Unit 3-2

UNIT III GARDEN DESIGN
Landscape and garden design in history - Japanese, Italian Renaissance

and Moghul gardens in India, Study of notable examples, and spatial
development in landscape design.
GARDEN DESIGN IN HISTORY
WHY SHOULD WE STUDY HISTORY:
“Art is a continuous process, however new circumstances may be it is virtually

impossible to create a work of art without antecedents.
The challenge of history is not whether it should be studied, but rather the
interpretation of what is constant and therefore alive today.
All design therefore derives from impressions of the past, conscious or

subconscious and in the modern collective landscape form the historical
gardens.”
TIMELINE: STYLES OF GARDEN DESIGN
Pre 1600 Enclosed Style

1600 1650 1750 French Style
1600 1750 Forest Style
1600 1725 1750 Augustan Style
1600 1700 1750 ne Style
1790
Serpe
nti
1600 1700 1790 1900 Picturesque Style

1600 1700 1800 1940 Landscape Style
1600 1700 1830 1930 Italian Revival Style
1600 1700 1810 1910 Mixed/Eclectic Style
1600 1700 1830 1930 Gardenesque Style
1600 1700 1800 1880 1980 Arts & Crafts Style
1600 1700 1800 1920 2000 Abstract Style
1600 1700 1800 190 2000 Post Modern
0
1980
Style
The history of gardening extends

across at least 4,000 years of human
civilization.
Egyptian tomb paintings of the

1500s BC are some of the earliest
physical evidence of ornamental
horticulture and landscape design;
they depict lotus ponds surrounded Egyptian Tomb Painting
by symmetrical rows of acacias and
palms.
Another ancient gardening tradition is

of Persia: Darius the Great was said to
have had a "paradise garden" and
the Hanging Gardens of Babylon
were renowned as a Wonder of the
World. Persian gardens were also
organized symmetrically, along a
center line known as an axis
Representation-Hanging Gardens of Babylon
In Europe, gardening revived in
Languedoc and the Île-de-France in the
13th century.
Gardens at Versailles
Ile de France
The formal Garden à la française,

exemplified by the Gardens of Versailles,
became the dominant style of garden in
Europe until the middle of the 18th century.
The rediscovery of descriptions of antique
Roman villas and gardens led to the
creation of a new form of garden, the
Italian Renaissance garden in the late 15th
and early 16th century.
Spanish Public Gardens
Gardens at Tivoli
The first public parks were built by the

Spanish Crown in the 16th century, in
Europe and the Americas.
It was replaced by the English landscape garden.
English Gardens
The 19th century saw a welter of historical revivals and Romantic cottage-inspired
gardening.
The purpose of the creation of the garden CHANGES OVER TIME
Embellished farms Poetic

• Production • Egyptian and Greek mythology
• Art
Early Park • No movement
• Hunt and take long walks
• Walls and stands of trees Romantic
• Moving Water
Modern Parks • Shadows
Urban outdoor Space • Attention to detail
Urban Lung
Recreation space
Picturesque
• Majesty
• Grandeur
• Expansive
THE CENTRAL CIVILIZATION

• West Asia
• Persia
THE EASTERN CIVILIZATION

• Japan (1300-1550 AD)
• China
• India (1526 – 1750 AD)
THE WESTERN CIVILIZATION

• Italy – The Renaissance (1300-1550 AD)
• France (1650-1750 AD)
• England (1830-1930 AD)
JAPANESE GARDEN
JAPANESE GARDEN DESIGN IN HISTORY
INTRODUCTION
The art of gardening is believed to be an important part of Japanese culture for many
centuries.
The garden design in Japan is strongly connected to the philosophy and religion of the
country.
Shinto, Buddhism and Taoism were used in the creation of different garden styles in
order to bring a spiritual sense to the gardens and make them places where people
could spend their time in a peaceful way and meditate.
GENERAL CHARACTERS
The line between garden and its

surrounding landscape is Not Distinct.
Gardens incorporate natural and artificial

elements and thus, fuse the elements of
nature and architecture.
In the Japanese garden, the viewer should

