UNIT - 3

GARDEN DESIGN IN HISTORY

AR8701 LANDSCAPE DESIGN T.M.A HAJEE HAFILA BANU M.ARCH

 UNIT-3
Japanese, Italian Renaissance, Mughal and English gardens. Outline of landscape and
garden design in Indian history. Gardens depicted in Sanskrit literature, Nandavanams
and residential gardens of South India. Moghul gardens. Public parks and residential
gardens of the colonial period. Contemporary public landscape projects. Study of
notable examples. Spatial development in landscape design.
GARDEN DESIGN IN HISTORY

THE STUDY AND DESIGN OF LANDSCAPES HAS BEEN AN INTEGRAL PART OF MANY DIFFERENT
CULTURES THROUGHOUT HISTORY.

NATURE HAS ALWAYS PLAYED A MAJOR ROLE IN SHAPING HUMAN THOUGHT AND PROVIDING
THE INSPIRATION TOWARDS ALL HUMAN ENDEAVOURS

THE TERM “LANDSCAPE ARCHITECT” WAS DEVISED BY “GILBERT LAING MEARON” IN 1828 TO
DEPICT THE ARCHITECTURE FOUND IN “ ITALIAN LANDSCAPE PAINTINGS”

NATURE OF LANDSCAPE ASSUMED DIFFERENT MEANINGS AND EVOKED DIFFERENT RESPONSES

IN THE INDIAN SUB- CONTENTENT. NATURE HAS BEEN AND STILL IS AN INTEGRAL PART OF
RELIGION AND CULTURE AND IT IS TO HIGHLIGHT THE RELEATIONS BETWEEN HUMANS AND
ENVIROMENT

HOW MUCH DID OUR ANCESTORS UNDERSTAND NATURE AND HOW SENSITIVE WERE THEY IN
RESPONSE TO THE NATURAL ENVIRONMENT. IT REQUIRES AN INDEPTH KNOWLEDGE OF
NATURE IN ORDER TO BE SENSETIVE TO IT .

VENERATION OF NATURE IS STILL TO BE FOUND IN THE INDIAN SUBCONTINENT AND IS

MANIFEST IN VARIOUS PRAYERS RITUALS, AND CUSTOMS ASSOCIATED WITH NATURAL
LANDSCAPES.
GARDEN
DESIGN IN
HISTORY
 CONCEPTS IN
LANDSCAPE

FORMALISM NATURALISM

FUSION OF FORMALISM &

NATURALISM
LANDSCAPE ARCHITECTURE IN INDIA – A THEORETICIAL
PERSPECTIVE

THE NATURAL LANDSCAPE OF THE INDIAN CONTINENT AND

REGIONAL LANDSCAPES FORMED AS PART OF THE RELIGIOUS
AND CULTURAL PRACTICES.

WORSHIP OF NATURE

SENSITIVITY TOWARDS EACH SPECIES OF PLANT AND TREES WAS

THE BASIS OF TREE WORSHIP

INDIAN URBAN LANDSCAPES ARE STILL GUIDED BY CONCEPTS OF

ANCIENT NATURAL LANDSCAPE.

REGIONAL DIFFERENCES MAY OCCUR DUE TO THE EXISTENCE OF

A PARTICULAR SPECIES BUT THE VENERATION OF NATURE IS THE
BASIS OF INDIAN LANDSCAPE ARCHITECTURE
LANDSCAPE ARCHITECTURE IN INDIA
HINDUISM AND LANDSCAPE:

PRE VEDIC PHASE

THE VENERATION AND WORKSHIP OF NATURAL ELEMENTS THE PRIMOVDIAL

STAGE OUT OF FEAR, OUT OF RESPECT FOR NATURE.

VEDIC – POST VEDIC PHASE

RESPECT FOR NATURE – THE SCRIPTURES

DOMESTICATION OF NATURE AND WILDLIFE

WORSHIP OF THE NATURAL ELEMENTS AND LIFE FORMS
 WORSHIP OF THE NATURAL ELEMENTS AND LIFE FORMS

A) 5 HEADED (VISHNU)
B) THE SERPANT (SHIVA)
C) THE LION (KALI SIMHA) (POWER DURGA)
C) THE EAGLE (GARUDA – MURUGAN KUMARAN)
D) THE MOUSE/RAT (KRISHNA)
E) THE COW (KRISHNA)
F) THE MONKEY (HANUMAN)
G) THE ELEPHANT (SON OF SHIVA)
H) THE BUFFALLO (YAMA)
I) THE PEACOCK (MURUGAN)
J) THE TIGER (AYAPPA)
K) THE FISH (VISHNU)

PLANTS

Thulasi,Lotus (Lakshmi),Coconut tree,Banyan,Pipal,Hibiscus,Mango,Marigold are some of the

sacred Plant species.

• AGRICULTURE AND NATURE – IRRIGATION

• THE BASIS OF HUMAN – NATURE RELATIONSHIP IS BASED UPON COMPABILITY
•
BUDDHISM AND LANDSCAPE

BUDDHA – FROM THE SAKHYA TRIBE OF ARYANS, BORN IN KAPILAVASTU IN 563 BC.

GAUTAMA WAS BORN UNDER AN ASHOKA TREE.

RECEIVED ENLIGHTMENT UNDER PIPAL TREE
PREACHED HIS GOSPAL UNDER MANGO GROOVES
DIED IN A SAL GROOVE.

BUDDHISM ADOPTED TREE WORSHIP FROM OLDER RELIGIONS PREVALENT IN THE

COUNTRY.

THE LUMBINI GARDEN - (HUSEN TSANG) – 630 AD

The Lumbini Garden was the Buddha's birthplace.

A BATHING TANK OF THE SAKHYAS - CLEAR WATERS

IN EVERY VILLAGE, THE PLANTING OF BANYAN AND PIPAL TREES WAS ENJOINED – AS
A MEANS OF SAVING THE CROPS FROM BIRDS AND PESTS – AS A REFUGE FOR WILD LIFE.
 TYPES OF GARDENS

FORMAL INFORMAL
GARDENS GARDENS

PERSIAN MUGHAL FRENCH DUTCH AMERICAN ENGLISH JAPANESE CHINESE

JAPANESE GARDENS

• Much of the landscape of Japan, an island nation,

consists of mountains and oceans.

• These ever-present mountains and oceans are

reduced to two of the primary and enduring
components of the Japanese Garden — rocks and
water.

• In traditional Japanese gardens these elements has

been created in miniature forms, often in a highly
abstract and stylized way.

