Dissertationen zum Thema „Gardons“

Sécheresse, pénurie d’eau douce, pollution des aquifères, la crise de l’eau est mondiale et entraîne dans son sillage des crises systémiques (écologiques, alimentaires, sanitaires, militaires, etc). Ce qui se joue avec le récent dépassement de la limite planétaire du cycle de l’eau douce, c’est la concrétisation du réapprentissage de la finitude du monde, et, en miroir, le réapprentissage de la finitude humaine. Parmi les déplacements épistémologiques que supposent ce bouleversement des cycles sociohydrologiques, nous supposons que l’habiter permet de repenser et de requestionner les interdépendances, les solidarités et les vulnérabilités entre les humains et les non humains. Le postulat d’une imbrication sociohydrologique constitutive de notre manière d’habiter et de son évolution, fait consensus. Pour autant, la multiplication des méthodes et des outils servant à rendre compte, à quantifier, à mesurer, à modéliser les rapports entre eaux et activités humaines, laisse à penser que la question méthodologique sur la façon de rendre compte du rôle de l’eau dans ces évolutions ne va pas de soi.Comment rendre manifeste le rôle de l’eau dans l’évolution de nos manières d’habiter ? Cette question prend acte de l’agencéité de l’eau tout en replaçant l’habiter au coeur de la reconfiguration des rapports au monde face aux crises sociohydrologiques actuelles et à venir. Dans l’héritage de l’architecture du care, ce travail de recherche s’articule autour de quatre questionnements méthodologiques structurants, pour fournir aux chercheurs des outils permettant de comprendre les évolutions des interactions sociohydrologiques :- Pourquoi rendre manifeste le rôle de l’eau dans l’évolution des manières d’habiter ?- Sur quoi nous basons-nous et qui sommes-nous pour le rendre ainsi manifeste ?- D’où rendre le rendre manifeste ?- Et enfin qu’est-ce qui le rend manifeste ?Ce travail de recherche se concentre sur le haut bassin versant des Gardons, en Cévennes, qui constitue à la fois un terrain d’étude, un laboratoire et un refuge. Il explore les liens entre les vulnérabilités architecturales actuelles et les trajectoires sociohydrologiques, en mettant en évidence l'impact de l'eau sur nos manières d'habiter et en proposant une approche « extra » disciplinaire pour anticiper les défis futurs.Nous explorons la question des référentiels que les scientifiques utilisent et l’environnement dans lequel ils évoluent, en mettant en perspectives différentes approches épistémologiques. L’étude met en lumière les limites de l’interdisciplinarité et l’importance de la positionnalité du chercheur, tout en introduisant la démarche « pensée-dessin » présenté comme un outil innovant au coeur de l’exploration des liens entre Art et Science, tout à la fois, manifestation de la recherche en train de se faire, objet frontière entre modélisations disciplinaires et support de dialogue transdisciplinaire. En se recentrant sur le terrain d’étude, ce travail explore les enjeux locaux de l’eau et interroge les référentiels les plus pertinents pour rendre compte du rôle de l’eau dans l’évolution des manières d’habiter. Ainsi grâce à une approche méthodologique expérimentale, réflexive et inductive, combinant des perspectives spatiales, temporelles, hydrologiques, géologiques, sociales, architecturales et graphiques, afin de questionner les trajectoires sociohydrologiques sous l'angle du « habiter avec l'eau », nous atterrissons à Saint-Germain-de-Calberte. La dernière partie du manuscrit explore le rôle de l'eau dans l'évolution des manières d'habiter en combinant expériences qualitatives et quantitatives, en s'appuyant sur des approches phénoménologiques, historiques et créatives, et en intégrant les savoirs locaux pour susciter une réflexion sereine sur les enjeux sociohydrologiques
Drought, freshwater shortages, pollution of aquifers: the water crisis is a global one, bringing in its wake systemic crises (ecological, food, health, military, etc.). What is at stake with the recent overshooting of the planetary limit of the freshwater cycle is the realization of the re-learning of the finitude of the world, and, in mirror image, the re-learning of human finitude. Among the epistemological shifts implied by this upheaval of sociohydrological cycles, we assume that inhabiting enables us to rethink and requestion interdependencies, solidarities and vulnerabilities between humans and non-humans. The postulate of a sociohydrological imbrication constitutive of our way of inhabiting and its evolution, is a matter of consensus. However, the proliferation of methods and tools used to account for, quantify, measure and model the relationship between water and human activities suggests that the methodological question of how to account for the role of water in these evolutions is not self-evident.How can we make clear the role of water in the evolution of our ways of living? This question takes note of water's agency, while placing inhabitation at the heart of the reconfiguration of our relationship to the world in the face of current and future socio-hydrological crises. In line with the legacy of the architecture of care, this research is structured around four methodological questions, to provide researchers with the tools to understand the evolution of socio-hydrological interactions:- Why manifest the role of water in the evolution of ways of living?- What are we relying on, and who are we, to make this manifest?- Where do we make it manifest from?- And finally, what makes it manifest?This research project focuses on the upper Gardons watershed in the Cévennes, which is at once a field of study, a laboratory and a refuge. It explores the links between current architectural vulnerabilities and socio-hydrological trajectories, highlighting the impact of water on our ways of living and proposing an “extra” disciplinary approach to anticipate future challenges.We explore the question of the frames of reference that scientists use and the environment in which they evolve, putting different epitemological approaches into perspective. The study highlights the limits of interdisciplinarity and the importance of the researcher's positionality, while introducing the “thought-drawing” approach presented as an innovative tool at the heart of the exploration of the links between Art and Science, at once a manifestation of research in the making, a boundary object between disciplinary modelling and a medium for transdisciplinary dialogue. By refocusing on the field of study, this work explores local water issues and questions the most relevant frames of reference to account for the role of water in the evolution of ways of living. Thus, thanks to an experimental, reflexive and inductive methodological approach, combining spatial, temporal, hydrological, geological, social, architectural and graphic perspectives, in order to question socio-hydrological trajectories from the angle of “living with water”, we land in Saint-Germain-de-Calberte. The final part of the manuscript explores the role of water in the evolution of ways of living, combining qualitative and quantitative experiments, drawing on phenomenological, historical and creative approaches, and integrating local knowledge to provoke dispassionate reflection on socio-hydrological issues

L'objectif général de cette thèse est de mieux comprendre l'influence d'anciens sites miniers sur la contamination en métaux (Cd, Hg, Tl, Pb, Zn) et métalloïdes (As, Sb) de l'hydrosystème aval. Une attention particulière a été portée à l'antimoine (Sb), dont le comportement dans les cours d'eau contaminés par les drainages miniers reste mal connu et dont la signature isotopique pourrait permettre de tracer différentes sources et processus. Le site d'étude est le bassin des Gardons dans le Gard ; ce cours d'eau Cévenol draine de nombreux sites miniers abandonnés (Pb, Zn, Sb, charbon). L'enrichissement en métaux et métalloïdes a été étudié dans les sédiments actuels et anciens du bassin des Gardons. Un historique de la contamination métallique a été reconstitué à l'aide d'une archive sédimentaire. Les sources prépondérantes de métaux et métalloïdes dans les sédiments ont été déterminées ainsi que la mobilité potentielle de ces éléments vers la phase aqueuse. En complément, les variations de concentrations en métaux et métalloïdes dans les phases dissoute et particulaire ont été étudiées lors d'un épisode de crue grâce à un échantillonnage à haute résolution temporelle. Dans leur ensemble, les résultats montrent que les anciennes mines du bassin des Gardons contribuent à l'enrichissement en métaux et métalloïdes du cours d'eau aval, particulièrement en période de crue. Plus spécifiquement, le comportement de l'antimoine a été étudié dans un affluent du Gardon impacté par du drainage minier acide en aval de l'ancienne mine de Carnoulès et la composition isotopique de l'antimoine a été déterminée dans des eaux prélevées sur le bassin des Gardons et de l'Orb amont, après mise au point d'un protocole de purification/pré-concentration de Sb. Les résultats mettent en évidence le potentiel des isotopes de l'antimoine pour tracer l'origine de cet élément et les processus qu'il subit au cours de son transfert dans les cours d'eau impactés par du drainage de mine
The overall objective of this thesis was to improve understanding of the influence of former mining sites on metal (Cd, Hg, Tl, Pb, Zn) and metalloid (As, Sb) contamination of the downstream hydrosystem. A special care was given to antimony (Sb), its behavior in mining-impacted streams remains poorly known and its isotopic signature could be usefull to track sources and processes. The study site is the Gardon River watershed in the south-east of France which drains many abandoned mining sites (Pb, Zn, Sb, coal). Metal and metalloid enrichment was studied in current and historical sediments of the Gardon River watershed. A sedimentary archive was used to investigate past metal contamination history. The prevailing metal and metalloid sources in sediments were determined together with the potential mobility of these elements toward the aqueous phase. In addition, dissolved and particulate metal and metalloid concentration variations were studied during a flood event using a high temporal resolution sampling. Altogether, the results suggest that former mining sites of the Gardon River watershed contribute to metal and metalloid enrichment of the downstream hydrosystem, especially during floods. More specifically, antimony behavior was investigated in a tributary of the Gardon River which is impacted by acid mine drainage originating from the disused Carnoulès mine and antimony isotopic composition was determined in waters collected in the Gardon River watershed and in the Upper Orb River after developing a protocol for preconcentrating and purifying Sb. The results highlight the potential of antimony isotopes to track the origin of this element and the processes that it undergoes during its transfer in streams impacted by mine drainage

Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xii, 208 p.; also includes graphics (some col.). Includes bibliographical references (p. 148-163). Available online via OhioLINK's ETD Center

The pavilion structure has been an integral part of Persianate gardens since its earliest appearance at the Achaemenid garden in Pasargadae (sixth century BC). Despite its significance, the scholarly focus on the study of gardens has somewhat sidelined the study of the pavilions and even neglected the cultural context of the development of the pavilions. The pavilion as a theme appears after the maturation of the concept of paradise as a garden in Near Eastern mythological and religious texts. The Quran is the first known text that integrated the two concepts of pavilion and garden in the imaginary paradise. Later, Persian poetry defines specific relationships between human beings, pavilions, and gardens while stressing the psychological and material values of pavilions and gardens. Three types of resources were consulted to reconstruct the image of pavilion: literary documents (including mythology and poetry), different types of art (ranging from painting to carpets), and historical accounts. Referring to these allows us to explore the diversity of the pavilion's image in each medium and its degree of correspondence to reality. This dissertation explores the diversity of the pavilion (tent, kiosk, or building), its spatial, formal, and functional relationship with gardens as a flexible entity, and its cultural use. The historical accounts discussed in this dissertation prove the existence of buildings in gardens, the common use of tents as temporary residences, gender specificity of pavilions, and the multi-functionality of gardens for encampments, administrative affairs, and pilgrimages. The pavilion as building is well documented in both visual and literary media. While poetry draws a clear boundary between the garden and building as separate entities, painting merges or separates the building and garden (as courtyard or planted area) physically, formally, and symbolically. The building in poetry is usually associated with the materialistic world, whereas the garden is often associated with the ideal world. This is, to some extent, visible in paintings in which the geometrical design of the building and the courtyard acts as a reference to the material world. The frequent reference to iwan as a consistent design element in painting and travelers' accounts proves its significance as an intermediate space between inside and outside the pavilion as a building. Tents in gardens appear less frequently in poetry and painting than they do in textual sources. On the other hand, historical documents rarely point to kiosks or semi-open spaces in gardens, whereas kiosks are widely developed in paintings. The examination of paintings also reveals formal and functional similarities between the throne and kiosk. The kiosk appears in close physical and visual contact with natural components of gardens, and even serves as a connector between the garden and building. The pavilion as a kiosk is, however, to a large extent absent in poetry and historical documents probably due to the dominant interest in buildings. This research proves the dominant cultural view on the functional flexibility of Persianate gardens between the 14th and 18th centuries in using pavilion structures varying in form, function, and scale.

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Once you have the basics of gardening down, it'?s fun to be creative! Many parts of your classroom curriculum can be incorporated in gardening. You can plant Butterfly Gardens, Bat Gardens, Pizza Gardens, Salsa Gardens, Dinosaur Gardens or build Sunflower Houses with your younger students. A simple idea like an ABC garden with a plant to match each letter can make learning the alphabet a bit more interesting when you break up the day by visiting your garden. It'?s an ideal situation for an older class to organize for the younger children in the school.

Current food production methods in the United States contribute to environmental degradation as well as food insecurity. Food production by means of community gardens has the potential to reduce the deleterious effects of current production methods. However, many community gardens face challenges that hinder their longevity, thereby reducing the likelihood of the support they might provide for environmentally sustainable food production and decreased food insecurity for community members. A behavioral systems science approach was combined with ethnographic research methods, matrix analysis, and a literature review regarding best practices for community gardens to study the cultural practices of three established community gardens in the southwest region of the US. The results of the analyses conducted are presented in terms of recommendations to support each target community garden's sustainability. Recommendations regarding future research include environmental manipulations to identify functional relations and potential outcome measures for improving the longevity of community gardens are provided.

Victorian culture was constantly engaging with nature and garden imagery. In this thesis, I argue that the literary gardens of Anne and Charlotte Brontë function as a trope that enables an examination of nineteenth-century social concerns; these literary gardens are a natural space that serve as a “middle ground” between the defense of traditional social conventions and the utter disregard of them. In Agnes Grey (1847), Jane Eyre (1847), and The Tenant of Wildfell Hall (1848) the female characters have significant encounters within the gardens and outdoor spaces; Agnes, Jane, and Helen venture into these environments and emerge changed—whether by experiential knowledge or from the temptation of social and moral transgression. In AG, Anne Brontë uses the image of the garden and natural landscapes, in order to explore Agnes’s education within her governessing experience. In JE, the garden functions as a space that appears to offer Jane a reprieve from the Gothic terror of the house, yet it actually extends that influence. The entire estate is a literal boundary point for Jane in her life, but it also represents the metaphorical barrier between Jane and potential social transgression—one that she must navigate because of her romance with Rochester. In Tenant, the house, the garden, and the landscape symbolize Helen’s identity, as the widowed artist Mrs. Graham, an identity that only exists during her time at Wildfell. Helen’s identity as a professional female artist living in a wild landscape accentuates Gilbert’s sexual desire towards her. Anne Brontë critiques Victorian marriage and class expectations through Helen’s final circumvention of social rules. In these novels, the scenes in the gardens and natural landscapes serve as a way for these authors to engage with the complexities of “The Woman Question” through the characterization of the governess and the artist.

While Iran is considered by many to be the land of the earliest recorded gardens, during the 20th century many of its historical gardens were deliberately destroyed, while others were inadequately conserved or remain in a state of dereliction and suffer continued decline. In contrast to current literature that generally studies Iranian historical gardens as physical structures under the rubric of 'Persian Gardens', this study integrates the changes in different dimensions of historical gardens to capture their plight in 20th century Iran. It aims to provide a deeper understanding of how political shifts before and after the Islamic Revolution of 1979 have shaped various approaches towards historical gardens, and the ways in which these attitudes have affected or been reflected in the material, social, and symbolic dimensions of Iranian historical gardens. It will analyse the key factors shaping the diverse approaches and interests, as well as the outcomes of these on the life of such gardens, in order to provide more appropriate recommendations regarding garden conservation in Iran. To this end, this thesis employed an in-depth case study strategy. The selected case studies are: Golestan Royal garden in Tehran; the gardens of the nobility in Shiraz; and the Qadamgah tomb garden near Neyshabour. Each of these cases highlights a particular aspect of garden treatment. All of the case studies pursue a consistent line in order to trace the different approaches and changes (mainly challenges brought by the changing political climate) to various dimensions of those gardens and the ways of garden conservation more broadly. Through the interpretation of socio-political events, categorising the wide and varied sources of information to support these case studies, documentation of overall changes has been done chronologically through a close reading of each case study garden. Drawing attention to how three examples of gardens have been affected differently, this research provides an original contribution to the knowledge of how the concepts of cultural heritage, ideology and religion have an impact on various dimensions of historical gardens in 20th century Iran. Based on the results derived from the analysis of case studies, this research argues that in order for gardens to find ways to continue as vibrant and 'living heritage', the approach adapted to conservation should firstly move beyond the traditional museum-like approach and material restoration. Conserving the twin dimensions of the physical and social aspects could offer a more consistent and resilient platform for the process of identity construction, engaging the public much more in the life of gardens. Secondly, it suggests that both restricted/rigid and flexible approaches, both the bottom-up needs of the people and the top-down tendencies of the authorities, could be compatible. These provide useful points of reference regarding practical ways for addressing the continuity of the material and social life of historical gardens.

