landscape design of Europe group 02.pptx

Europe landscape design

1. LANDSCAPE DESIGNS

2. Renaissance  to modern: 15th to 20th centuries In mid-15th century Italy, the increasing prosperity and confidence in humanity's ability to impose order on landscapes marked a significant evolution in garden design. The shift began near Florence, where medieval enclosures opened up, aligning gardens with the main axis of the house and emphasizing the coherence between the two. Villas were increasingly sited for aesthetic enjoyment rather than defense, leading to more open gardens. Architects played a crucial role in planning these Renaissance gardens, often influenced by Classical designs to adapt to sloping sites. A notable example is Donato Bramante’s garden courtyard at the Vatican, which skillfully linked the papal palace with the Villa Belvedere through terraces and stairways, serving as both an open-air room and a sculpture gallery. ITALY:

3. The typical Renaissance garden featured characteristics such as openness, axial development, unity with the house, stone elements, statuary (often in the form of fountains), and Classical features like grottoes and urns. While this garden style did not have a direct equivalent in Classical gardens, it incorporated existing elements from that earlier period. Flowers were extensively used in most Italian gardens, but because of the shortness of their season they could not be the principal feature. Beds were divided into decorative geometric compartments by trimmed herbs, rosemary, lavender, or box. In general, more emphasis was given to evergreens; ilex, cypress, laurel, and ivy gave shade and were an enduring contrast to stonework. H illside fountain in the gardens of the Villa d'Este at Tivoli, Italy, mid-16th century. Gardens of the Villa Aldobrandini  (1598)

4. Western European Destruction of Civilization : Barbarian tribes nearly oblterated civilized society in Europe outside Islamic conquests. Influence of Roman Remains : Remnants of Roman villas influenced future garden designs, such as Christian basilica cloisters. Monastic Gardens : Monasteries provided security and leisure; they preserved agricultural skills. Cloister Gardens : Initially, gardens were cloisters featuring wells, herbs, and shaded areas. Secular Gardens : Gradually, secular gardens emerged, often within castle walls and elevated on turrets. Garden Design : These gardens were rectangular, divided into four sections by paths, centered around a well. Seating : Turf seats were incorporated into garden walls. Flower Growth : Gardens featured flowers, but blooms were short-lived, often fading by June. More elaborate gardens were uncommon.

5. 17th- and 18th-century French The French invasions of Italy in the late 16th and early 17th centuries brought Italian garden styles to France , beginning with the château of Anet (1547–56), designed by Philibert Delorme. Despite its sophistication, Anet remained an inward-looking, medieval garden. The grounds of Dampierre introduced the concept of extending vision beyond the garden , transforming the traditional moat into ornamental water features . This integration of garden and dwelling with axial extension was further developed at the château of Richelieu (1631) and later at Vaux-le-Vicomte (completed 1661), the estate of Nicolas Fouquet. Following Fouquet’s fall, his landscape designer, André Le Nôtre , was commissioned to create the gardens of Versailles. The French interpretation of the Italian garden was shaped by the geography of northern France. While the terraced designs seen at Villa d’Este were rare, grandiose gardens achieved an expansive axial development that extended the garden's influence into the landscape.

6. Characteristic of the 17th-century French garden, reflecting Baroque aesthetics, were features such as fountains, parterres, and hidden gardens within wooded enclosures . These hidden gardens, unlike their Italian predecessors meant for private contemplation, served as settings for theatrical displays. In contrast to the Persian practice of using carpets for flower gardens, the French laid out their grounds as elaborate carpets, reflecting a logical evolution of Italian practices. Moreover, fountains were less common because the absence of high ground required that they be power-driven. Because stone was scarce, terraces were usually held by  turf  banks rather than by retaining walls, and  sculpture  was often of lead. Another sculpture typical of the Dutch garden was topiary: trees and shrubs were trained, cut, and trimmed into sculptural, ornamental shapes. Gardens of the Chateau de villandry Medici Fountain in the  Paris

7. 17th- and 18th-century England The Italian idea that "things planted should reflect the shape of things built" established gardens as extensions of architecture, primarily designed by architects. Before the 18th century, geometric regularity dominated garden design in both grand and minor details. England adopted a version of the French geometric garden, emphasizing grass lawns and gravel paths. While French gardens typically featured a main axis with subordinate vistas, influential English gardens like St. James’s and Hampton Court displayed vistas radiating like sunrays from a semicircle. With the accession of William and Mary (1689–1702), Dutch influences introduced the widespread use of topiaried yew and box. However, in 18th-century England, a growing appreciation for the natural world emerged. Rather than imposing geometric designs on nature, people began to adapt to it. Influential literary figures like Alexander Pope and Joseph Addison criticized the artificial shaping of trees and advocated for the restoration of more natural forms in garden design. The Palladian Bridge at Stowe Landscape Gardens, Buckingham, England The Archer Pavilion and Long Water at Wrest Park, Bedfordshire

8. The new English school of garden design united in their rejection of straight, Classical lines and geometrically ordered gardens, but they disagreed on what a natural garden should entail. While figures like Capability Brown favored a more serene style, others sought inspiration from the dramatic, bizarre, and exotic. The "Picturesque" movement, led by Sir Uvedale Price and William Gilpin, argued that Brown's "naturalism" was as artificial as the geometric order of Versailles. They advocated for incorporating rugged elements like rocky chasms and decaying tree trunks, believing these better represented nature. Additionally, another approach aimed to create gardens rich in poetic bric-a-brac, designed to evoke surprise and a range of emotions—solemnity, sublimity, and even terror—through associations with the distant past and exotic locales. Visitors would encounter Classical statues, Gothic ruins, and Chinese pagodas within these grounds. The trend of chinoiserie began with Horatio Walpole's observation of it at Wroxton in 1753, leading to a blend of Chinese and Gothic elements alongside Classical features in fashionable gardens.

9. Modern In the 20th century, a sense of history remained significant in gardening, with efforts to maintain and recreate historic gardens like the 16th-century gardens of Villandry in France and the colonial gardens of Williamsburg in the U.S. This desire for historical continuity is not new, as similar initiatives occurred in the 19th century, and it may persist as people increasingly seek reassurance from the past. Attempts to establish a distinctive modern garden idiom are rare, with contemporary gardens varying in style—from grand early 18th-century designs at Anglesey Abbey to a mix of Jekyllism and gardenesque at Bodnant . Preferences often lean toward controlled wilderness or slightly unkempt orderliness. Modern public gardens, evolving from large private gardens, often aim for instant appeal through vibrant floral displays. Notably, Brazilian landscape architect Roberto Burle Marx infused tropical elements into traditional designs, while Japanese influences have become prominent in American gardens.

10. A defining characteristic of the 20th century was functional planning by landscape architects, focusing on the arrangement of open spaces around factories, offices, and roads, prioritizing practical settings over aesthetic pleasure. This approach often resulted in a "tidying up" of spaces with minimal attention to traditional garden delights. However, in densely populated areas, there has been a growing demand for positive gardening—environmental planning aimed at refreshing the spirit rather than just facilitating economic activities. Reconstruction of the 16th-century gardens at Villandry , in the Loire valley, France. REFERANCE: https://www.britannica.com/art/garden-and-landscape-design/Western-European