consider nature as a picture frame into
which the garden, or the man- made
work of art, is inserted.
DESIGN PHILOSOPHY
RELIGION - Shinto, Buddhism and Taoism have influenced the garden development in
Japan. Few of the Philosophies followed are as follows:
Nature is the ideal. Gardens must strive to achieve it.
You can idealize it, even symbolize it, but you must never create something that
nature itself cannot.
Without nothing, you cannot have something. i.e. The “emptiness” of portions of the
garden, defines the elements around it. . This space of Emptiness, is called as ‘ma’. It is
the true Spirit of Yin And Yang.
Zen Ideology of “to have nothing is to have everything” is also widely used.
DESIGN PRINCIPLE - Balance
BALANCE, OR SUMI. i.e. Proportions and spaces creation are an essential Design
principle
DESIGN PRINCIPLE - Formality
The play of Formality in the garden is symbolic based on the topographical variation
found in the Island.
• Hills (shin) is symbolized as Formal Garden

• Ponds (gyo) is symbolized as Intermediate
• Flat land (so) is symbolized as Informal Gardens
Formal styles were most often found at

temples or palaces.
Daitokuji Temple, Kyoto

DESIGN PRINCIPLE - Formality
The intermediate styles were appropriate for residences.
Intermediate Style - Residence
The informal style are now used mostly in

mountain retreats. The tea garden is always
Informal Style – Tea Garden
in the informal style. Ritsurin Koen, Sanbonmatsu
DESIGN PRINCIPLE – Concept of Time and Space - Wabi and Sabi
The concept of wabi and sabi:
Wabi can denote the Spirit of the Place, Event or Object.
Sabi defines time or the ideal image of Place, Event or Object.
For example: A rock can be old and covered with lichens, but if it is just a round boulder
it has no wabi. We must strive to find that balance
The concepts of MA AND WABI/SABI deal with Time and Space. If the garden is our
space, time is ably presented by the changing seasons.
DESIGN PRINCIPLE JAPANESE GARDEN DESIGN IN HISTORY
– Concept of Time and Space
Seasonal Changes through the Gardens of Ryonji Temple

DESIGN PRINCIPLE – Concept of Time and Space
Seasonal Changes
through the Gardens
of Ryonji Temple
DESIGN PRINCIPLE –Hide and Reveal - Miegakure
The fence is a tool to enhance the concept of miegakure, or hide and reveal.
Many of the fence styles offer

only the merest of visual
screens, and will be a
supplemented with screen

planting, offering just the ghostly
hints of the garden behind.
While entering the house to view

the garden we may well
encounter sode-gaki, or sleeve
fences. This fence could screen a
specific view be it a garden or
another house.
DESIGN PRINCIPLE – Hide and Reveal - Miegakure
To view the garden as a

whole, one must enter
it and become one
with the garden.
That way one can truly

appreciate a garden.
One must lose oneself

into the garden until the
essence of time and self
have no meaning
separately.
DESIGN PRINCIPLE – Hide and Reveal - Miegakure
The Miegakure in a philosophical intent, requires the garden to be discovered. Discovery
does not only mean the views and vista in the gardens, but also the hidden meaning of
the different elements in the gardens.
Stroll Garden, Nitobe Japanese Garden, Vancouversun, Canada

DESIGN PRINCIPLE – Borrowed Landscape - Shakkei
Borrowed scenery is the principle of "incorporating background landscape into the
composition of a garden" found in traditional East Asian garden design. The term
"borrowed scenery" is Chinese in origin. It is called as Shakkei in Japanese.
Gardens located at the Zhishan Garden

Garden at Tenryu-ji
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

BASIC ELEMENTS IN JAPANESE GARDENS
• STONE LANTERN represents four natural elements: earth, water, fire and wind
• WATER BASIN Stone water basins, (tsukubai) were originally placed in gardens for
visitors to wash their hands and mouth before the tea ceremony.
• FISH swimming in ponds, have a decorative and philosophical meaning
• GARDEN BRIDGE, called a moon bridge, whose purpose is to reflect artistic
• BAMBOO FENCES
• SEASONAL PLANTS
• MEANDERING PATHWAYS
• ROCKS AND SANDS

BASIC ELEMENTS IN JAPANESE GARDENS GARDEN DESIGN IN HISTORY
STONE LANTERN:
WATER BASIN:
GARDEN BRIDGE:
BAMBOO FENCES:
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.
SEASONAL PLANTS:
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 gardens
to be 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.
PATHWAYS - TOBI-ISHI :
Stepping- 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.