Abstract The research aims to investigate the spatiality of the sequential Japanese tea (roji) and stroll garden (kaiyûshiki), whose appearance reached its peak during the Feudal period in Japan (1573–1868), in relation to the perceiver's locomotion. The desire of that era to go beyond sensual beauty and to make a philosophical statement, led to the development of a garden where the moving participant perceives a series of successive fragmentary views. Such a concept of space, with the principle of successive observation, is a distinct feature of Japan, and can also be observed in urban design, architecture, painting and literature. This research is about the necessity of incorporating movement in the design of gardens, as a prerequisite for fully perceiving space. It thereby shows how through analysing those two distinct types of sequential spaces, the Japanese tea and stroll gardens, one arrives at patterns of spatial configurations that encourage active participation on the subject's part. Emphasising the environment-person transaction, the research aims to study the structure and features of the Japanese tea and stroll gardens as sequential spaces, with reference to the affordance possibilities they provide for an individual, as developed by the late James J. Gibson. Although not confined solely to it, the analysis used at the core of this research, is based on Gibson's ecological approach and on Harry Heft's contribution to ecological psychology. The empirical part of the research uses a variety of gardens as examples, as well as the case studies of a model teagarden and the garden of Shisendô (situated in the city of Kyoto). The research aims to acquire accounts of knowledge of techniques and spatial formations that do not ignore or minimise the central importance of the subject's movement, but on the contrary, fortify and take advantage of it. This body of knowledge can be an initial approach to designing sequential spaces in domains that lack the specific socio-cultural practices by showing some opportunities and potential affordances that every perceiver can pick up using his own background and cultural context.

The study seeks to understand the importance and relevance of Urban Agriculture (UA) in the form of urban garden farming for vulnerable groups of people in the city of Bulawayo in Zimbabwe. The study is based on fieldwork which was carried out between June and August 2008 in Bulawayo. This was also the time of political uncertainty due to shameful presidential elections which were presided and followed by violence and intimidation of the civilians. The focus of the study is on how urban gardens contribute to livelihoods and well being of the beneficiaries.

The thesis employs the capability approach to address the research problem. The capability approach is modified and operationalised in a model that is relevant to this particular study. In the ensuing capability framework, gardens are treated as goods or services that enable beneficiaries to enjoy various capability sets.

The study reveals that urban gardens are important in providing livelihoods and improving well-beings in crumbling urban economies such as that of Bulawayo. Beneficiaries utilise the capability sets provided by gardens in an attempt to improve their well being. Capability sets which include food security, income generation, political participation and social capital related are also critically discussed exploring their relevance and significance in improving people’s lives.

One of the important issues in this study has been to acknowledge the diversity that exists amongst people. Even though the capability sets might be the same, they are explored differently by different people depending on external and internal factors affecting an individual. This makes the capability approach a powerful tool in that it enables a realistic understanding of people’s individual problems and potentials. In the Capability framework approach, various factors such as gender, physical condition, skill, education and institutions are discussed and their influence on what the beneficiaries can achieve from the gardens and the kind of life they want to choose to pursue thereafter is elaborated upon.

Beneficiaries from the same garden benefitted in a different way depending on how they used the capability sets. This thus tended to determine the kind of life they eventually could chose to live. It is thus important in development studies to pay particular attention to individual problems and abilities than to study people en masse.

Increasing evidence documenting the decline of insect populations, resulting from increasing human disturbances has resulted in efforts to establish pollinator gardens to provide additional resources for insect populations. However, our understanding of biotic and abiotic garden characteristics important for attracting and sustaining pollinator diversity is limited. Here, we evaluated 17 pollinator gardens to evaluate the effect of five biotic and three abiotic garden characteristics on pollinator species richness, abundance, and proportional representation of four pollinator functional groups. Plant species richness positively influenced pollinator richness and negatively influenced flower visitation. Bombus proportional abundance responded to several variables (distance to vegetation, plant species richness, floral symmetry, floral native status, habitat type), and decreases in their proportional representation were accompanied by increasing proportions of other insect groups. Our results suggest any size, diverse, native pollinator gardens can improve pollinator diversity, and small-scale pollinator gardens should favor functional groups adapted for the habitat type.