• Spirit of Japanese Garden -Nature is the ideal in

Japanese gardens. They idealize it, even symbolize it,
but never create something that nature itself cannot.
FR O M A NCI ENT TI MES TO THE PR ESENT, LI V ING I N
HARMONY WITH NATU RE HA S R EFLECTED THE I N
JA PA NESE G A R DENS A S PER SEA SO NS.

A T R A D I T I O N A L G A R D E N WI L L U S U A L L Y
HA V E A N I R R EG ULAR-SHAPED PO ND, O R ,
I N L A R G E R G A R D E N S , T WO O R M O R E
PO NDS CO NNECTED BY A CHA NNEL O R
STR EA M, A ND A CA SCA DE, A MI NI A TUR E
V ER SI ON O F JA PA N'S FA MO US
M O U N T A I N WA T E R F A L L S
Characteristics
Scale
•The scale of Japanese Garden v aries widely within the same
e.g. The scale of these Gardens is left totally to the mental state of the observer

SITING
RELATIONSHIP WITH THE SURROUNDING:
The landscape of Japanese Gardens v aries between two extremes with respect to the
surrounding.
• Sense of Enclosure
• Sense of Openness
SENSE OF ENCLOSURE
•Whole Garden space is tightly enclosed within high walls, putting an end to any
interaction between the inside & the outside.
•The Garden for the contemplation in the Zen Buddhist compounds is usually of
the “Kare Sensui” type which reflects the outside nature in no way.
•Functions – Mediation & Contemplation

SENSE OF OPENNESS
•The Garden flows out v isually – into the surrounding landscape & conversely
draws natural features form a distance into gardens composition.
•Physical boundaries merge into the background giv ing an impression of
boundlessness.
•Ev er changing nature of spaces along the path of circulation.
Miniaturization :The Japanese garden is a miniature and
idealized view of nature. Rocks can represent mountains, and
ponds can represent seas. The garden is sometimes made to appear
larger by placing larger rocks and trees in the foreground, and smaller
ones in the background.
Borrowed landscape :
When during design and construction of a Japanese garden nearby or
distant landscape and landmarks are taken into consideration, and used in
such way that it appears to be part of the garden or at least of the view of
the garden, this is called "borrowed scenery". The Japanese term for the
technique of doing this, is Shakkei.
Shoden-ji, has a garden
featuring shakkei- technique or
"borrowed scenery". The garden
uses Mount Hiei as a backdrop
to a contemplation garden
INFLUENCES OF JAPANESE
GARDENS :

Nature:
Represented as “Art in Japan” & it is physically
or v isually framed within the Rectangular
bounds of the garden wall.
Man:
•Japanese garden is not simply nature.
•It is & has always been crafted by Man.
 Culture:
Japanese culture also perceives & pursues beauty in the perfection of the man-
made type in
1. The delicate proportions of the paper screen.
2. The wooden lattices on the traditional town houses.
3. The clear linearity of the modular system of classic Japanese architecture
Geography:
•Japan constitutes of 3 main islands.
•It comprises of rounded mountains & valleys.
•Only one-eighth of the kind can be cultivated.

Climate:
•Climate is humid.
Average temperature is 56% & average rainfall is
1.5mm with 215 days of sunshine.
Vegetation:
1. Soil is rich with no permanent grass.
2. Planting uses natives – evergreens give an
unchanging structure of beauty, while flowering
plants provide seasonal interests.
3. Indigenous trees-oak, maple, birch, cherry &
plum, blossom.
4. Symbolic meanings:
5. Iris – Purity
6. Pine – Longevity
7. Cherry Blossoms – Perfections
 Principles of Landscape Design
Theme
•Abstraction of truth adapted form nature.
•No distinction between the landscape garden, the architecture & the surrounding
landscape.
•During ancient period-“Shinto” the indigenous faith of Japan was practiced.
•So the belief in the concept of “Kami” a divine spirit that permeated all objects,
influence the design.
 E L E ME N TS O F J A P A N E S E
GARDENS

• Ponds, waterfalls, wells, bridges

(real or symbolic)
• Stepping stones, Garden paths
• Stone water basins, stone
lanterns
• Garden plants and trees
• Fences and walls
• Stones
Rock – an important feature
WATER OR IKE
•It represents the sea, lake, pond
or river in nature.
•Non geometrical in appearance;
in order to preserve the natural
shapes, man- made ponds are
asymmetrical.
• The bank of the pond is usually
bordered by stones
•A fountain is sometimes found at the
bottom of a hill or hillside or
secluded forest.
•Wells are sometimes found in a
Japanese garden.
 POND

WATERFALL
PATHS OR TOBI-ISHI
• Usually used in tea gardens.

• flat
stepping stones served to
preserve the grass as well as
orient the viewer to a specific
visual experience.
• step-
stones are found near the
veranda or entrance of the house
or tea room. The visitor of the
house or room is expected to
place his shoes on the step- stone
before entering.
WATER BASINS &
LANTERNS
• Two kinds of stone water basins-
• kazari- chozubachi, which is kept near
the verandah
• tsukubai for tea garden
• Stone lanterns are placed besides
prominent water basins whose
luminance underscored the unfinished
beauty of the tea aesthetic.
 PLAN TS

• Garden of the 10th to 12th centuries

contained cherry, plum trees, pines and
willows.

• Influence of the Zen sect and watercolor

painting from Southern China
transformed the colorful Japanese garden
in the Middle Ages.

• Flowers,flowering plants and shrubs were

regarded as signs of frivolity and were
replaced by evergreen trees that
symbolized eternity.
TRE E S I N JAPAN E SE GARDE N S
• Japanese garden is predominately green with its use of evergreen trees.

• When flowering trees found in Japanese garden are camelias, specifically

the tsubaki and sazanka.
 JAPANESE FIR
• Scientific Name: Abies Firma
• Habitat: Evergreen
• Texture: Coarse
• Height: 40’ to 70’
• Leaf: 1.5" dark green needles are notched at
base; sharp prickly point
• Flower/Fruit: 3.5 to 5" brown cones
 JAPANESE STRIPPED-BARK
MAPLE
• Scientific Name: Acer capillipes
• Habit: Deciduous
• Growth Rate: Moderate
• Site Requirements: Sun to partial
shade; prefers moist, well drained
soil
• Texture: Medium
• Form: Round head; low branches
• Height: 30 to 35’
• Flower/Fruit: Greenish white
flowers on 2.5 to 4" pendulous
raceme; attractive samara in fall
 JAPANESE MAPLE
• Scientific Name: Acer palmatum
• Growth Rate: Slow to moderate
• Site Requirements: Light dappled shade;
evenly moist, well drained soil; protect from
drying winds
• Texture: Medium to fine
• Form: Low; dense rounded top; spreading
branches; assumes a layered look
• Height: 15 to 25'
• Flower/Fruit: Small red to purple flowers;
attractive if viewed closely but insignificant
from a distance
JAPANESE ALDER