ROCKS AND SAND:
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
ROCKS AND SAND:
FISH:
SCENERY METHODS
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.
TYPES OF JAPANESE GARDENS
1.KARESANSUI GARDENS - DRY GARDENS / ZEN GARDENS
2.TSUKIYAMA GARDENS - HILL GARDEN / STROLL GARDEN
3.CHANIWA GARDENS - TEA GARDENS

TYPES OF JAPANESE GARDENS - KARESANSUI GARDENS - 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.
There is no water present in these gardens. Raked gravel or sand simulates the
essence of water
The rocks/gravel used
are chosen for their
interesting natural
shapes.
Plants in this garden are

of much less importance
(and sometimes
nonexistent)
KARESANSUI GARDENS - DRY GARDENS
Rocks and moss symbolize 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 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.
KARESANSUI GARDENS - DRY GARDENS
RYOAN – JI TEMPLE - KYOTO

Ryoanji, Peaceful Dragon Temple, founded in 1450s, is a built in a Buddhist temple.
The garden measures of 30M long X 10Mwide.
Entrance to the Temple

It is Japan's most famous "hiraniwa" (flat garden void of hills or ponds) and reveals the stunning simplicity and harmony of
the principles of Zen meditation. The temple's name is synonymous with the temple's famous 'Zen garden',
the karesansui (dry landscape) rock garden, thought to have been built in the late 15th century.
The garden is a rectangle of 248 square meters. Young and Young put the size at twenty-five meters by ten meters. Placed
within it are fifteen stones of different sizes, carefully composed in five groups; one group of five stones, two groups of
three, and two groups of two stones. The stones are surrounded by white gravel, which is carefully raked each day by the
monks. The only vegetation in the garden is some moss around the stones.
The garden is meant to be viewed from a seated position on the veranda of the hōjō, the residence of the abbot of the
monastery.
The stones are placed so that the entire composition cannot be seen at once from the veranda. They are also arranged so
that when looking at the garden from any angle (other than from above) 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 wall behind the garden is an important element of the garden. It is made of clay, which has been stained by age with
subtle brown and orange tones. In 1977, the tile roof of the wall was restored with tree bark to its original appearance.
When the garden was rebuilt in 1799, it came up higher than before and a view over the wall to the mountain scenery
behind came about. At present this view is blocked by trees.
KARESANSUI GARDENS - DRY GARDENS – Ryoanji Temple
3
2
1
5
1
5
7
1. Sanded Ground
2. Moss
3. Stone
4. Earth Wall
5. Tile Pavement Ground Floor Plan – Ryoanji Stone Garden
6. Ornamental Gate
7. Verandah
Ryoan-ji (or The Temple of the Peaceful Dragon) is a Zen temple located in northwest
Kyoto, Japan. The temple is one of the Historic Monuments of Ancient Kyoto, a
UNESCO World Heritage Site.
The garden has 15 rocks that are placed

on a wide expanse of land covered with
white gravel.
The rocks are covered with moss, which

adds a green tinge to the whole landscape.
However, even though the rocks are 15,

you will only see 14 of them no matter what
angle you look at it, except at the top
view.
The creator of this masterpiece

strategically placed all 15 rocks so that
people can only see 14 of them.
This is related to Zen Buddhism. In Buddhism,
the number 15 signifies wholeness or
completeness.
In the rock garden, if you can see all 15, it

means you have already attained
enlightenment.
The garden it is one of the most visited places

in Japan for its sheer brilliance and
simplicity.
TYPES OF JAPANESE GARDENS - TSUKIYAMA GARDENS - HILL / STROLL GARDEN
These gardens appeared in Japan during

the Edo Period, (1600-1854), at the villas
of nobles or warlords
They strive to make a smaller garden

appear more spacious.
The gardens use Shakkei-Borrowed

Scenery and Meigkure-Hide & Reveal to
bring the near-by mountains as a part of the Koishikawa Korakuen is a Japanese garden
garden. in Tokyo, Miniature, of Mt. Lu in China
Ponds, streams, hills, stones, trees,

flowers, bridges, and winding paths are
used frequently in this style.
Often existing landscapes are

reproduced on a smaller scale, or an
imaginary landscape is created.
TSUKIYAMA GARDENS - HILL / STROLL GARDEN – Shugaku-in Imperial Villa
Middle Garden
Upper Garden Pond & Waterfall Lower Garden