Introduction This dissertation traces the rise of the Landscape garden in England during the 1700s, and its gradual diffusion across France, Germany and Italy. The new style, in a certain degree, inspirited by Chinese classical garden which represented a return to nature and informality, marking a departure from the formal, geometrical gardens which had reigned supreme in Europe during the preceding centuries. The aim of this dissertation, however, is not primarily to add to the stock of facts about picturesque but to take a intelligibly framework to view of the picturesque garden collapsed the opposition between nature and cultural processes in which facts about picturesque garden influenced the Europe—the way, in particular, that the action of Chinese garden individuated in each country—that the nature, history, and semiotic or aesthetic character of picturesque garden is constructed in both its universality and particularity--from its place of origin the Britain to the Apennine peninsula. The role of the Chinese garden emergence of alternative formal solutions in France has different interpretations, the recognition of a parallel that has comforted and strengthened their lines of evolution of the English context. In Italy, this work is to offer a thorough account of Italy’s reaction to and interpretation of the English garden as it occurred largely between 1764 and 1817. This will primarily be achieved by examining and comparing the plans of picturesque garden of this period which addressed the topic, and placing them in the context of the European debate as whole. In order to do so it is necessary to reconstruct nearly a century of theoretical and aesthetic contributions leading up to the 1792 in Padua, an event which constituted the first concerted Italian response to the giardino paesaggistico. In the same period, Piedmont erected the first picturesque garden in the Park of Castle of Racconigi, influenced by its French Princess Giuseppina. Finally, through comparing the similarities and differences with French picturesque garden, so that it concludes distinctive characters of Piedmont of picturesque gardens and its influence on urban public garden in the nineteenth century. The first chapter explores the role of the Chinese taste in the making of English picturesque garden. The influence of Chinese traditions into the picturesque garden discourse is worth reconsidering further, for it raises fundamental question about its myths of origin. Without doubt, most of English scholars persist on their original invention. However, the French considered as the Chinese garden as firewood put into the fire of irregular garden. Admittedly, China encompassed integral art system with irregular garden, from the philosophy to art, which was much earlier than the other countries. However, those foundations of art, literature and philosophy to breed irregular garden could be trace in Britain between the seventeenth and eighteenth centuries. Therefore, the representation of landscape is not only a matter of internal politics and national or class ideology but also an international phenomenon. Indeed, the Britain was not exactly going out on a limb to create a new order of garden and went through a complicated process of exchange, mutual transformation and ambivalence. Throughout the second half of eighteenth century picturesque gardens grew more extensive. Not only did they absorb the Holland and German commons within their neighbor, but occasionally whole the Continent stood in the way of a prospect or an improvement were destroyed and transformed elsewhere. The Britain assimilate features of Chinese garden to improve the picturesque garden in Great Britain--not only use Chinese architectures as a source of garden elements, but also share marrow of Chinese gardening composition. For instance, “contrast” is one of the crucial methods in Chinese classical gardening which was emphasized by Chambers both in his Designs of Chinese buildings […] (1757) and A dissertation on oriental gardening (1772); “multiple oblique views” is another main point of irregular garden that were meant to be experienced while walked through it which was employed frequently in English garden. The following offers authentic and impartial character of Chinese garden Sir William Chambers, argues that the architect’s firsthand exposure to Chinese design as a young man both complicated his relationship to the neoclassical tradition he famously promulgated and infused his rather fantastical writings on Chinese gardening with an emancipatory aesthetic vision modeled on the psychological response to cultural alienation. There was an inaccurate statement that the English garden was influenced by Chinese garden. However, the Chinese garden was divided into scholar garden (or private garden) and imperial garden. There was considerable distinction between them. In the first place, the latter tremendously surpassed the former in size. Yuan Ming Yuan was around forty hectares, but the largest garden in Suzhou, Humble Administrator’s Garden is only 5.1 hectares. In the second place, the latter much drew ideas from the former in general. In this scene, scholar garden was the quintessence of Chinese classical garden. According to the most influenced letters and reports of missionaries in Europe accounted the imperial garden near to Beijing, Old Summer Palace (Yuan Ming Yuan), such as Jean Denis Attiret who praised the Chinese Imperial Garden in his letter arrived in 1743: «However I must except out of this Rule, the palace of the Emperor of Peking, and his Pleasure-houses; for in them everything is truly great and beautiful, both as to the Design and the Execution», as well as «generally wind about and serpentize».Thus, the Chinese garden pushed forwards the English garden that should be exact expression that it was influenced by Chinese Imperial Garden. While the present dissertation has to say about Chinese Scholar garden, part of my purpose in framing central understanding on its essence to distinguish the Chinese garden and the English garden. Although both of them claimed to “imitate nature”, the consequences are tremendous difference. I hope to explain what the Chinese classical garden was and how to make a Chinese garden, so as to clarify the «making over of Chinese culture in the Western image» and misunderstanding of the Western during the transformations of the past hundred years. It is basic on the Chinese treatise on gardens, Yuan Ye, was completed in 1634, in which Ji Cheng accounted and concluded his gardening experience; he was also a painter and poet. The philosophy of Confucianism, Taoism and Zen Buddhism play an important role and help the Chinese forming the perception in the gardening. It could be easily traced the ideology of Zen Buddhism and Taoism in each garden, such as little pagoda in the lake. The perfect effect on Chinese landscape poets and painters brought those perceiving or thought into materialization. From this point, the origin of English landscape shares the identical features with Chinese. Since ancient time in China, it has been said that poetry and painting share the same origin, which is embodied in there is painting-in-poetry just as there is poetry-in-painting. Horace Walpole wrote that «Poetry, Painting and Gardening, or the science of Landscape, will forever by men of taste be deemed Three Sisters, or the Three New Graces who Dress and adorn nature». It must be pointed that, just as the name suggests, scholar garden was created by retired officers (the Humble Administrator's Garden, Zhuozheng Yuan) or literati (the Master of the Nets Garden). If the garden was fashioned by the man of taste, it reflects the epitome of his spiritual world. And in this way, depending on the knowledge of owner, the garden evokes delight or elegance, and stand as emblems of both highly cultivated tastes was equated with its owner. It is surprised that the same expression could be found in English landscape theory, «as is the gardener, so is the garden». The six basic components, hill, rock, water, plants, road and architecture also inspirit the picturesque garden. Especially, the rock was the first noticed and learned by the western, for instance, the grottos at the foot of hills (Pope recognized a grotto at his villa at Twickenham in 1719) and the rockery along the bank of river. However, different from picturesque garden in the countryside and unlimited by site, the Scholar garden was always close to the mansion and in the city center that the Chinese created several methods to enlarge its garden in the vision, “contrast”, “borrowing views”, “multi-views” etc., in order to create multiform space in a limited yard. In addition, changing is another subject: change of seasons, passing of time, or variations in climate such as rain, snow, sunshine, or clouds, all of which, to varying degrees, cast a different light on the artistic effect of the garden’s scenic imagery. So, the Chinese garden is an art of both spatial and temporal planning. Undeniably, the Chinese art of gardening is the driving force behind the English accomplishments. Whereas, the English did not copy Chinese garden, even not precisely estimated by the French to picturesque garden, in my view, the assistance of Chinese garden was one of the firewood in the fire of new style garden to support by the representational practice. French contribution on picturesque garden is discussed in Chapter III. A review of picturesque garden in the eighteenth century, it is no doubt that its vogue swept unhesitatingly over whole the European continent. But, the other countries, such as France, that involved Romantic revolution and made its own contribution to the development of picturesque garden. So it would be useful to identify French picturesque movements that brought about their own distinct feature of the picturesque garden. Cause picturesque was a product from the Britain was not a tradition of France. So when the new idea imported from across the English Channel, they were mingle the native concept of “nature” and “modern”, consequently, forming the different version from the English one. In general, the French picturesque garden is mixture of formal and naturalism garden that is the remarkable feature of French design that also influenced the appearance of Italian picturesque garden in a certain extent. The other feature of French is to stimulate its curiosity of visitors to encourage them quest the fresh sentimental pleasure in the garden, such as Désert de Retz. In addition, according to appendix II, the French erected more Chinese structures than English. Moreover, it is generally believed that the picturesque garden came into being France in the 1760s, and that it was a product of English influence, not of French tradition. Dora Wiebenson argues for instance that gardens on both sides of the Channel presented some supposed “English” features concurrently, rather than successively. Jean-Jacques Rousseau’s sentimental ideas of Nature and a free society had a profound influence on French Romantics and Enlightenment in the 1770s. His idea and novel La Nouvelle Héloïse profoundly influenced on French culture which became an original version of picturesque garden, including Claude-Henri Watelet and Johann Wolfgang von Goethe. Ermenonville of the Marquis de Girardin was poetic nature had benefited from Rousseau’s novel. As the Monceau (1773), le Petit Trianon (1774-1787), Betz (1780-1789), La Folie Saint-James de Neuilly (1784) and the Désert de Retz (1785) which are pastoral style. Claude-Henri Watelet Marquis de Girardin and J.M.Morel devoted to both theory and practice to picturesque garden. Le Rouge published Jardin’s Anglo-Chinois from 1775 to 1789, transferring the idea of new taste and their models to the French gardeners. At last, we will discuss the three types of French picturesque garden: The pastoral farm, Jardin Anglo-Chinois and Ferme Ornée. The sweeping vogue of picturesque gardening would seem hardly reach to Apennine peninsula, however, under the background of picturesque garden, Italy also attempt to naturalize her regular garden forms without first hand materials. The new style simultaneously provoked Italian enthusiasm and skepticism, curiosity and diffidence; and although it became a popular choice for many landowners, relatively few intellectuals chose to sanction it unconditionally in their writings. Protagonists of the debate in Padua such as Ippolito Pindemonte and Melchiorre Cesarotti elected to frame the topic within the context of Italian poetic tradition, and in doing so claimed that Italy deserved credit for conceiving of the naturalistic garden. This allegiance to classical and Renaissance precedent in turn helps explain a general reluctance to relinquish the formal model in favor of a modern, imported style. An Italian translation of Delille’s poem on picturesque gardens appeared in Venice in 1792, the year of Pindemonte’s promotion of the new style in nearby Padua. The Milanese Ercole Silva will emerge as the only true proponent of the English garden in Italy who issued his important and influential Dell’ arte de’ giardini inglesi in 1801, adding illustration for a second edition in 1813. From 1776, Park of Villa Reale of Monza began to reconstruct and settled the first picturesque garden in Italy in emulation of Wörlitz Park, although only transformation of small part in whole formal garden. The garden of villa Belgioioso designed by Pollack in Milan is also an excellent exemplary site in Lombardy. Also, Silva attempted to create a new style garden by terms of the principle of picturesque garden mentioned in his treatise. In 1787, Park of Palace of Caserta was erected. If the garden of Villa Monza was the first plan of English garden designed by Pierrmarini, the first real big English garden was the garden of Caserta is certainly the best known example in Italy, which represents a distinctive Italianness, a move that mixed well with growing aspirations to powerful nation and was supported by its beautiful natural scenery and literature, horticultural and architectural traditions of Italian garden art. The Chapter V focuses on the picturesque garden in region of Piedmont. With the different atmosphere of politics and culture, the diffusion of picturesque garden to Savoy Dynasty was more complicated. The first picturesque garden emerged in Piedmont is the Villa Morra di Lavriano in 1784. As the most of picturesque gardens in Italy, it included different characters: English, French and Chinese sectors. However, thanks to shortage of the materials of Anglo-Chinese garden, the picturesque garden part apparently traces of the formal garden. Only three years later, the year of 1787 marks a turning point--a famous project of Giacomo Pregliasco transfer the central park of Racconigi into picturesque garden. On the one hand, due to the theatrical scenery profession of Pregliasco, the picturesque garden resembles in magnifying scenery. He also designed a Chinese pavilion and rockery stands in the center of the lake which apparently resourced from the design of Park of Bonnelles, which illustrates opportunely the picturesque garden influenced by France. On the other hand, Promoted the picturesque garden in the garden of Racconigi also attributed to its hostess: Princess Giuseppina. Admittedly, the interest of the owner determines the appearance of the garden in a large extent, even did more influence than a designer, both in architecture and garden. Thus, when the attempt at researching the picturesque garden of Racconigi, it would be unreasonable to bypass the cultural background of the client, but only analyzed gardener. As the culture patron, the Princess made a great contribution to the English garden, owing to her writings when she arrived in Turin which is carefully kept in the Royal Library. And her Park of Racconigi, as a princeless heritage—both in material and nonmaterial, was inherited by Carlo Alberto. After 1820, the Park of Racconigi was appointed to Xavier Kurten aimed at seeking a simple nature, natural and softly irregular: a beautiful nature. Kurten gives over to the complete renovation of the park, erasing the formal structures inserted by Pregliasco in a broader context, toning down the characters. Purchases of land and intensive transformations that create the largest plants in the Piedmont landscape, still preserved. The implementation of the picturesque garden was following. Then, Leopoldo Pollack designed the Park of Palace of Riva presso Chieri in 1796 which was borrowed his idea of villa Pesenti, the agriculture, formal garden and picturesque garden blended together, an “idea confusa”. Villa Berroni locates in the Racconigi was a mixed style. Germany Xavier Kurten was the pioneer of modern urban park, because most of his works reflected the idea of city garden. The picturesque garden idea also influenced the later urban planning of Turin, such as the planning of Ferdinando Bonsignore, Ferdinand Boyer and Lawrence Lombardi, as well as Pregliasco’s a new green city in 1802. It is concluded that the picturesque garden in Piedmont has three features: mixed the nature garden with old Italian ones that is following the French habit, as was done at Monza and Racconigi; second, Germany Xavier Kurten abolished completely regular garden in order to create a pure landscape garden with a remarkable feature as vast water system, like the Park of Castle of Racconigi in 1835.