• Scientific Name: Alnus japonica

• Site Requirements: Sun to partial
shade; range of soil types including
wet and infertile soil
• Form: Slender, narrow upright habit
• Height: 12 to 25’
• Leaf: Oval, narrow leaves
• Flower/Fruit: Yellow brown to red
brown catkins (male flowers); female
flowers on short purplish brown
strobili which persist until winter
JAPANESE ANGELICA TREE
• Scientific Name: Aralia elata
• Growth Rate: Rapid
• Site Requirements: Sun to partial
shade; range of soil types but prefers
moist, well drained soil
• Texture: Medium
• Form: Irregular to spreading; often
multi-stemmed
• Height: 20 to 40’
• Leaf: 3 to 5.5" compound leaves;
yellow to reddish purple fall color
• Flower/Fruit: 12 to 18" white
flowers in August; purple fruit
JAPANESE CHERRY BIRCH

• Scientific Name
Betula grossa
• Growth Rate: Moderate
• Site Requirements: Sun; moist well drained soil
• Texture: Medium
• Form: Pyramidal
• Height: 20 to 25'
• Leaf: 2 to 4" alternate, simple leaves; yellow fall
color
• Flower/Fruit: Nonshowy flowers
 JAPANESE HORNBEAM
• Scientific Name: Carpinus japonica
• Growth Rate: Slow
• Site Requirements: Sun to light
shade; moist well drained soil but
tolerates a range of soil types
• Texture: Medium
• Form: Rounded; densely branched;
wide spreading branches
• Height: 20 to 30'
• Leaf: 2 to 4.5" leaves; yellow to
nonshowy fall color
• Flower/Fruit: 2 to 2.5" fruit
 JAPANESE CORNEL
DOGWOOD
• Scientific Name
Cornus officinalis
• Growth Rate: Moderate
• Site Requirements: Sun to partial shade;
range of soil types
• Texture: Medium
• Form: Picturesque; multi-stemmed ; low
branches; oval to round habit
• Height: 15 to 25'
• Leaf: 4" opposite, simple leaves; purple fall
color
• Flower/Fruit: Cluster of short stalked
yellow flowers with drooping bracts on
naked stems in early spring; .5" shiny red
fruit in clusters in fall
 JAPANESE CEDAR
• Scientific Name: Cryptomeria japonica
• Habit: Evergeen
• Growth Rate: Moderate
• Site Requirements: Sun to light, high shade;
rich deep, well drained soil but will thrive in a
range of soil types
• Texture: Fine to medium
• Form: Pyramidal; semiformal
• Height: 50 to 60'
• Leaf: Awl shaped, bright to blue-green foliage;
smooth to the touch; bronze tones in winter,
especially if exposed to wind.
• Flower/Fruit: Small terminal cones
F E N C E S AN D WALLS

• There are three types of fences:

 the short fence which extends from the house
into the garden
 an inner fence and an outer fence.

• Short fences or sodegaki

are screens that hide unwanted views or
objects.
• They are about 6 or 7 feet high.
• Add color and texture to the garden.
• Materials used are bamboo, wood and twigs of
bamboo or tree.
 GARDEN ENCLOSURES
 For the garden to be a true retreat, we must first seal it away from the
outside world. Once it is enclosed, we must create a method (and a
mindset) to enter and leave our microcosm. Fences and gates are as
important to the Japanese garden as lanterns and maples.

 As with most things associated with the garden the fence and gates
have deep symbolic meaning as well as specific function. We are
encouraged to view the garden as a separate world in which we have no
worries or concerns. The fence insulates us from the outside world
and the gate is the threshold where we both discard our worldly cares
and then prepare ourselves to once again face the world.
Courtyards include a modern alfresco
(sheltered outdoor living) area with a
lush backdrop of plants.
 STON E S

• Stones are fundamental elements of

Japanese gardens.

• Stones used are not quarried by the hand of

man, but of stones shaped by nature only

• Used to construct the garden's paths,

bridges, and walkways.

• Represent a geological presence where

actual mountains are not viewable or
present. They are placed in odd numbers
and a majority of the groupings reflect
triangular shapes
 KASAN

• They are artificial mountains

usually, built in gardens.
• Generally between one and
five of the hills are built.
• They are made up of
ceramics, dried wood or
strangely-shaped stones.
 SUIKINKUTSU (WATER
HARP HOLLOW)
• Refers to a relatively small cave or
hollow set underneath the ground
near a washbasin in the garden.
• The hollow produces a harp-like
echoing sound effect as water drips
into the hollow. Thus, it provides a
mysterious sound for people strolling
through the garden.
• They are generally located the at
gates of the garden.
• The excess water running over the
edge of the tsukubai drops down
onto polished pebbles below.
• Below the ground is another large
basin, often a ceramic vase.
BONSAI AND BONSEKI
•The art of Bonsai involves the training of
everyday shrubs such as pine, cypress, holly,
cedar, cherry, maple, and beech to look like
old, large trees in miniature form.

•The trees are usually less than one meter

high and kept small by pruning, re-potting,
growth pinching, and wiring the branches.

•Bonseki is the art of developing miniature

landscapes which may include smallest of
rock pieces to represent mountains.
SC E N E RY ME TH OD S

• The Japanese garden can include three possible methods for scenery:
• The first is the reduced scale scenery method. The reduced scale
method takes actual natural elements and reproduces them on a
smaller scale.
• The second technique called symbolization and it involves
generalization and abstraction; this could be accomplished by using
white sand to simulate the ocean.
• Borrowed views is a technique that refers to artistic use of elements that
imply scenes other than those actually portrayed. An example of this
would be a painting of a house in the city with a seaside dock in the
middle of the street to imply a seascape scene.
ROCKS AND BOULDERS
REPRESENTING
MOUNTAINS

POOL REPRESENT
LAKES.

RAKED SAND REPRESENT

OCEAN.