Katsura Imperial Villa was built in the early Edo Period for Prince Toshhihito (1579-1629) who designed it with Kobori
Enshu, a tea master, and garden designer. A lake (1.25 ha) was dug, hills and islands formed, beaches made, pavillions
built and planting undertaken. There are 16 bridges. The lake could be 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.
First, when you enter the villa, you can see a gate with a thatched roof. It is called Miyuki Mon, or Miyuki Gate. It is a
doorway to welcome and entertain imperial families or important guests. Before reaching it, a low pine tree welcomes
you, called Sumiyoshi no Matsu, or The Pine Tree of Sumiyoshi, because it hides the inner panorama of the gardens.
Second, you can see a teahouse called Shokin Tei, or Shokin Teahouse. In this thatched teahouse, you can imagine how
imperial families or guests enjoyed the beautiful vista of the gardens while drinking a cup of green tea. Today, all of the
fusuma (framed and papered sliding doors) are opened for enjoying the views, so you can look around at four different
elegant panoramas.
Third, walking around the villa past Shokin Teahouse, you reach a kind of hill, where you will find a traditional and simpler
tea house. Its name is Shoka Tei, or Shoka Teahouse. This is also a thatched-style teahouse. One can imagine that tired
travelers climbed up this hill to relax with green tea and enjoy the view from above.
Fourth, you will reach Onrindo, or Onrin Temple. From these photos shown above, you can see that it is not just a
teahouse; i fa t, it used to e a shri e for so eo e s re ai s, ut urre tl o re ai s are e shri ed.
Fifth, you will pass Shoiken. It was also made in a thatched style. In the photo, you see round-shaped papered windows.
They are called koshi mado, or lattice windows.
Finally, you will reach Gepparo. Literally, it means moon-wave-teahouse, and it offers the best view of the harvest moon,
reflected in the pond beside the teahouse. In the photo below, you can see through Gepparo s doors to the other
thatched teahouse, Shokin Tei.
Stone basins were used for hand-washing before a tea ceremony. Katsura was designed not only for meditation (Zen) but
also for ceremonious courtly pleasures.
TYPES OF JAPANESE GARDENS - CHANIWA GARDENS - TEA GARDENS
De eloped for the tea ere o alled ha o yu . Not a ell o posed garde as earlier e a ples, the o je ti e as to
bring about a separation from the outer world and to facilitate entry into another realm. Main focus is the tea garden path
or Roji ea i g de path. Ele e ts ere a oo fe e arou d the garde , a atural sto e asi to ash ha ds, a d
stone lanterns to light the path and basin. They were precursors of the Stroll gardens.
Design of the Tea garden

Koshikake-Machiai (Waiting area in the inner garden)
The koshikake Machiai is an area for guests, who have come from the Yoritsuki (waiting shelter of the outer garden) and
walked down the garden path. Here, they wait for the host to welcome them inside the teahouse. It is usually fitted with
Enza, individual round mats of woven rush, and an ashtray. In colder months, there is often a small heater for guests to warm
their hands.
Roji (Garden path)
The Roji is the garden path that leads to the teahouse and is designed to make it seem like guests are entering a different
world.According to Rikyu, the purpose of stepping stones was "sixty percent for walking, forty percent for decoration," and he
advocated that they be easy to walk upon. To Oribe, for example, it was the opposite, and he stressed their decorative value.
Oribe even liked to use colored stones to give the Roji garden path a showy look.
Tsukubai (Tiny purifying basin) : Before entering the Chashitsu, the guests will ritually purify themself by pouring some water
over their hands with a Hishaku and finally drinking some from the palm of their hand. In most classical Japanese gardens,
temples, and shrines a Tsukubai can be found. The Tsukubai are usually made of stone and water drips from a bamboo pipe.
TYPES OF JAPANESE GARDENS - CHANIWA GARDENS - TEA GARDENS
G
E
H
B
D A. Kikugetsu Villa
C B. Crescent Bridge
C. South Pond
D. South Park
F E. Folkcraft House
A F. Mt. Shiun
G. East Gate
H. North Park
Plan of Tea Garden Ritsurin Koen