Urban environments are typically host to a high level of biodiversity which is important for the provision of ecosystem services, and for facilitating contact between humans and nature. However, accelerating urbanisation precipitates considerable declines in the number of species which inhabit these environments as a greater number of homes and roads are constructed to accommodate a growing global human population. Domestic gardens afford an important opportunity to combat these declines, owing to their capacity to support a high level of biodiversity and the substantial land area which they cover. However, the fine spatial scale of individual isolated domestic gardens constrains their ability to increase biodiversity at larger spatial scales. Consequently, managing domestic gardens collectively, by conjoining multiple neighbouring domestic gardens and managing them as a single larger habitat, has been proposed as a promising approach to increase biodiversity at these scales. Importantly however, the practical implementation of this approach necessitates neighbouring householders to collaboratively undertake biodiversity favourable garden management and to conjoin their domestic gardens. Crucially, this management is performed by householders discretionarily and can be influenced by demographic, perceptual, environmental, and socio-economic factors. Furthermore, householder attitudes towards conjoining domestic gardens may also influence the practicality of this approach. Therefore, this research explores what impact the extent to which householders undertake biodiversity favourable garden management has on the practicality of the collective management approach and how this is influenced by the aforementioned factors. In addition, it explores how this practicality is influenced by householder attitudes to conjoining domestic gardens. Lastly, it investigates how the collaborative undertaking of biodiversity favourable garden management by neighbouring householders could be encouraged, taking into consideration the constraints associated with current projects which promote such management. A survey was used to explore the prevalence of biodiversity favourable garden management, the influences on this management, and attitudes towards conjoining domestic gardens. This was conducted with an online semi-structured questionnaire which was distributed to householders using the social-networking site, Facebook. In addition, a bio-indicator approach was used to analyse the impact of general domestic garden management on biodiversity and birds were selected as a bio-indicator. Accordingly, respondents to the survey were also required to identify which bird species visit their domestic gardens. Seventeen elite interviews were also conducted with representatives from a range of organisations operating domestic garden projects, participants in such projects, and academics with expertise in domestic garden management, in order to explore the constraints associated with current domestic garden projects. The survey yielded 276 responses and provided support to the practicality of the collective management approach. In particular, it indicated that householders commonly undertake biodiversity favourable garden management, by predominantly providing food for birds and planting vegetation, and 60% of householders are willing to conjoin domestic gardens. However, the survey also highlighted that biodiversity favourable garden management is impeded by a number of factors. These included small domestic gardens, which particularly limit vegetation planting, and can be commonplace in urban environments. In addition, householders commonly nullify the benefits afforded by undertaking this management by covering domestic gardens with hard surface and lawns, which eliminate space for vegetation. Moreover, strong desires to retain ownership and privacy of domestic gardens precipitate the unwillingness of a significant proportion of householders to conjoin domestic gardens. This therefore challenges the practicality of the collective management approach. The results from the elite interviews indicated that householders lack commitment to current domestic garden projects, which are constrained by difficulties acquiring sufficient funding. These issues could also be pertinent to approaches which are developed to encourage the collaborative undertaking of biodiversity favourable garden management, further rendering the collective management approach impractical. The practicality of the collective management approach could be enhanced by modifying the design of new housing in a manner which is favourable to biodiversity and which ensures a minimal domestic garden size. In addition, including domestic gardens in green infrastructure strategies could further enhance this practicality. Furthermore, amending planning policy to regulate the covering of domestic gardens with hard surface and lawns more stringently could reduce the prevalence of these features. Householder commitment to approaches which encourage the collaborative undertaking of biodiversity favourable garden management could be promoted by providing feedback regarding the contribution this makes to increasing biodiversity at large spatial scales. Moreover, greater funding for these approaches could be acquired by also focusing on promoting the provision of ecosystem services. Finally, householder collaboration could be encouraged by accommodating desires for ownership and privatisation of domestic gardens. This could be respectively achieved by permitting flexibility regarding the biodiversity favourable garden management undertaken and separating conjoined domestic gardens with hedgerows.

Higher Education has the resources available to serve as a leader in sustainability, specifically by preparing graduates to address issues associated with global climate change through the use of interdisciplinary and hands-on learning. However, institutional barriers may limit large-scale restructuring of curriculum and institutional structures. Small initiatives and broad networking may help to provide sustainability education while also paving the way for broader curriculum and institutional adaptations. The potential of community gardens to serve as sustainability and community interventions make them a desirable study site to gain insight into the power of small initiatives, yet very few studies have assessed the role of community garden projects in campus settings. Through the use of an email survey sent to campus garden managers across the United States and Canada, the power of these initiatives to advance higher education sustainability can be better understood. The study sought to answer the following research questions: (1) What are the demographic characteristics of university food gardens?, (2) Do university gardens serve as sites for formal and informal education, (3) What obstacles and benefits occur within university food gardens, and (4) What factors affect the long-term resilience of university food garden initiatives? It was found that when institutional support, strong networking, and consistent participation are present, university food gardens enhance the overall sustainability of higher education institutions while also providing valuable sources of interdisciplinary and hands-on learning. Gardens receiving the greatest support from their institution exhibit strong resilience and provide numerous benefits that aid increase the overall sustainability of their institution. This study asserts the power of small sustainability initiatives within higher education institutions, while also addressing key factors which ensure the long-term resilience of these valuable sites.