NON RECTILINEAR SHAPED WATER BODY

BASIC ELEMENTS IN
JAPANESE GARDENS
• a stone lantern representing four natural elements: earth, water, fire
and wind
• statues of male and female lions, placed at the entrance of the
garden in order to protect the garden from intruders, representing
the two opposite forces: yin and yang (fire and water, male and
female).
• water basin known as a deer chaser, which keep deer away by making
a special sound when filled up
• the koi fish swimming in ponds, which has a decorative meaning
• typical Japanese bridge, called a moonbridge, whose purpose is to
reflect artistic feelings.
SYMBOLISM
•Stones were giv en sexual attributes & depending on their form & context – giv en v arious meanings.
•Earthen mound & Rock – representing Shumisen Mountain of the Buddhist cosmos.
•According to Zen Philosophy, the Sand area represents the Cosmic Ocean.
•Sand represents Purity.
•Stream represents life.
 BASIC RULES IN THE DESIGN OF
JAPANESE GARDENS

• Natural: that should make the garden look as if it grew by itself

• Asymmetry: that creates the impression of it being natural
• Odd numbers: It supports the effect of the asymmetry
• Simplicity: that follows the idea of 'less is more'
• Triangle: that is the most common shape for compositions made of
stones, plants, etc.
• Contrast: that creates tension between elements
• Lines: that can create both tranquility and tension
• Curves: that softens the effect
• Openness: that indicates interaction between all elements
TYPES OF JAPANESE
GARDENS
1.Karesansui Gardens or dry gardens

2.Tsukiyama Gardens or hill garden

3.Chaniwa Gardens or tea gardens

KARESANSUI/
DRY GARDENS
• Also known as rock gardens and waterless
stream gardens.

• Influenced by Zen Buddhism and can be

found at Zen temples of meditation

• Found in the front or rear gardens at the

residences.

• No water presents in gardens. raked gravel

or sand that simulates the feeling of
water.

• The rocks/gravel used are chosen for their

artistic shapes, and mosses as well as small
shrubs.
• Plants are much less important (and
sometimes nonexistent)
• Rocks and moss are used to represent
ponds, islands, boats, seas, rivers, and
mountains in an abstract way.
• Gardens were meant to be viewed from
a single, seated perspective.
• Rocks in karesansui are often associated
with Chinese mountains such as Mt.
Penglai or Mt. Lu. Karesansui.
• Stones are usually off-white or grey
though the occasional red or black
stone were added later.
 TSUKI YAMA/H I LL GARD E N S

• They strive to make a smaller

garden appear more spacious.
• Shrubs are utilized to block views
of surrounding buildings.
• The gardens main focus is on
nearby mountains in the
distance.
• The garden has the mountains as
part of its grounds.
• Ponds, streams, hills, stones,
trees, flowers, bridges, and paths
are also used frequently in this
style as opposed to a flat garden.
 C H AN I WA/TE A GARD E N S

• They are built for tea ceremonies.

• Tea house is where the ceremonies
occur, and the styles of both the
hut and garden are based off the
simple concepts of the sado.
• There are stepping stones leading
to the tea house, stone lanterns,
and stone basins where guests
purify themselves before a
ceremony.
• The teahouse is screened by
borders to create a sense of
remoteness
C OURT YARD GARD E N S - TSUBO N I WA

• Courtyard gardens are small gardens.

• One tsubo is a Japanese measurement equaling 3.3 square meters
• The origin of the tsubo niwa lies in the 15th century when Japan's
economy was thriving. A lot of merchants had large house with
several storage buildings around it. The first courtyard gardens were
made in the open spaces between the house and the storage
buildings.
• The elements of a courtyard garden are similar to the elements of a
tea garden, however more shade tolerant plants are used. The design
principles of traditional Japanese courtyard gardens, are very suited
for create contemporary small spaces on roofs or terraces
 STROLLI N G GARDE N S - TSUKI YAMA
• These are large landscape gardens. Often existing landscapes are reproduced on a
smaller scale, or an imaginary landscape is created.
STROLLI N G GARDE N S - KAI Y U -SH I KI E N
• These are pleasure gardens, mostly built during the Edo-period. Most of
these gardens are now public parks
Japanese Gardens can be divided into 4 types
•Paradise Gardens
•Dry-landscape Gardens
•Stroll Gardens
•Tea Gardens
•All Japanese Gardens share many components & principles with the common goal of creating a
microcosm of stones, water, bridges & other elements to create a symbolic miniature landscape.
•Paradise & Dry-Landscape Gardens were designed – v iewed form a single point or side & scroll
gardens as well as tea gardens were made to be walked through.

Paradise Garden
•Motsu-ji-Garden in Hiraizumi, e.g. for Paradise Garden.
•Designed – represent the Pure Land of Buddhist Paradise.
•Trees & mou8ntains outside the garden appear to be part of the garden & stones are arranged
to create islands & rocky shores

Dry Landscape Garden

•Connected to Zen Buddhist Temples, gardens are made up of carefully chosen.
•Ryoan-ji temple in Kyoto, e.g. for Dry Landscape Garden.
•“The Treasure Ship Stone” @ Daisen-in Kyoto – Japan’s most famous stone.
•The “Karesansui style originate form Zen temples.
•These have no water & few plants, but typically ev oke a feeling of water using pebbles &
meticulously raked gravel or sand.
•The garden @ Ryoan-ji, a temple in Kyoto, is particularly renowned.
Stroll Garden
•Each step – Stroll Garden the view changes.
•Gardens were very popular in the Edo period when they are made by the
Daimyo of Feudal Lords.
•Kenroku-en in Kanazawa, e.g. for Stroll Garden.
•Garden includes 4 ponds & uses “Borrowed Landscape” very well
•In a Japanese Garden pruning the Trees & Shrubs is an art. This brings a focal
point in a Stroll Garden.

Stroll Garden
•The Momoyama period form 1568 to 1600 a Tea Garden often has a short
path with trimmed plants on each side which lead to a teahouse.
•This path links the real world with the world of the tea ceremony often
surrounded by a bamboo fence.
•Stone basins – were first used for washing hands & your mouth.
•Slightly raised & spaced apart stones are sprinkled with water before the
ceremony to welcome guests this is called a Rojo or dewy path.
Japanese Gardens evolved in 3 phases
Garden of Joy
•Heian era (795 – 1185 AD)
•Kamakura era (1185-1336 AD)
•Muromachi era (1336 -1573 AD)
E.g. Saiho-ji Temple, Ryoan-ji Temple.

Garden of Seclusion
•Azuchi-Momoyama Era
•Early Edo- Era
•Momoyama Era
E.g. a Tea Garden at Kitano.

Garden as substitutes for travel

Edo Era
Meiji Era
E.g. Katsura imperial palace, Sanzen-in.
RYOAN – JI TEMPLE, KYOTO
 GE N E RAL D E TAI LS

• Ryoan-ji (or The Temple of the Peaceful Dragon) is a Zen temple located
in northwest Kyoto, Japan. Belonging to the Myoshin-ji school of the
Rinzai branch of Zen Buddhism, the temple is one of the Historic
Monuments of Ancient Kyoto, a UNESCO World Heritage Site.