CHANIWA GARDENS - TEA GARDENS – Tea Garden at Ritsurin Koen
Sand Garden near Kikugetsu Villa South Pond behind Kikugetsu Villa
Crescent Bridge Bridge behind Kikugetsu Villa

Ritsurin Koen is located in the city of Takamatsu, and covers around 75 ha. Landscaping began in 1642 and is said to
have taken 100 years to complete. There are various bridges, footpaths and small hills which offer a beautiful view of
the garden and the surrounding scenery, most notably Mt. Shiun at the western border of the garden. In the garden
are six ponds and 13 artificial hills called tsukiyama. The garden, set against the backdrop of the mountain Shiun-zan,
is evocative of a Japanese painting. The technique of using scenery such as mountains in the distance in the design of
a garden is known as shakkei. The garden in the southern part of the park is in a purely Japanese style. A small house
known as Kikugetsu-tei used for tea ceremony and located by the pond is known as an arbor for enjoying the beauty
of the full moon in autumn. The garden in the northern part of the park has undergone major restoration and is now a
Western-style garden.
Among the features of the garden are:
• Kikugetsu-tei (Moon Scooping Pavilion): This teahouse located in the southern section of the garden was built in
the early years of the Edo period (around 1640).
• Hakomatsu: Carefully cultivated black pine trees; their branches, twigs, and needles are elaborately trimmed into
geometrical shapes and figures.
• Kikugetsu-tei
• Hiraiho
• Fu ō-ho
• Wild Duck Hunting Moat
• Sai-ko (Western Lake)
• Nan-ko (Southern Lake)
The many ponds and streams are full of koi and the pond at the Tea House has benches where visitors may sit and
feed the fish from breadsticks purchased at the Tea House.
Ninnaji Temple Garden Kyoto.

MUGHAL GARDENS OF INDIA

INTRODUCTION
MUGHAL EMPIRE : 1526 – 1750
EMPERORS : Babur, Humayun, Akbar, Jahangir,
Shah Jahan, Aurangazeb
The Persian influence is prominent in the

Architecture and Landscape.Design
Persian Background
Persian concept of garden includes:
• “ Paradise garden”
• 4 water channels divides the garden into
4 quarters, Char-bagh structure
• Muslim Art – geometric, based on
calculations.
Indian background: The basic quadripartite structure of
• Hindu art – organic, rhythm of nature & a Persian Garden with the Water
humanity; complex & diverse. Feature in the Centre
• Fusion - Indo Islamic themes
PHILOSPPHY:
The garden in Islamic Style of architecture is not just another feature it has a well-
defined meaning and it symbolizes the spirituality.
According to the holy Koran, A GARDEN IS SYMBOLIC OF PARADISE.
Islam being a religion that was founded in the region of Arabia always gave value to the
vision of a lush green, well laid out, and watered garden and in due course came to
symbolize these gardens.
In Islam, it is believed that there are four rivers in paradise,

• Water,
• Milk,
• Wine, And
• Honey.
From this concept the Char Bagh Style of garden planning took root
EXPRESSION OF GARDEN
The Mughal Gardens in India were expressed
as either Pleasure Gardens & Tomb
Gardens.
The examples of these are found at Agra,
Delhi & Kashmir
Symbolism was expressed basically in the

Pleasure Garden – Nishant, Kashmir
relationship of circle, octagon and square.
Pleasure Garden – Rashtrapati Bhavan,

Delhi Tomb Garden – I’timad ud dulha, Agra
SYMBOLISM IN GARDEN
• The Garden attempts to emulate Eden, with 4

Rivers and 4 Quadrants that represent The World.
• Intersection of channels symbolizes meeting of god

& man
• The conception of the Border Landscape was both

Original and on also on Grand Scale
Water Feature - Humayun’s Tomb

MUGHAL GARDENS IN INDIA
PLEASURE GARDENS
• Shalimar Bagh, Kashmir
• Nishat Bagh, Kashmir
TOMB GARDENS
• Humayun’s Tomb, Delhi,
• Taj Mahal, Agra

