Verdant Home: Growing Elements of Architecture

<p>‘Verdant Home’ explores how the design of residential architecture can evoke the senses through the integration of the garden with the house. This research challenges the use of New Zealand native and exotic plant species as merely an addition to architecture; instead creating stimulating and efficacious verdant elements (components) as part of the architecture. Two concerns provoked investigations into this subject. Firstly, a concern for the gradually occurring loss of vegetation amongst city residences, and secondly a concern for the way in which green elements are often added to buildings, without consideration of how they could sensually transform and improve the aesthetics of space and context. The final refined solution addresses these concerns by incorporating verdant components in an advantageous way, creating a new typology of residential home for New Zealand. Modern architectural technologies allow conventionally separate garden spaces to be integrated with building forms, removing the need for separate garden spaces. These technologies provide humans with the positive environmental benefits of plants within interior spaces. This thesis builds on these benefits, providing ideas for enhancing spatial experiences within the home by merging programmatic use with the pleasurable qualities of gardens. Presented at the outset of the thesis is evidence supporting the physical and mental benefits of everyday human contact with nature. The pursuit for a way in which architecture can encompass verdant elements as integral components of the home is explored through a review of garden history and theory. This review provides specific inspiration for the creation of splendid spaces, spaces which manipulate dimension and materials, sensually practical spaces and statement spaces in the design of a residential home. Following this, buildings from various time periods and locations which innovatively incorporate vegetation are evaluated. An analysis of the New Zealand architectural context and its relationship to gardens is then completed, leading to designs which incorporate all of this research. This thesis challenges the current use of verdant elements such as: living walls, roofs and facades. Whilst these are beneficial technologies, there is potential for them to have an increased atmospheric effect on the spaces they are part of. New aesthetic possibilities are focused on through the designs, which utilise principles of historical garden design typologies to sensually integrate verdant technologies. This results in the creation of aesthetically engaging verdant home solutions.</p>

Verdant Home: Growing Elements of Architecture

<p>‘Verdant Home’ explores how the design of residential architecture can evoke the senses through the integration of the garden with the house. This research challenges the use of New Zealand native and exotic plant species as merely an addition to architecture; instead creating stimulating and efficacious verdant elements (components) as part of the architecture. Two concerns provoked investigations into this subject. Firstly, a concern for the gradually occurring loss of vegetation amongst city residences, and secondly a concern for the way in which green elements are often added to buildings, without consideration of how they could sensually transform and improve the aesthetics of space and context. The final refined solution addresses these concerns by incorporating verdant components in an advantageous way, creating a new typology of residential home for New Zealand. Modern architectural technologies allow conventionally separate garden spaces to be integrated with building forms, removing the need for separate garden spaces. These technologies provide humans with the positive environmental benefits of plants within interior spaces. This thesis builds on these benefits, providing ideas for enhancing spatial experiences within the home by merging programmatic use with the pleasurable qualities of gardens. Presented at the outset of the thesis is evidence supporting the physical and mental benefits of everyday human contact with nature. The pursuit for a way in which architecture can encompass verdant elements as integral components of the home is explored through a review of garden history and theory. This review provides specific inspiration for the creation of splendid spaces, spaces which manipulate dimension and materials, sensually practical spaces and statement spaces in the design of a residential home. Following this, buildings from various time periods and locations which innovatively incorporate vegetation are evaluated. An analysis of the New Zealand architectural context and its relationship to gardens is then completed, leading to designs which incorporate all of this research. This thesis challenges the current use of verdant elements such as: living walls, roofs and facades. Whilst these are beneficial technologies, there is potential for them to have an increased atmospheric effect on the spaces they are part of. New aesthetic possibilities are focused on through the designs, which utilise principles of historical garden design typologies to sensually integrate verdant technologies. This results in the creation of aesthetically engaging verdant home solutions.</p>

Chinese pavilions in the early landscape gardens of Europe

The image of China perceived by the Europeans in the 17th to 18th century was based on the travelogues of the travellers and missionaries. Despite the fact that the first descriptions did not include any pictures of the world, people and landscapes described, the far exotic country with its history and tangible heritage became very popular. This article deals with Chinese pavilions (pagodas, teahouses) built in the early European landscape gardens before 1750 without any architectural plans, using only sketches based on descriptions and travelogues, since in the first half of the 18th century, no relevant technical guidance was available yet. The structures reviewed started to be used frequently in European gardens and public parks from 1750’s, having an inevitable influence on the garden pavilions built from the second half of the 18th century, and indirectly to the image and character of some influential gardens in European context. Moreover, through their craggy appearance, the Chinese pavilions – as eye catchers – played an accentuated compositional and spatial role too in the European garden history.