• An object of interest near the rear of the monks quarters is the carved
stone receptacle into which water for ritual purification continuously
flows. This is the Ryoan-ji tsukubai, which translates literally as "crouch;"
and the lower elevation of the basin requires the user to bend a little bit
to reach the water, which suggests supplication and reverence.
• To many, the temple's name is synonymous with the temple's famous
karesansui (dry landscape) rock garden, thought to have been built in
the late 1400s.

• The garden consists of raked gravel and fifteen moss-covered boulders,

which are placed so that, when looking at the garden from any angle
only fourteen of the boulders are visible at one time.

• It is traditionally said that only through attaining enlightenment would

one be able to view the fifteenth boulder.
• The researchers propose that the implicit structure of the garden is
designed to appeal to the viewers unconscious visual sensitivity to axial-
symmetry skeletons of stimulus shapes. In support of their findings, they
found that imposing a random perturbation of the locations of
individual rock features destroyed the special characteristics.
Case Study of Japanese Gardens

Ryoan-ji Temple
•Most famous of all Japanese dry gardens –Ryoan-ji: the temple of the Peaceful Dragon.
•The Garden is simplicity itself – 15 rocks arranged in a rectangle of raked white gravel – but it
has provoked much speculation about its meaning.
•It is an e.g. of Kare-sansui garden, without water, without plants, without even a tree.
•It is a supreme e.g. of the empty space & the interplay of right angle & natural form.
•Contains 15 rocks respectiv ely & positioned with an area of rock & sand.
•It was created with an aid of Zen monks for the purpose of Meditation.
•Its horizontal composition inv ites the v isitor to sit & meditate.
•Tall stand of trees currently framing the rock garden on two sides alters the v iew.
•The ground contain a large pond garden that must date back to the period in which this site
was occupied be a noble estate.
•The largest of the pond’s 3 islands is abov e.
•The island is the site of Shinto Shrine
The tea garden (rojiniwa) combines the
high arts of gardening and
serving tea (chanoyu) by creating a
dedicated space to hold the Japanese
tea ceremony (chado), a highly
stylized ritual of preparing, serving, and
drinking tea.
 Tea Garden @ Kitano
1. Most tea gardens are remarkable for extreme simplicity combined with
an affection of natural wilderness.
2. Rock setting & features of ponds are the highlight of these gardens.
3. Tea gardens are generally divided into an outer & inner enclosure.
4. These gardens are separated by a rustic fence with a gateway.
5. The outermost enclosure contains the main entrance gateway.
6. Beyond this is often a small building.
7. It was generally the custom for the samurai or military class to change
their clothing before attending the Tea Ceremony
8. These gardens contain Wooden & Stone Lanterns, Water basins, Rocks &
Gateways.
KATSURA IMPERIAL PALACE
GARDEN, KYOTO
• Lake of 1.25 hectares was dug, hills and islands
were formed, beaches made, pavilions built and
planting undertaken.
• Has 16 bridges connecting the lake.
• Lake used for boating parties and the
surrounding land as a stroll garden, in effect a
tea garden on an enormous scale.
• The 'Katsura Tree' (Cercidiphyllum japonicum)
was associated with the God of the Moon and
the garden has a platform to view its rising.
• There are 23 stone lanterns to light the stroll
path after dark.
• Stone basins were used for hand-washing before
a tea ceremony.
• Garden designed not only for meditation (Zen)
but also for ceremonious courtly pleasures.
MUGHAL GARDENS
• MUGHAL GARDENS are a group of gardens built by
the Mughals in the Islamic style of architecture.
• This style was influenced by Persian gardens.
• Significant use of rectilinear layouts are made within the walled
enclosures.
• Some of the typical features include pools, fountains and canals
inside the gardens.

HISTORY
• The founder of the Mughal empire, Babur, described his
favourite type of garden as a charbagh.
• India, Bangladesh and Pakistan have a number of Mughal
gardens which differ from their Central Asian predecessors
with respect to "the highly disciplined geometry".
Mughal Empire – 1526 to 1750

Persian background
Persian concept of garden – ‘ Paradise Garden’

Four water channels divides the garden into 4 quarters.

Water channels – symbolise 4 rivers of life.
Intersection of channels – symbolise meeting of God & human
Babur the 1st mughal emperor introduced ideas of Persia art and way of
life into India.

Siting and Relationship to surrounds

Great importance was given to choice of site in Mughal Gardens.
Surrounding landscape dominating – garden opens out to this and draws
the exterior into it ‘ Borrowed Landscape’.
Exploited and enhanced geographical ‘ Edge’ .
• Akbar built several gardens first in Delhi, then in Agra, Akbar’s
new capital.
• These tended to be riverfront gardens rather than the fortress
gardens that his predecessors built.
• Building riverfront rather than fortress gardens influenced later
Mughal garden architecture considerably.
• Akbar’s son, Jahangir, did not build as much, but he helped to lay
out the famous Shalimar garden and was known for his great
love for flowers.
• Jahangir's son, Shah Jahan, marks the apex of Mughal garden
architecture and floral design.
• He is famous for the construction of the Taj Mahal.
• He is also responsible for the Red Fort at Delhi which contains
the Mahtab Bagh, a night garden that was filled with night-
blooming jasmine and other pale flowers.
• Mughal garden design derives primarily from the
medieval Islamic garden.
• Islamic garden as walled off and protected from the
outside world; within, its design was rigidly formal,
and its inner space was filled with those elements
that man finds most pleasing in nature.
• Its essential features included running water (perhaps the
most important element) and a pool to reflect the
beauties of sky and garden; trees of various sorts, some
to provide shade merely, and others to produce fruits;
flowers, colorful and sweet-smelling; grass, usually
growing wild under the trees; birds to fill the garden with
song; the whole cooled by a pleasant breeze.
TAJ MAHAL & HUMAYUN’S TOMB
MUGHAL TOMB GARDENS

• Siting & Relationship to Surrounds

• Greater attention to choice of site
• Plains of Delhi & Agra did not present with great potentials – river course with high
banks; visual quality & supply water
• Surrounds not compatible – so introverted planning.

River
Humayun’s tomb
• Monument on a raised platform – grand & captures view around.

