITH THE WIND (1939)
HOTEL RWANDA (2004)
THE LAST EMPEROR (1987)
METROPOLIS (1927)
MON ONCLE, by Jacques Tati (1958)
Synthetic SCHINDLER’S LIST (1993)
material Landform THE TRUMAN SHOW (1998)

UTILITY PAINTINGS ANDTRUTH SCULPTURE CORRESPONDENCE ORIGINALITY INTEGRITY

LES MADEMOISELLES DHonest
Form determined ’AVIGNON, design
by Pablo ex-
Picasso (1907)
Beauty results from Innovation results from A design is complete in
NUDE DESCENDING A STAIRCASE, by Marcel Duchamp (1912)
by functionality presses the inherent an awareness of the
SUPREMATIST COMPOSITION: WHITE ON WHITE, by Kazimir Malevich (1918)
rejecting preconceived itself when it acknowl-
makes users’BIRD needs quality of
IN SPACE, by Constantin a material
Brancusi (1928) synchronicity of time, ideas and being open edges the moral com-
a priority. COMPOSITION WITH REDor a site.
, BLUE place,
AND YELLOW, by Piet Mondrian and idea.
(1930) to all possibilities. ponent of beauty.
RECUMBENT FIGURE, by Henry Moore (1938)
LOBSTER TRAP AND FISH TAIL, by Alexander Calder (1939)
AN AMERICAN EXODUS, photographic series by Dorothea Lange (1939)
AUTUMN RHYTHM (NUMBER 30), by Jackson Pollock (1950)
LIGHTNING FIELD, by Walter de Maria (1977)
Collage Color SURROUNDED ISLANDS, by Christo and Jean-Claude (1983)
BOHEMIA LIES BY THE SEA (1996), by Anselm Kiefer
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/ INTRODUCTION TO LANDSCAPE ARCHITECTURE

HISTORY OF LANDSCAPE ARCHITECTURE / SEJARAH ARSITEKTUR LANSKAP

HISTORICAL TIMELINE

PRE ANCIENT MIDDLE

HISTORIC WORLD AGES

15TH TO 18TH 19TH

CENTURY CENTURY

20TH MILLENIAL
CENTURY LANDSCAPE
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ECOLOGICAL SUSTAINABILITY
LIVING WITH NATURE
HARMONY & CREATIVITY
LIMITLESS POSSIBILITY
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Shanghai MOMA Museum

Waterfront Park
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Gardens by The Bay

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Weiliu Wetland Park

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/ INTRODUCTION TO LANDSCAPE ARCHITECTURE

HISTORY OF LANDSCAPE ARCHITECTURE / SEJARAH ARSITEKTUR LANSKAP

HISTORY ASLA
1899
Arsitektur Lanskap ------------------ Frederick Law Olmsted (1858)

Program Pendidikan Arsitektur Lanskap --------------------- Universitas Harvard,

Amerika Serikat (1901)

Arsitektur Lanskap di Indonesia:

1. Dibutuhkan dan dilaksanakan saat Asean Games pada tahun 1962.

2. Berdiri Akademi Arsitektur Pertanaman DKI Jakarta yang bergabung
dengan Fakultas Arsitektur lanskap Trisakti.

IALI – 1978/1979
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LANSKAP ALAMI & BINAAN