Syftet med vår studie var att studera trädgårdsterapins roll i människors tillfrisknande från stressrelaterad ohälsa. Studiens frågeställningar var: (1) vilka faktorer beskrivs som stressreducerande i natur och trädgård? (2) på vilket sätt kan personer med stressrelaterad ohälsa bli hjälpta genom trädgårdsterapi? För att besvara våra frågeställningar användes en kvalitativ metod med hjälp av en kunskapsöversikt. Våra analysverktyg har varit KASAM och Coping. Slutsatsen av studien är att trädgård och natur kan stärka återhämtningsprocessen för människor med stressrelaterad ohälsa. Trädgård och natur kan bidra med stressreducerande faktorer som gör att återhämtningen påskyndas och stärks, såsom att hitta lugn, känna trygghet och få utrymme för reflektion. Även samtal och aktiviteter är viktiga delar för återhämtning i trädgårdsterapin. Sökord vi använt oss av är: trädgårdsterapi, terapiträdgårdar, grön rehabilitering, restorativ trädgård och stressrelaterad ohälsa.
The aim of this study was to study the role of horticultural therapy in people´s recovery from stress-related illness. Study questions were: (1) what factors are described as stress-reducing in nature and gardening? (2) in what way can people with stress-related illness be helped by garden therapy? In order to answer our questions, a qualitative methodology using a research synthesis has been made. Our analysis tools were Sense of Coherence and Coping. The study shows that garden and nature can enhance the recovery process for people with stress-related illness. Garden and nature can help with stress-reducing factors that make recovery accelerated and strengthened, such as finding peace, feeling safe and have a space for reflection. Also conversations and activities are important elements for recovery in the horticultural therapy. Keywords we have used are: horticultural therapy, healing gardens, garden therapy, therapeutic gardens, green rehabilitation, restorative garden and stress related illness.

This thesis examines the history of botanical gardens and their evolution from ancient spaces to the modern gardens of the 20th century. I provide a brief overview of botanical gardens, with a focus on the unique intersection of public participation and scientific study that started to occur within garden spaces during the 20th century, which still continues today. I reveal the history of gardens that influenced the uses of gardens today, with a focus on: the first ancient gardens and the dependency societies had on them, the influence of science in gardens starting in the Enlightenment period, the shift away from scientific gardens and the introductions of public gardens in the early 20th century, and the reintroduction of science into gardens during the conservation movement of the 1950s.

Garden Work argues that American literature's sense of form developed as part of an ongoing theoretical conversation with the field of garden design. Of particular significance to American writers was a horticultural dispute that took on a renewed sense of urgency in the late nineteenth and early twentieth centuries: that between the garden naturalists, who crafted gardens to look like un-designed natural spaces, and the garden formalists, who crafted gardens that visually distinguish between human and wilderness sites. This dissertation identifies a literary cohort within this horticentric period--Nathaniel Hawthorne, Sarah Orne Jewett, Edith Wharton, and Willa Cather--who enter into the naturalism/formalism debates via their garden journals, environmental reforms, manifestoes, and the design of their own yards and gardens. Though initially attracted to garden design for different reasons, these authors all become increasingly skeptical of the ideological assumptions behind garden naturalism and increasingly fascinated by old-fashioned traditions of formal gardening, such as Italian, French, and Colonial Revival gardens. Garden Work reveals both the impact that garden design has on America's literary history and the theoretical contributions that literature can make to garden design. On the one hand, the authors I study integrate their garden work into the narrative fabric of their most canonical texts, often at those moments when they are most self-reflective about what it means to produce formally innovative fiction that is nevertheless rooted in natural American landscapes. For these writers, garden formalism becomes central to their ability to imagine American literature in the wake of the American Renaissance. On the other hand, these authors are enabled by their expertise in the medium of prose fiction to identify new theoretical problems within and features of garden design. Specifically, their ability to articulate garden theory not in terms of a conflict between art and nature but rather as a dynamic relationship between form and content, a relationship they encounter repeatedly in their literary work, permits these authors to analyze in innovative ways the social, environmental, and aesthetic consequences of garden design. Ultimately, Garden Work uncovers the interwoven nature of America's garden history and its literary history.

Urbanisation has increased tremendously over the last 60 years so that more than 50 per cent of the world population now live in cities. This is especially true for in developed countries, but it is expected that developing countries will take the lead in future urban population growth. This increasing trend of urbanisation has severe consequences for the environment, as it fragments and changes natural areas and alter environmental conditions. This has compelled scientists from many different disciplines to focus on the inclusion of humans into ecology as a driving force of change to create a better understanding of urban ecosystems. The diversity of fauna and flora in the urban environment provides a myriad of ecosystem goods (such as food and fuel) and services (e.g. cleaning the air and reducing noise levels). Apart from these tangible benefits, urban green space also provides recreational, educational and social benefits to urban inhabitants. A surprisingly substantial proportion (21‒36 %) of the total urban green space that produces these ecosystem goods and services is located in private yards. This portrays the importance of the flora of this land-use type, but very little is known about garden flora and its potential for conservation. The determinants of diversity and species richness in gardens were found to be different than for semi-natural ecosystems, because of the high anthropogenic influence. One of these is the socio-economic status of the inhabitants. People with higher socio-economic status were found to harbour more diverse species assemblages in their gardens than those of lower socio-economic status. This phenomenon was termed the “luxury concept”. In the Tlokwe City Municipality (TCM), the legacy effects of apartheid created a steep socio-economic gradient as a result of the inequitable distribution of economic, natural and social resources. The aims of this study were to gain information on the flora that is present in the domestic gardens of the TCM and to determine if socio-economic status (SES), a management index (MI) and demographic factors influences the distribution of plant species between these gardens. A total of 835 plant species were recorded from 100 domestic gardens and the majority were of alien origin. This large number of species included some Red Data species, invasive alien species and also many utilitarian species. This portrays gardens as important ex situ conservation habitats, but simultaneously it could also threaten the integrity of our natural ecosystems through the distribution of alien invasive species. The gamma, alpha and beta diversity were determined across five SES classes to describe the patterns of domestic garden plant species diversity in the TCM. In accordance with other studies, correlations showed that the SES of the inhabitants affected the plant species distribution in the study area. This was especially true for the distribution of alien species that are cultivated for their ornamental value. More species were found in areas of high SES than those of lower SES. The other aspect that influenced the distribution of plant species in these gardens were the MI, although this was to a lesser extent than the effect of SES. The confirmation of differences along the SES gradient could be utilised by urban planners and policy makers to correct this imbalance through the provision of urban green spaces where it is needed most.
Thesis (M. Environmental Sciences and Management)--North-West University, Potchefstroom Campus, 2011.

This thesis is comprised of a series of paintings that study historical representations of styles, forms and symbols found in gardens. It is less a research project into the history, meaning, and rules of these different gardens throughout time and more of an appreciation, appropriation and reinvention in fantastical form. There is no attempt in these paintings to represent objects or things that exist in the physical world, but instead a desire to create a new fantasy world. The image of ‘garden as paradise’ has been part of our human mythos for a very long time. The image of ‘garden of eden’ appears in the old testament of the Bible. There was a similar early image of ‘garden as paradise’ in Zoroastrian beliefs in ancient ‘Persia’.
Master of Architecture

Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on December 6, 2007) Vita. Includes bibliographical references.

In this half thesis the use of the garden as a metaphor for paradise has been explored. The English word “ paradise“ was derived from the Greek word “ paradeisos” which in turn was derived from the Old Avestana “ pairi-daeza,” meaning an enclosure. In Ancient Persia the concept applied to an enclosed garden in the modern sense of the word. For this reason the thesis begins with an examination of the development of the garden in this desert region. A more-or-less continuous chain of development in both the physical and allegorical nature of the garden is traced through history from these Ancient Persian beginnings to the height of Mughal architecture (epitomised by the Taj Mahal), by way of the Muslim expansion through Central Asia and Europe. While the core elements of garden design were set in Ancient Persian times, and recur throughout the period studied, the impact of Islam on the local Persian culture brought about a new development of allegorical meaning associated with the garden. This allegorical development reached its apex, too, in the Taj Mahal in which, it is argued, the metaphorical representation of paradise in the garden tomb was made astonishingly explicit. The research for this mini thesis was gathered from secondary sources, including many published books and academic papers, photographic and diagrammatic evidence of extant ancient gardens, and reproductions of carpet designs.