Taj mahal
• Sited at the bend of river.
• View while approaching Tajmahal – floating on the river.
• Planning
• Rigid geometry
• Square & Octagon shape
• Area divided into smaller squares
• Division with water channels and causeway.
Humayun’s Tomb
Walkways divide the Humayun’s Tomb into 32 plots.
central 4 plats occupied by monument.
Overall shape of site is Square.
Two entries – South and west.
▪ Dimension of grid –
60m x 60m
▪ Dimension of
monument base –
120mx120m
▪ In relation to garden
▪ Monument – 1/6th
▪ Terrace – 1/3rd of site
dimension.
▪ Chief spatial component
Taj Mahal ▪ Tomb , gateway
Site : 570m x 300m rectangle
Spatial components - Mausoleum ,Mosque,Meeting house ,Entrance gateway ,Garden
(196m x 240m)
Monument raised on a platform – 6.6m
Site ractangular in shape.
Garden Square.
Tomb placed at head of garden on high platform overlooking river.
Causeways subdivide garden into Charbagh further subdivion with walkways and water channels.
Spatial organisation
Grid Based planning
Geometry in all aspects.
Site enclosed by huge walls with serrated battlements –
protection from hostile climate , visual privacy / seclusion.
Gateways provided access – restricted entry
Humayun’s tomb – 2 gateways – south and west
Tajmahal – Gateway on south, river access on north.
Function
• Built by emperor as a private garden for resort and pleasure
• Accessed by emperor and his family, nobleman.
• On emperor’s death it becomes a mausoleum, garden becomes a setting for it.
• Mausoleum - monumental scale
• Exaggerated dimension - to capture attention.
• Massive scale – on high platform grandeur
• Gate also huge
• Humayun’s tomb first of its kind to be built with huge scale.
• Taj Mahal – mausoleum placed at the head of the Garden – adds depth and
perspective to the distant view of the monument with garden and its element in the
foreground.
• Water
• An integral part of spatial organisation of the whole.
• As ornamentation in varied features .
• Water is a relatively dry region – provided the viewer with a scale of sensous and poetic.
• Water supply from river Yamuna through canals.
• Water features
• Water channels
• Ponds
 ELEMENTS
HUMAYUN’S TOMB

▪ Dominant features – stone tanks , stone lined channels – integrates

mausoleum with garden
▪ Narrow channels along centre of walkway.
▪ All around monument water channels run perpendicular to main water
channels, corners emphasised by octagonal pools.
▪ Channels and pools geometric in shape.

Taj Mahal
▪ Used for spatial subdivion along centre of pathway.
▪ Intersection of channel – reflection pond.
▪ Flower shaped corner of pond.for breaking the static nature of water.
▪ Channel wide – gave life to garden – irrigated the plots.

Utilitarian & Aesthetics

▪ Avenue trees along walkways.

▪ Trees were fruit bearing – shrubs and ground cover
▪ Scented and bright flowering - along walkway edge and as borders.
▪ Shady tree grew at random across the plot.
▪ Single variety used to create mosaic pattern with shrub beds along
walkway.
SYMBOLISM :

Depiction of the ultimate – the

Paradise
Garden as represented in
Quran.
Trees represented eternity and
immortality.
Water - symbol of life
Char Bagh ( with geometric
precision) – ordered universe.
The monument – cosmic mountain
Four main courses of water relating
to 4 rivers of life.
Water pond at channel intersection
– meeting of God and human.
Number 8 & 9 were auspicious to
the Mughals, hence octagon shape is
preferred.
• The Taj Mahal garden is
unusual in that the main
element, the tomb, is
located at the end of the
garden.
• The use of symmetry and
pattern can be seen in the
relationship between
sunlight and shade, plants
and water, and light and
dark tones. The effect is
that of a Persian rug
leading to the entrance of
the mausoleum.
• Early accounts of the
garden describe its
profusion of vegetation,
including abundant roses,
daffodils, and fruit trees.
Features of informal gardens • Plan is forced to fit the
land • Main aim is to capture natural scenery • Land is
not leveled • Asymmetrical design • Non-geometrical
beds and borders • Untrimmed hedges, edges and topiary
• Individual plants are not selected as feature • Japanese,
Chinese, English gardens
H UMAY UN 'S TOMB, D E LH I
• While the main tomb took over
eight years to build, it was placed in
centre of a 30-acre Char Bagh
Garden, with quadrilateral
layout and was the first of its
kind in the South Asia region in
such a scale.
• The highly geometrical and
enclosed Paradise garden is
divided into four squares by
paved walkways and two
bisecting central water
channels.
• Each of the four square is
further divided into smaller
squares with pathways, creating
into 36 squares in all, a design
typical of later Mughal gardens.
• The central water channels
appear to be disappearing
beneath the tomb
structure and reappearing
on the other side in a
straight line, suggesting the
Quranic verse, which talks
of rivers flowing beneath
the ‘Garden of Paradise’.
• The entire tomb and the
garden is enclosed within
high rubble walls on three
sides, the fourth side was
meant to be the river
Yamuna, which has since
shifted course away from
the structure.
• The central walkways,
terminate at two gates: a
main one in the southern
wall, and a smaller one in
the western wall.
• It has two double-storey
entrances, the West gate
which used now, while
the South gate, which
was used during Mughal
era, now remains closed.
• The palm trees have
recently been added to
the garden for making
the pathways junction
more appealing.
 RAM BAGH
• The Ram Bagh is the oldest Mughal Garden in India, originally built by the Mughal
Emperor Babur in 1528, located about five kilometers northeast of the Taj Mahal.
• The garden is a Charbagh, where pathways and canals divide the garden to
represent the Islamic ideal of paradise, an abundant garden through which
rivers flow.
• The Ram Bagh
provides an example
of a variant of the
charbagh in which
water cascades down
three terraces in a
sequence of cascades.
• Two viewing pavilions
face the Jumna river
and incorporates a
subterranean
'tahkhana' which was
used during the hot
summers to provide
relief for visitors.
• The garden has
numerous water
courses and fountains.
 SH ALI MAR BAGH

• Shalimar Bagh is a Mughal garden linked through a

channel to the northeast of Dal Lake, on its right
bank located near Srinagar city.
• The Bagh was built by Mughal Emperor Jahangir
for his wife Nur Jahan, in 1619.
• It is also based on charbagh concept.
• The garden built with a size of 587 metres ,length
on the main axis channel and with a total width of
251 metres . The garden has three terraces fitted
with fountains and with chinar tree-lined vistas.

• Dal Lake – North East – Fore Ground

• Himalaya – South West - Background.
• Main Focus - to appreciate and enhance the
natural elements – lake & mountain.