COMMON FEATURE OF MUGHAL GARDEN:
• Straight tile-lined channels of water

• Bubbling fountains
• Trees for shade and fruit
• A Pavilion or gazebo
• Strong emphasis on flowers in beds.
DESIGN CRITERIA
SITING & RELATIONSHIP:
• Great importance were given to Location of Site.
• Visual Impact influenced the spatial organization.
• According to the context, Gardens were planned as extroverted space drawing

in the surrounding landscape - Borrowed Landscape.
• Geographic “Edge” were exploited & enhanced

DESIGN CRITERIA
FUNCTION:
• Private gardens of pleasure.
• Users: Emperor, his family & nobles.
• Function: Recreation, Pleasure & Social Gathering.
• Spatial Organization: No defined function for spaces – flexible.

DESIGN CRITERIA
SPATIAL ORGANIZATION:
• Walled garden.
• Organized on a grid of rectilinear geometry.
• Dominant axial alignment.
• Visual axis links 2 natural elements – Lake & Mountain range.

DESIGN CRITERIA
SCALE:
• Garden are in Human Scale.
• No Built Components dominates the garden – they are in subtle relationship

and Harmonious Relationship.
• Change of level s gives containment.

DESIGN CRITERIA
WATER:
• Water used as strong Unifying Element,
• Water channel divides the garden into 4 major directions.
• Potential of water is understood & exploited in various forms - canals, water

falls, chutes, fountains, tanks/ ponds.
• Pavilion with throne set in the centre of a tank surrounded by spouting jets of
water.
• Functionally the water is used to cool the surrounds
• “ Form & Quality of Water itself” is a profound concept..

DESIGN CRITERIA
WATER:
• Chadhar - slab with intricate carving on which water is

made to run over, creating ripples - gives form to water.
• Chinni kana - small niches behind the falling water.

Lamps were placed during evening.
• Pleasure to Senses were through:

• Sounds of varied quality,
• Sprays from fountains;
• Foam at foot of chadhar,
• Ripples & glitter of swift flowing water.
DESIGN CRITERIA
VEGETATION:
•Vegetation used as a very Subtle Element.
•Function: Aesthetic & Utilitarian Purpose.
•Planting done as Clumps, Avenues, Edges, Beds, etc..

DESIGN CRITERIA
SYMBOLISM :
• Square: material things.
• Circle: eternity.
• Octagon: Evolved from circle.
• Vegetation: immortality & renewal of life.
• Water: symbol of life.

TOMB GARDEN – TAJ MAHAL, Agra
Taj Complex occupies a Total Area of 580
Introduction : m by 300 m, the Taj Garden alone covers
300 m by 300 m.
From the Entrance gateway, a sprawling
garden is viewed in front till the plinth of the The guiding principle in creating this
Taj. garden is of Symmetry
The Taj Garden covers most part of the Taj

Complex.
TOMB GARDEN – TAJ MAHAL, Agra GARDEN DESIGN IN HISTORY
The channels were stocked with colorful
The char bagh, separated by the
fish and the gardens with beautiful
watercourses originating from the A.
birds. Royal guests were invited to the
Central, raised pool, were divided into B.
tomb - so the stables and guesthouses
16 flowerbeds,
were also built.
There were 400 plants in each bed.

The garden today is only peaceful region in
All the trees, either cypress (signifying
the entire complex and the best for framing
death) and fruit trees (signifying life)
photos of the tomb with foliage.
were planted to maintain symmetry.
B B
B B
The Taj Mahal Complex can be most 3. The Char Bagh garden Gardens.
conveniently divided into 5 sections.
4. The Jilau Khana containing
1. The 'Moonlight Garden'. accommodation for the tomb attendants
and two subsidiary tombs.
2. The Terrace Area , containing the
mausoleum, mosque and jawab . 5. The Taj Ganji, was originally a bazaar
N
Moonlight Garden:
Taj Gardens:
Taj Gardens:
PLEASURE GARDEN – SHALIMAR BAGH, Kashmir
Introduction :
• Shalimar Bagh was built in 1642 by Shah Jahan