A call for design proposals for three features for the National Garden was held in October, 1992 by the National Fund for the U.S. Botanic Garden. The competition called for refinement of an existing master plan developed by EDAW, a landscape architectural firm, or the design of a new concept for the National Garden. This creative project chose to develop a new master and to document the research, process, and assumptions that lead to the final design. The research will focus on the examination of the site and it's history (Washington, D.C.) and examination into the history, evolution, and relevance of botanic gardens.The underlying thesis is that the changing roles that botanic gardens have played in society have had an effect on their built form. The current role of botanic garden as a pleasure garden aswell as an educational experiences is the result of hundreds of years of evolution. By the examination of the history and changing roles of botanic gardens, this creative project will design a space that not only meets the needs of the competition, but will meet the needs of the generation at hand.
Department of Landscape Architecture

Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, February, 2021
Cataloged from the official pdf of thesis.
Includes bibliographical references (pages 158-159).
Over the last few millennia, the city that today is the seat to the world's largest "democracy" has served as the nerve center for generations of empires and emperors, political paradigms and intersecting identities. As for most capital cities such as New Delhi, alongside entrenched political regimes come the evolution of a parallel legacy of fighting against, opposing and obstructing, and resisting. Whether manifesting as the rallying cries at mass protests, as the purposeful strokes on canvas in practices of critical art, or as the defiant lyrics and rhythms in musical compositions, resistance is instrumental in the vocabulary of any effective political vision. Considering the Central Vista Complex in Lutyens' New Delhi specifically, we look at a political urban fabric that has embodied these simultaneous histories for the past century, as a site of power and of resistance to that same power, as belonging to the governing and to the governed. Built as a monumental colonial project in opposition to Delhi's existing Mughal city center in 1911, appropriated as a symbol of a new nation's power as a post colonial inversion in 1947, serving as a site for rallies, protests, and parades engaging the growing pains of independence and modernization in 60s and 70s, and finally as part of a repressive, autocratic re-branding resisting due process and dialogue in 2020, the site's spatial politics have also witnessed a plethora of resistances. This thesis questions the role of architecture in envisioning and engaging the tools of resistance in the context of such political sites. It narrates the stories of three actors as they reclaim the Complex's Mughal Gardens - landscapes historically seen as spaces of utopic experimentation and speculation - as spaces of their own resistance. Considering the architectural tools of process, scale, materiality, and temporality, the actors strive to re-inscribe an entirely new set of contemporary cultural and civic values into an otherwise charged landscape, a form of socio-spatial resistance in response to their own historical moments.
by Nynika Jhaveri.
M. Arch.
M.Arch. Massachusetts Institute of Technology, Department of Architecture

An interrogation of architecture's prevailing myths, and a practice for how to live and die well as an architect in the Anthropocene epoch.  It is an effort to combine joyful representation and speculation (because architecture is both too serious and not nearly serious enough), with philosophy, for still possible pasts, presents and futures. For this it leans mainly on the ideas of Donna Haraway, Gilles Delueze and Felix Guattari, to present a methodology called Nomad Storytelling. A methodology that aims to move between a multiplicity of adjacent sites as to care for them in appropriate ways, with the intention of contributing to the idea of relationally unmaking the environmental urgencies of the 21th century. It consists of 8 chapters dealing with juridical care, letting be as care, humour and shaming, fabulous speculation, non-quantifiable architecture as dissent and graphic design as a crucial part of remembering what the cost of architecture is beyond the monetary, in the end suggesting the idea of architect-as-worm and compost architecture. It’s about not telling another killer story, because they always end with apocalypse or dystopia, and instead tell stories of gathering and fabulous futures, as Ursula K. Le Guin called it. Because it matters which architectures architect architecture and which lines line lines.

The â healing gardenâ is an evolving concept that is gaining popularity today. What is a healing garden? Why is one garden called a healing garden and not another? How is a healing garden defined? In what way are gardens healing? This thesis describes the ways in which healing gardens are beneficial in healthcare and residential settings. A set of guidelines for the design of healing gardens is created as a result of research findings as well as three design projects that are illustrated in the document.
Master of Landscape Architecture

Master of Landscape Architecture
Department of Landscape Architecture/Regional and Community Planning
Mary Catherine (Katie) Kingery-Page
This project explores the potential of gardens as specific physical places where humans cultivate vegetation. Humans are increasingly separated from natural systems, particularly vegetation, in their daily lives. Such a disconnect results in a failure to build emotional ties to and deep care for the natural world. To address this disconnect, landscape architects and planting designers need to understand how to design public gardens as ambiguous landscapes, landscapes that refer to natural ecosystems while also clearly revealing the human role in their design and care. Design choices involve environmental components and their articulation. Designers currently lack a vocabulary to identify the components of transformative experiences between people and plants. They also lack a visual understanding of how relationships between components can be articulated to establish ambiguity in specific sites. Synthesis of literature in experiential learning, dynamic vegetation, and planting design establishes a vocabulary of component cues to set up conditions for transformative experience in public gardens. Critical drawing of ambiguous landscapes by contemporary planting designers augments the researcher’s understanding of experiential cues. In order to explore the potential formal impact of designing for ambiguity throughout the design process, this project’s design application spans two sites: Chapman Botanical Garden in Apalachicola, Florida, and the Meadow on the Kansas State University campus, Manhattan, Kansas. Designing Chapman Botanical Garden offers the potential to be involved with the conceptual phases of site design: site planning, programming, and planting design. Designing at the Meadow offers the opportunity to be involved in the implementation phase of design: stakeholder involvement, selection and growing of plants, and design interpretation. Together, the two planting design explorations represent a complete design process for transformative experience.

Professors of landscape architectural history of North America (domestic) and the rest of the world (international) were surveyed about the ten historic and five contemporary (since 1930) gardens they considered outstanding and to explain why. Additionally, ten comprehensive volumes of garden history were analyzed for their preferences. There was a 74% response rate to the domestic survey and 51.5% to the international survey. Over half of the respondents agreed on ten historic gardens. There was 31.2% agreement on five contemporary gardens. The literature is Eurocentric. Asia, Australia and modern gardens are described infrequently. No volume covered all the "great gardens." The survey results and literature characterize gardens similarly. Key elements or themes are described. Educational background may affect responses. Similar surveys of Asians and non-experts are recommended. Understanding the important themes will aid in better landscape planning and design.

This dissertation responds to Joan Thirsk's call for historians to undertake a closer investigation of commercial gardening. It adopts a micro-historical approach, to address two questions, 'What was a gardener?', and 'What was a garden business?'' Based in the parish of Fulham (including the hamlet of Hammersmith), Middlesex, the parish with the largest acreage of commercial gardening in England in 1796, the study applies nominal linkage to a variety of sources to understand more fully the gardeners, garden businesses, and gardening families between 1680 and 1861. The dissertation exploits sources with occupational descriptors, including livery company apprentice registers, bankruptcies and insolvencies, clandestine marriage registers, Bank of England accounts, and fire insurance policies, not used previously for a statistical examination of gardening. Quantitative data are set in a rich context using qualitative sources such as newspapers, Old Bailey proceedings and property surveys. Tracing occupational terms through the sources shows that records created by parish and government bodies relied on a few customary terms, each encompassing several different functions in gardening, for much longer than commercial documents, demonstrating how reliance on one source can be misleading. In this study I argue that occupational descriptors in gardening reflected the focus, but failed to capture the entirety, of what was produced in a garden business. From the early eighteenth century garden businesses should not be viewed simply as a market garden or nursery; they cultivated a diversity of horticultural products, but are also found to have had a variety of other agricultural interests and economic pursuits, introducing new products and responding to new opportunities: gardeners did not only garden. Contrary to the claims of some historians this was not just an early phase in the transition from agriculture to specialist gardening but persisted into the nineteenth century. This study contributes not only to the history of commercial gardening but also to wider debates in agricultural and business history. From four land-use maps, dated between 1747 and 1843/5 the changing acreage and locations of gardens have been identified, and the first graphical representation of the land use in the parish from the tithe apportionment schedules is presented. The complex interaction between competing land uses is examined providing new findings about how the garden industry adapted in the face of pressures from urban development and other agricultural needs. Examination of the occupational structure of the industry has been approached through several sources. Very few gardeners were apprenticed, but some families continued to obtain training as gardeners and commercial advantages through one of five different livery companies, as well as the Gardeners' Company. The parish registers give the first tentative estimate of the size of the industry, while registers of clandestine marriages suggest that gardeners were a significant proportion of the middling sort in Fulham in the early eighteenth century. Comparison of gardening occupations in the 1841, 1851 and 1861 census enumerators' books provide insights into the structure of the industry but also reveal the inconsistent application of terminology, resulting in the reliability and validity of some of the data being questioned. The implication is that only the 1851 census gives an accurate occupational structure for gardening industry. The findings of previous studies that most gardeners rented their land have been confirmed. On the bishop of London's estate the rents were low during the eighteenth century, but few gardeners were his head lessees and therefore able to benefit. Gardeners had a range of wealth, sufficient for some to have a comfortable living as part of the middling sort while a few had accrued greater wealth from gardening. Garden businesses rarely became bankrupt or insolvent and mainly when there were general economic downturns. Businesses were left predominantly to widows or sons, with the intention of keeping businesses operating and resulting in the establishment of garden business dynasties. The wealth of some businesses demonstrates the benefit of trans-generational transfer, others fared well enough for their business to continue on a smaller scale, but many names came and went from Fulham and Hammersmith commercial gardens in one generation.