• Garden vary subtle giving greater regard to

Landscape existing of which it is a part – hence
harmony with nature.
Function
Private gardens of pleasure
Users : Emperor, his family &
nobles.
Function : Pleasure, recreation
and social gathering.
Spatial organization – no defined
function ( flexible)

Spatial Organisation
Walled garden
Two dimension in their Landform
.
Organised on grid of rectilinear
geometry.
Dominant axial alignment
evident.
Axis links 2 natural elements ,
lake and mountain range.
• Garden in three parts
Diwan-I- Am : 1st Level -
Rectangular in shape with 2
divisions.The first terrace is a
public garden ending in the Diwan-
e-Aam (public audience hall). In
this hall, a small black marble
throne was installed over the
waterfall.
• Emperors Garden ( 4 divisions) -
The second terrace garden along
the axial canal, slightly broader, has
two shallow terraces.The Diwan-i-
Khas (the Hall of Private
Audience), which was accessible
only to the noblemen or guests of
the court.
• Zenana Garden (4 divisions) - In
the third terrace, the axial water
channel flows through the Zenana
garden, which is flanked by the
Diwan-i-Khas and chinar trees.
• At the entrance to this terrace,
there are two small pavilions (built
in Kashmir style on stone plinth)
that is the restricted and
controlled entry zone of the royal
harem.
• Shahajahan built a baradari of black
marble, called the Black Pavilion at
the centre of the zenana garden
with water channels running on all
the four directions.
• It is encircled by a fountain pool
that receives its supply from a
higher terrace.
• A double cascade falls against a low
wall carved with small niches,
behind the pavilion.
Scale
The garden humane in scale. No built
component dominates the garden –
subtle.
The elements such as water canal,
pavilion, trees were in relation to one
another – harmonious.
Change of level very subtle – hence
gives containment.

Water
Water used as a strong element –
unifying elements.
Water channel divides the garden in all
direction.
Potential of water understood and
exploited.
Functionally used to cool the
surrounds.
Elements used to display water were;
Canals, water falls, chutes, fountains,
tanks / ponds.
• Chadhar : slab with intricate carving on which wate r
is made to runover, creating ripples thereby giving
water form.

• The Shalimar Bagh is well known for chini khanas (A

double cascade falls against a low wall carved with
small niches (chini khanas), behind the pavilion., or
arched niches, behind garden waterfalls.
• They are a unique feature in the Bagh. These niches
were lighted at night with oil lamps, which gave a fairy
tale appearance to the water falls.
• However, now the niches hold pots of flower pots that
reflect their colours behind the cascading water.

• Water Used:
• Sprays from fountain
• Foam at the foot of Chadhar
• Ripples & glitters of swift floaring water
• All with their varied sounds were done to provide great
pleasure to Senses
N I SH AT BAGH
• Nishat Bagh is a Mughal garden built
on the eastern side of the Dal Lake,
close to the Srinagar city.
• ‘Nishat Bagh’is a Hindustani word,
which means "Garden of Joy,"
"Garden of Gladness" and "Garden of
Delight”.
• Even though the layout of Nishat
Bagh was based on the basic
conceptual model of the Chahar Bagh,
it had to be remodelled to fit the
topographic and water source
conditions at the site chosen in the
Kashmir valley.
• A rectangular layout with east-west
length of 548 metres and width of
338 metres was adopted.
• Nishat Bagh as laid out now is
a broad cascade of terraces
lined with avenues of chinar
and cypress trees, which starts
from the lakeshore and
reaches up to an artificial
façade at the hill end.
• Rising from the edge of the Dal
Lake, it has 12 terraces
representing twelve Zodiacal
signs.
• There are, however, some
similarities with the Shalimar
Bagh, such as the polished
stone channel and terraces.
• The source of water supply to
the two gardens is the same.
• Built in an east-west direction, the top
terrace has the Zenana garden while
the lowest terrace is connected to
the Dal Lake.
• The central canal, which runs through
the garden from the top end, is
4 metres wide and has a water depth
of 20 centimetres.
• Water flows down in a cascade from
the top to the first terrace at the lake
level.
• The water flow from one terrace to
the next is over stepped stone ramps
that provide the sparkle to the flow.
• At all the terraces fountains with
pools are provided, along the water
channel.
• At channel crossings, benches are
provided for people to sit and enjoy
the beauty of the garden and the
cascading flows and fountain jets.
ITALIAN GARDENS
ARBORS
CLOISTERS
GAZEBBO
 CENTRAL FOUNTAIN

HEDGES & WALKWAYS

 GROTTOS – STONE & MUD FINISH

GROTTOS – INTERIOR WITH RECESSED

NICHES TO HAVE DECORATIVE STAUES
(ORNAMENTAL APPROACH)
GROTTOS WITH WATER FOUNTAIN STALCITIES INSIDE GROTTO
PATTERN IN
FOREGROUND
USING BOX HEDGES
VERTICAL LANDSCAPING TO DEFINE PATHWAYS
Vascular plants are defined as land plants that have lignified tissues (the xylem)
for conducting water and minerals throughout the plant.
The Quadrato is a perfectly square. The twin casini stand on one side, on the
remaining three sides the garden is enclosed by high box hedges. • At the heart
of the complex, a centre basin contains the "Fontana dei Mori"
In the first of the ascending terraces, lodged
between two stone staircases, is the Fontana
dei Lumini ("Fountain of the Lamps"), a circular
tiered fountain; on the ledge of each tier,
smaller fountains, imitating Roman oil lamps,
spout small jets of water which in the sunlight
appear to blaze like lamp flames.
PERGOLA WALKWAYS HAVING CREEPERS FORM ARCHWAYS
 STONE WALLS WITH NICHES FOR STATUES

STATUES – PART OF LANDSCAPE

WATER – FOCAL ELEMENT
WATER – AS AN ELEMENT REFLECTING NATURE
STEPPED TERRACES WITH BALUSTRADE & STAIRWAYS
GARDENS IN SANSKRIT LITERATURE :
 SACRED GARDENS:

▪ Sacred gardens are an ancient tradition in many major cultures,

including our own.

▪ They are the cultivated counterparts of the sacred groves and are a
place for meditation, spiritual awakening and celebration.

▪ Although, there is less archaeological evidence of early gardens in India,

the Hindu scriptures and books (Ramayana, Abijnana Shakuntalam,
Mrichchakatika etc.) give remarkably detailed description of elaborate
gardens with flowerbeds, lotus ponds, fruiting trees, creepers and shady
spaces.

▪ In fact, gardens are a symbol of paradise in Hindu philosophy and art.