• The garden occupies 12.4 Hectare( 31 Acres), 587M x 251M.
• The Garden has 3 Terraces, a central water canal.
• These gardens lacked high walls as found in the rest of the country.
• A central channel runs axially through the central of the garden from the
highest point to the lowest point.
• The central channel is called as the Shah Nahar which feeds the 3 terraced
gardens..
• There are 3 Terraced Garden, with Fountains and Chinar lined Vistas.
• The garden was linked to the Open Dal lake through a 1.6Km long and 11M
wide Channel.
PLEASURE GARDEN – SHALIMAR BAGH, Kashmir GARDEN DESIGN IN HISTORY
Beginning at the Top Of The Garden, the 3

canal runs through each of the Baradaris
(pavilions) in the garden.
At each terrace, the canal flows into a

Larger Pool, highlighting its baradari.
Within the Shalimar Bagh, each of the

three terraces had a different function and
level of privacy:
1. A Public Garden (First Terrace),
2. A Private Garden, also called the
Emperor's Garden (second 2
terrace) and
3. The Zenana (harem) garden, on
the third terrace
1
The Shalimar Bagh is well known for

Chini Khanas, 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.
“Success of Mughal garden is that it has transcended time boundary and fits well
even in today's context and looks the same way as 400 years back”
ITALIAN RENAISSANCE
GARDENS
• Evolved from the Cloister gardens of the
middle ages, but were inspired by and
Background
followed the great roman gardens and
Villas like Hadria s Villa.
• Also inspired by writings of Pliny the
younger, which contained descriptions of
his villas in Pompeii and Laurentium
Location and Time period
• Concentrated mainly in the
farms of the hillsides of
Florence, Tivoli, Bagnaia
and other northern towns
of Italy.
• Historical period- 14th -16th
Cent. Initially Rennaissance,
followed by Baroque and
declined after that.
Types
• Predominant form of the garden type was the country
villa purely designed for pleasure.
• A far e tre for the padro e to li e i he sto k
taking – the garden here is still subsidiary to the farm.
• Semi town garden – Having a simple vista directly from
street, through the courtyard and out into the small
formal garden beyond.
Composition of the garden
• Formed a suite of garden
reception rooms, spreading from a
central court to theatre and
loggias and beyond to terrace on
terrace of gardens.
• The Actual living rooms were
negligible.
Siting and Surroundings
• The Villas and gardens maintained
a strong connection with the
surrounding countryside.
• The garden design was
sympathetic to the country in
which they were designed.
• The garden was considered a part
of the house and vice versa.
• The garden was the mutual
ground in which the house and
the surrounding nature met.
• The scale of both the house/villa
and the garden varied from
intimate to very large.
• The nature of countryside varied
from flat uninspiring plains to
steep hillsides.
Design principles
• The lines of the garden
should grow less defined as
they left the house, like
water ripples spreading
from the centre to die
gradually into their
surroundings – lines always
formal(defined) and less
and less emphasized.
• The garden should merge
not into, but from its
surroundings – The excited
stream of Garden pours
from the woods, down the
Hillside, and floods into the
calm formality in the square
water garden below.
Character of the Garden
• Varied with the patron.
Some had the character
of a dignified room. Eg.-
Villa Piccolomini at
Frascati.
• Or could be dramatic
with all surprises and
allusions. Eg.- Villa
Gamberia
Response to Surroundings
• When the view was
uninteresting – the garden
was shut by walls and lively
scene was introduced within
by frescoes – Villa Corsi-
Salviati at sesto.
• When the view was very
good, the garden itself was
reduced in proportion to the
nature outside – Villa
Mondragone at Frascati,
only a terrace seperates the
house from the unrestrained
splendour of the view.
Climatic Response
• Strong sunlight and relatively hot summers.
• Led to avoidance of flowers and lawns .
• More of shade, a sense of coolness – led to use of
evergreens, stonework and water.
Colour in garden
• So glaring is the light in Italy, that the bright colours
of flowers are not greatly missed.
• Soft cool tones mostly grey and greens are more
prevalent in response to this glare.
• However sometimes relief was brought by the
colouring of the house itself in bright colours.
Planting and Shade
• Hardwoods and evergreen trees dominated, especially
in Boscos.
• Boscos –wooded areas which surrounded the garden enclosure and
acted as buffers. Also symbolized the sacred woods and gardens of
earlier Rome.
• Cypresses were used for avenues

• Ilex, beech hedges were also used for their shade value
Elements of Gardens –
Avenues and Vistas
• Generally originated from or
culminated in the house, but can
also lead to a primary feature or
climax- which could be a fountain or
grotto.
• Accentuated by planting, these
avenues carry the eye over
practically unlimited distance of
otherwise natural land.
Avenues and Vistas
• The dramatic qualities of a View was consiously accentuated

• For ex. In the vista from the house at valanzibio, the effect of distance is obtained by a gradual
closing in of the elements.
• At other instances, perspectives were falsified for dramatic effects.