The Court of Queen Elizabeth I was at the centre of the political, social, cultural and religious life of the nation. The Queen and her courtiers were almost all highly educated, cultured and often well-travelled individuals, who, at the apex of society, embodied the interests and ideals of the Renaissance. Their gardens were both complex representations of Renaissance culture, and symbols of their status, power and wealth. As such they were dedicated not only to personal pleasure, but also to entertainment, display and courtly magnificence, especially when visited by the Queen on one of her annual Progresses. This thesis makes detailed case studies of four Renaissance houses, gardens and parks, not previously the subject of detailed research in this period, establishing for the first time the motivations and influences on their creators and their probable design, appearance and uses. Additionally, each individual study explores a broader theme of gardens in the Elizabethan period: sport and leisure, entertainment and display, botanical study and plant introduction, and husbandry and productive use. As well as scholarly sources, the research brings together a wide range of contemporary documents, maps and illustrations, and combines these with physical examination of the sites. Extensive reference is made to comparator houses and gardens, in Europe as well as in England, to illuminate the probable appearance and significance of the four primary sites. The research also encompasses contemporary sources in literature, poetry, art, architecture, horticulture and science, to illustrate the cultural context in which the gardens were created. There are no surviving complete Elizabethan gardens, and very few contemporary descriptions. This thesis, by systematic and comprehensive analysis using a broad range of sources, seeks to recreate a picture of four important gardens and thereby expand upon the knowledge of English gardens in the Early Modern period.

The overall main goal of this research is to assist with the planning and creation of an ethnobotanical addition at the Heronswood Garden, a botanical garden located in northwest Washington state recently purchased by the Port Gamble S’Klallam Tribe. Methods included a three month long ethnographic study of Heronswood Garden as an official intern, and conducting a needs assessment that primarily employed participant observation and semi-structured open-ended interviews with all garden employees. Information revealed through the research includes causal issues behind a lack of community participation at the garden, elaboration on the solutions to various issues facilitated by negotiating and combining the views and opinions of the garden’s employees, and author reflections on the needs assessment report and the project as a whole. This research connects itself with and utilizes the methodologies and theories from applied anthropology, environmental anthropology, and environmental science to provide contemporary perspective into the subject of preserving or preventing the loss of biodiversity, language diversity, and sociocultural diversity.

Detta examensarbete är en studie av glas- och silverformgivaren Gunnar Cyréns och modedesignern Gunilla Ponténs designmetodiker, formspråk och inspirationskällor.  Det undersöker också om de uttrycker sig konstnärligt i sina privata trädgårdar.  Kan deras formspråk spåras i trädgården och har trädgården inspirerat dem i deras formgivningsarbete?  Utifrån vad vi har funnit har vi skissat på trädgårdsidéer och tematrädgårdar med utgångspunkt i hur vi uppfattat deras formspråk.  I det arbetet har vi tillämpat de av dem beskrivna designmetodikerna.

This degree thesis studies the design methodology, artistic expression and source of inspiration of two renowned Swedish designers: Gunnar Cyrén, glass artist and silversmith, and Gunilla Pontén, fashion designer.  It also investigates if they express themselves artistically in their private gardens.  Can their artistic expressions be seen in their gardens?  Has the garden inspired them in their design work?

Museum techniques of presentation are reviewed for the possibility of use in contemporary botanic gardens. Supporting evidence suggests that these techniques are being successfully applied in some botanic gardens around the world. Institutions that have adopted museum techniques have been found to operate efficiently, whilst providing increased levels of enjoyment and education for visitors. Cultural differences between various countries have small influences on the most effective presentation techniques used, but further local research is required to uncover visitor preferences and use patterns in Australian botanic gardens. General principles of design that work well in the indoor environments of international musuems apply well in the outdoor environments of botanic gardens. Therefore greater use should be made of existing international museum research into visitor patterns of behaviour where it is locally appropriate.

This thesis explores the use and design of New York City (NYC)’s community gardens, and how the social processes that characterise community gardening influence gardeners’ notions of ethnicity. The study examines the dialectical relationship between nature and culture in community gardens from the theoretical perspectives of debates over ethnicity, the social construction of nature, and political ecology. The study’s analytical position directs attention to the rhetoric and behaviours of community gardeners as well as the socio-ecological and political-economic processes operating at broader and multiple scales. The three main aims of this dissertation are: first, to explore the influences of community gardening on how gardeners understand and express their ethnicity, second, to identify the main motivations for (re)configuring nature in gardens, and third, to understand how the elision between nature and culture in gardens shape and is shaped by societal power struggles. This dissertation draws empirically on a cross-case comparison of Puerto Rican gardeners across three community gardens in the South Bronx. Narrative and semi-structured interviews enabled gardeners to directly voice their sentiments of self and community, and in conjunction with active-participant observations and garden-related discourse analysis, the ‘triangulation’ of these qualitative research methods colours a rich picture of the ideological and political markers of ethnicity and nature in NYC. The study also incorporates state and non-state actors active in the community garden movement and in the provision of one or more of the case studies. I argue that community gardeners’ notions of ethnicity and nature are animated by questions of politics, resistance, class, and social positions.

Third place is a concept which describes informal neighbourhood meeting places outside of home (first place) or work (second place). This thesis applies the concept to community gardens and in doing so, relates the findings to the social challenges associated with increased urbanisation and population mobility. Previous studies have made direct reference to community gardens being third places, however, this thesis is the first time the connection has been systematically investigated. In doing so, this thesis engages with theories of placemaking, social capital, neighbourhood resilience, and implications for the UN Sustainable Development Goal 11.7 on providing safe and inclusive green spaces. A qualitative case study approach is taken and a framework based on the eight characteristics of third place, has been applied to six case study community gardens (five in Australia, one in Denmark). Third place is an ideal concept to understand community gardens because it is able to link research on social relations to research on placemaking. Community gardens are dynamic citizen-initiated places that have the potential to be responsive to the specific physical and social needs and preferences of the neighbourhood over time. This thesis contributes to placemaking research by providing insights into designing, building and supporting meaningful third places and in supporting the people who create and maintain community gardens. The thesis critically engages with social capital and placemaking theories by adding insights into how community gardens can function as third places with a communal purpose that is inclusive across socially diverse neighbourhoods, within and beyond the garden boundaries. Thirty years on from Oldenburg’s book on third places, “The Great Good Place”, this thesis critically engages with the concept and adds insights in relation to gender in public spaces and the role of social media in third places. This thesis produces an original model that demonstrates how community gardens can operate simultaneously as a club and a third place, thereby encouraging the formation of both weak ties of association and strong ties of bonding social capital. These are important because they can foster both active and passive engagement, leading to improved neighbourhood resilience for individuals and local neighbourhoods. It was found that community gardens that act as third places ameliorate some urban challenges such as increased isolation and alienation experienced by many in cities. They improve the sense of community, as they offer opportunities for conversations within and outside the garden membership thereby assisting in introducing new people to the neighbourhood and increasing local social capital, which along with improved local food security, improves neighbourhood resilience. Drawing together the placemaking and social capital findings, the thesis provides a number of suggestions that may inform the design of third place community gardens. The framework could be implemented as indicators for progress in achieving UN Sustainable Development Goal 11.7 to provide safe and inclusive green spaces. Given that community gardens which are third places can exhibit qualities that help improve wellbeing in urban communities, local councils can create social benefits from reducing barriers to community garden participation and increasing access to space and resources. This thesis is significant because it sheds light on the critical role that community gardens that are third places can play in an increasingly urbanised world where there is concern about social isolation and the lack of inclusive, safe and accessible public places.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Environment and Sc
Science, Environment, Engineering and Technology
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