 TYPES OF SACRED GARDENS

NANDAVANAMS BUDDHIST GARDENS BAGH GARDENS

OF PARADISE
 NANDAVANAMS:

▪ Nandavanam – Divine plays (leelas) of Hindu Gods are often depicted in

gardens.
▪ Most Hindu temples are therefore associated with gardens, also known as
Nandavanam.
▪ These gardens are usually managed and maintained to serve the temple.
Example: the Thirunandavanam or Madurakavi nandavanam attached to
the Ranganathar temple at Srirangam.
 NANDAVANAMS:

▪ Buddhists gardens – In Buddhism, gardens are described as a place for

meditation and healing. There were beautiful gardens in Nalanda and
Taxila.
▪ It is even believed that Lord Buddha was born under a tree at the Lumbini
garden (now in Nepal), which is now listed as a World Heritage Site.
▪ The monasteries played a central part of the life in the monasteries during
early periods. Even today, monasteries in India have attractive gardens
attached to them.
 BAGH:

▪ They are ethno-silvi-horticultural gardens, traditionally planted near tanks,

settlements or amidst forests, especially in the northern parts of our country.
The biodiversity mainly consists of utility trees such as Mangifera indica,
Madhuca latifolia, Syzygium cuminii etc. Green felling is totally banned in
these gardens. Also, there is temple or separate space dedicated to the
Gods (or village deity). For example, an excellent Bagh exists near a village
inside the Darrah Wildlife Sanctuary in Kota.
 GARDENS OF PARADISE :

▪ Gardens of Paradise - Mughal Gardens are square or rectangular in shape,

along the lines of Persian gardens. They are generally enclosed by a high
wall with imposing gates on four sides. The garden is an orderly view of
paradise. They are generally associated with tombs, since the soul of the
dead person is believed to have reached paradise, which is replicated on
earth in the garden. The tomb garden is called Char Bagh and is based
on hasht-vihisht or eight paradises plan making a cross-axial garden. The
well-known tomb gardens of India are Humayun’s Tomb (1571), Delhi;
Akbar’s Tomb (1613), Sikandra, Agra; Taj Mahal (1630), Agra; and Bibi Ka
Maqbara (1661) Aurangabad.
Philiphadia Navy yards
What is a Square ??
 ▪ Field Operations has designed the 5-acre Central Green at the heart of
the Philadelphia Navy Yard Corporate Center. The site was historically
marked by wetlands, meadows, and bird habitat and is growing
into Philadelphia’s most innovative and progressive corporate
neighborhood.
▪ The design unites the cutting edge urban potential of the site with its
native habitat, resulting in a new type of environment that is sustainable,
green, and natural as well as social, active, and urban.
▪ A 20-ft wide Social Track organizes the site’s circulation and frames a
unique, immersive interior park featuring flowering meadows, a hammock
grove, an outdoor amphitheater, bocce courts, and fitness stations.

https://www.archdaily.com/774111/philadelphia-navy-yards-james-corner-field-
operations/560193bce58ece093300001f-philadelphia-navy-yards-james-corner-field-operations-
photo?next_project=no
Ornamental Gardens :

• In planning a garden, several factors like the size of the house, and the
space available for gaden, availability of water, cost of the laying the
garden and its maintenance, have to be taken in to consideration.

• A garden is planned primarily to suit the tastes of the people of the house
hold and locality. There is no rigid system in garden planning and each
system is open to modification to suit the environment and other factor.

• Ornamental Home Gardens

• Ornamental Public Gardens
General assumptions :
• East or west home is the best.
• Home ensures security, shelter, rest, peace and enjoyment.
• Man being civilized animal prefers to live in association of plants.
• Labour and pains taken in developing home and garden later on give
immense pleasure, joy and satisfaction.
• Hence, home and home gardens are made on the basis of individual
preferences.
Home Landscaping-
Principles and Elements Principles
• Simplicity
• Unity or Harmony
• Balance
• Proportion or Scale
• Accent or Focalization
• Rhythm

Elements
• Line
• Colour
• Texture
• Habit
• Form
• Light
• Space or Volume
• Mobility
• Style
Objectives
• To secure attractive ground.
• To provide natural, easy and safe approach.
• To obtain privacy for family
• To fulfill recreational needs for the family.
• To provide convenient well arranged attractive service area.
• To harmonize home building, various areas, walks, drives, gardens
and other utility areas in to one unit.
Brainstorming Session
1.Where did the birth of formalism took place ?
Egypt
2.Where did the birth of naturalism took place & where did its glory end ?
China & japan
3.Types of Japanese garden ?
Vegetation
Vegetation used as a very subtle element.

Had both aesthetic and utilatarian value.

Planting were done as clupms, avenues, edges etc.
Broad green paths bordered the lake with rows of chinar trees.
The garden was laid in trellised walkways lined by avenues of aspen trees planted
at 2 feet interval.

Symbolism
Octagon – Squashing of circle
Square – material things
Circle – eternity
Vegetation – Immortality and renewal of life
Water – Symbol of life
Greatest success of Mughal Garden is, even todat used the same way as 400
years back – Context Free.
3.Types of Japanese garden ?
Dry garden
hill garden
Tea graden
4.The landscape of Japanese Gardens varies between two extremes with
respect to the surrounding??
Sense of Enclosure
Sense of openess
5.What is the method of Scenery used in japnese??
Borrowed Scenery
6.What is the method of Scenery used in japnese??
Borrowed landscape :
When during design and construction of a Japanese garden nearby or
distant landscape and landmarks are taken into consideration, and used in
such way that it appears to be part of the garden or at least of the view of
the garden, this is called "borrowed scenery". The Japanese term for the
technique of doing this, is Shakkei.
7.Which of the landcapes originated from the paintings of Landscapes by
Claude Lorrain & Nicholas Poussin in the anglo Chinese garden?
English garden
9.What are grottons ?
Grottons were used for romantic hideouts. They were manmade but were built to resemble a
dark naturally formed cave.
10.What are the benefits of the Rolling lawns ?
Rolling Lawn Topography allowed the visitor for surprises as they comme around
niches and mounds.
11.What is the difference between a tomb garden of Humayun and tomb
garden of tajmahal ?
▪ Dimension of grid –
60m x 60m
▪ Dimension of
monument base –
120mx120m
▪ In relation to garden
▪ Monument – 1/6th
▪ Terrace – 1/3rd of site
dimension.
▪ Chief spatial component
▪ Tomb , gateway
12.What is the SPACES/ZONES IN THE RESIDENTIAL GARDEN?
13.What are nandavanams ?
14.What is the use of the public zone in residential garden?
1.

Information
 Nishath bagh , Garden

https://www.youtube.com/watch?v=ZrNn3cziVEk