• The cunning widening of the cascade towards the top gives the effect of added distance
from above and from below exaggerates the steepness and violence by bringing the top
very much nearer
Gardino segreto
• The secret garden is found in
every garden, where there is
the slightest hint of
entertaining.
• Not so much for secrecy, as
for seclusion and
unexpectedness/ surprise –
also meant a smaller relative
scale.
• Meant more for the use of
patron themselves, a place to
unwind.
Sculpture
• Italian Gardens were incomplete without sculpture.
• Infact the notion that a garden was a setting in which white marble
figures should be seen against dark green foliage or framed by
architectural niches within building facades and garden walls was
fixed firmly in the mind of all padrons.
• The theme was mythological, certain heroes and

themes were chosen to symbolize the patron and his
benevolence.
Steps and Staircases
• The ascent was gloriously celebrated
in Italian gardens.
• There were often multiple sets of
steps. The most common was the
double diagonal steps.
• Some of these had water and
became water steps
• Some had at times a concealed
element like a torrent of water,
unexpectedly drenching the viewer.
Water
• Water was everywhere in the Italian gardens.
• I Villa d este, Ti oli the e tire garde is a o plete ater garde
spectacle.
• Present as fountains ( ade possible by fou ta ieri -

hydraulic engineers with reputation akin to magicians
because of the ingenuity of their creations) ,
Reflecting pools, Basins and small ponds.
Parterre
• A pattern woven on ground with low level
shrubs primarily green in colour.
• Meant to be viewed from above.
• Were sometimes very intricate and formal.
Villa Medici, Fiesole
Giordino secreto- Secret Garden
Villa Giulia
Villa D’ Este, Tivoli
Water Features
Villa Lanta, Bagnaia

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UNIT III GARDEN DESIGN

Landscape and garden design in history - Japanese, Italian Renaissance

“Art is a continuous process, however new circumstances may be it is virtually

All design therefore derives from impressions of the past, conscious or

Pre 1600 Enclosed Style

1600 1700 1790 1900 Picturesque Style

The history of gardening extends

Egyptian tomb paintings of the

Another ancient gardening tradition is

The formal Garden à la française,

Spanish Public Gardens

The first public parks were built by the

Embellished farms Poetic

THE CENTRAL CIVILIZATION

THE EASTERN CIVILIZATION

THE WESTERN CIVILIZATION

The line between garden and its

Gardens incorporate natural and artificial

In the Japanese garden, the viewer should

Nature is the ideal. Gardens must strive to achieve it.

• Hills (shin) is symbolized as Formal Garden

Formal styles were most often found at

Daitokuji Temple, Kyoto

Intermediate Style - Residence

The informal style are now used mostly in

Wabi can denote the Spirit of the Place, Event or Object.

Sabi defines time or the ideal image of Place, Event or Object.

Seasonal Changes through the Gardens of Ryonji Temple

Many of the fence styles offer

screens, and will be a

supplemented with screen

While entering the house to view

To view the garden as a

That way one can truly

One must lose oneself

Stroll Garden, Nitobe Japanese Garden, Vancouversun, Canada

Gardens located at the Zhishan Garden

• 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'

• 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

• FISH swimming in ponds, have a decorative and philosophical meaning

• GARDEN BRIDGE, called a moon bridge, whose purpose is to reflect artistic

• ROCKS AND SANDS

Stepping- stones are found near the

stone before entering.

Stones are fundamental elements of Japanese gardens.

Used to construct the garden's paths, bridges, and walkways.

The second technique called symbolization and it involves generalization and

1.KARESANSUI GARDENS - DRY GARDENS / ZEN GARDENS

2.TSUKIYAMA GARDENS - HILL GARDEN / STROLL GARDEN

3.CHANIWA GARDENS - TEA 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.

Plants in this garden are