Vasyl Kapustyan (1942–2020) of blessed memory

The article represents the scientific achievements and work of a Ukrainian botanist, candidate of agricultural sciences, director of the O.V. Fomin Botanical Garden (1987–2006, 2008–2012), Vasyl Kapustyan, who died on August 19, 2020, after a long illness.Vasyl Kapustyan was born on July 24, 1942. In 1965 he graduated from the Ukrainian Agricultural Academy, and in 1972 received the degree of candidate of agricultural sciences. Since 1974, the work of Vasyl Kapustyan was associated with the O.V. Fomin Botanical Garden, where he served in 1975–1987 as deputy director and head of the sector of tropical and subtropical plants, in 1987–1997 – as director and head of the sector of tropical and subtropical plants, and from 1997 – exclusively as director of the Botanical Garden.The scientific work of Vasyl Kapustyan was related to the introduction of tropical and subtropical plants, their conservation, and rational use. He was the author of over 80 scientific articles and monographs, the last of which was dedicated to the 180th anniversary of the botanical garden. Since the founding of the series “Introduction and Conservation of Plant Diversity” of the “Bulletin of the Taras Shevchenko National University of Kyiv”, Vasyl Kapustyan was its editor-in-chief. He was also a member of the Academic Councils of Kyiv University and Faculty of Biology, chairman of the Academic Council of the Botanical Garden, a member of the Bureau of the Council of Botanical Gardens of Ukraine, and a member of the editorial board of the international scientific journal “Plant Introduction”. He was the founder and scientific director of the Museum of the Botanical Garden History, which opened in 2004.

Marigolds Not Manufacturing

This chapter considers the printed plant catalogues of eighteenth-century Birmingham nurseryman, John Brunton. More than lists of plants for the horticulturally acquisitive, their pages reflect the exploration, colonisation and commercialisation that brought a flood of new plants into Britain from around the world. Approached as cultural and material objects, the catalogues draw attention to the fruitful connection to be made between garden history and printing history and culture. This exploration illuminates new aspects of Birmingham’s society and culture in the eighteenth century that challenge our perception of a town more readily noted for its manufacturing than its marigolds.

Late Renaissance Garden Art in the Carpathian Basin

The aim of the article was to find, scientifically define and locate the most frequent occurrences of the Late Renaissance garden units of the Carpathian Basin. This article - as partial result of a research work entitled "Castle Garden Inventory in the Carpathian Basin" and conducted by teachers and students of the Faculty of Landscape Architecture and Urbanism of Szent István University, Budapest - aims to identify through historical research, on-site visits and assessments the current status of 148 Late Renaissance residency gardens located in seven different countries of the Carpathian Basin (Austria, Hungary, Slovakia, Ukraine, Romania, Croatia and Slovenia). Based on the archival and literary sources as well as the field studies carried out, we defined the spatial distribution of Late Renaissance residential gardens, we delineated six very characteristic Late Renaissance garden units and we defined the most typical Late Renaissance garden features for the region. At the same time, we explored and documented still existing values of garden history at some locations from the Renaissance era.

Perspective: The History and Afterlife of Darwin’s Childhood Garden

This article examines the history and significance of Charles Darwin’s childhood garden at The Mount in Shrewsbury. Unlike the mature Darwin’s garden at Down House, Kent, his childhood garden at The Mount has only recently begun to be restored and it is not well known outside of local or specialist circles. The first part of the article aims to recover the story of the garden for a wider interdisciplinary readership. It builds upon research in the fields of garden history and biography to make a case for the garden’s importance to Darwin’s life and scientific work while also revealing the site’s afterlife as a lost garden and challenging restoration project. The second part of the article argues that the garden can be viewed as an enchanted space that enables us to connect more closely with a positive vision of a romantic, ecologically conscious Darwin who is of particular relevance to our times. I conclude by briefly outlining how these ideas were tested at the Darwin’s Childhood Garden Study Day, organized with Shropshire Wildlife Trust in 2016 following its purchase of part of the site in 2013.

LATE STAGE IN THE WORK OF THE ENGLISH GARDEN MASTER D. JELLICO ON THE EXAMPLE OF COMPLEX GARDENING MANOR HOUSE SUTTON PLACE

В английском садоводстве конца XX века находим немало образно ярких и новаторских по своим композиционным приемам решений, наглядно демонстрирующих необычайное разнообразие художественных подходов.В статье рассматривается творчество одного из крупнейших мастеров садово-паркового искусства Англии в контексте пришедшейся на 1980-е годы реконструкции зеленого убранства в усадьбе Саттон-Плейс, упоминающейся с начала XVI века и обладающей богатой садовой историей. Неоднократные преобразования в застройке и озеленении на ее территории происходили на всем протяжении XVI–XIX веков. Да и к концу XX века в Саттон-плейс назрела необходимость в очередной «зеленой реконструкции». В результате был создан целый ряд совершенно уникальных садовых композиций, знаменовавших собой высшие достижения послевоенного садово-паркового искусства Англии.Актуальность предлагаемой статьи обусловлена прежде всего отсутствием в специальной литературе именно детального рассмотрения заявленной темы. In English gardening at the end of the XX century we find many imaginative and innovative solutions that demonstrate an extraordinary variety of artistic approaches.The article examines the work of one of the largest masters of landscape art in England in the context of the reconstruction of greenery decoration in the Sutton Place estate, which was mentioned from the beginning of the XVI century and has a rich garden history. Repeated changes in development and landscaping on its territory took place throughout the XVI–XIX centuries. By the end of the XX century there was a need for another «green reconstruction» in Sutton place. As a result, a number of completely unique garden compositions were created, marking the highest achievements of post-war landscape art in England.The relevance of the proposed article is primarily due to the lack of a detailed review of the stated topic in the special literature.