Journal articles on the topic 'Picturesque garden'
To see the other types of publications on this topic, follow the link: Picturesque garden.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Picturesque garden.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Kim, Jin-Seob, and Jin-Seon Kim. "Haptic Perception presented in Picturesque Gardens - With a Focus on Picturesque Garden in Eighteenth-Century England -." Journal of the Korean Institute of Landscape Architecture 44, no. 2 (April 30, 2016): 37–51. http://dx.doi.org/10.9715/kila.2016.44.2.037.
Full text
2
Choi, Jungsun. "English Garden in English Novel." Korean Society for Teaching English Literature 26, no. 2 (August 30, 2022): 351–75. http://dx.doi.org/10.19068/jtel.2022.26.2.13.
Full textAbstract:
This essay tries to prove that an English novel is a good textbook, in teaching English Garden, one of the major English cultural issues. English Garden, specifically, English Landscape Garden or Picturesque Garden is a critical issue in that it contributed to forming English Identity as rural England in the period of Industrial Revolution and Enclosure. To achieve that goal, it first examines the ideas and major characteristics of eighteenth century English Garden, including Lancelot Brown’s picturesque landscape design which was very popular from mid-eighteenth to the late eighteenth century in England. Next, it searches the descriptions of Landscape Garden in Jane Austen’s Pride and Prejudice, which is set in rural England in the late eighteenth century. Lastly, it connects the characteristics of Brown’s Landscape Garden, main features of which are spontaneity, naturalness, emphasis on sentiments and the symbol of liberty to the representation of the novel’s main characters, Elizabeth Bennet and Fitzwilliam Darcy, and their change and growth.
3
Stewart, Robert Scott, and Roderick Nicholls. "Virtual worlds, travel, and the picturesque garden." Philosophy & Geography 5, no. 1 (February 2002): 83–99. http://dx.doi.org/10.1080/10903770120116859.
Full text
4
Webster, Constance A. "Bonaparte's Park: a French picturesque garden in America." Journal of Garden History 6, no. 4 (October 1986): 330–47. http://dx.doi.org/10.1080/01445170.1986.10410549.
Full text
5
GROVES, STEPHEN. "The Sound of the English Picturesque in the Age of the Landscape Garden." Eighteenth Century Music 9, no. 2 (July 30, 2012): 185–212. http://dx.doi.org/10.1017/s1478570612000048.
Full textAbstract:
ABSTRACTIn eighteenth-century England, painting, poetry and gardening were often labelled the ‘sister arts’. An increasing interest in English landscape scenes and an emerging taste for ‘nature tourism’ gave rise to the ‘picturesque’ movement. Contemporary writers seldom considered English music as part of this ‘sisterhood’, however, or treated music as a medium for conveying national scenic beauty. When the picturesque was discussed in connection with music, eighteenth-century critics tended to use the concept to explain the tactics of novelty and surprise encountered in German instrumental music. Plays with regularity and expectation were analogous to the surprises and irregularities of picturesque ‘beauty spots’ – natural features studied and imitated by contemporary landscape gardeners. Accordingly, recent musicological studies of the picturesque have also preferred to emphasize its kinship with the unconventional or subversive formal schemas in instrumental music by German composers.This article addresses the silent aporia in this discourse: the apparent absence of any participation in the picturesque movement by composers from England, the country most closely associated with this aesthetic. Focusing on the pictorialism and pastoralism of eighteenth-century English song texts and their musical treatment, this article reveals previously ignored connections between the veneration of national landscape and English vocal music. In consequence, the glee – a decidedly marginal genre in traditional eighteenth-century music historiography – emerges at the centre of contemporary aesthetic concerns, as the foremost musical vehicle for the expression of a distinctively English, painterly engagement with national landscapes.
6
Garcia, Cecília Souza Gontijo, Patrícia Duarte de Oliveira Paiva, Schirley Fátima Nogueira da Silva Cavalcante Alves, and Mariel De Carvalho Rafael Salgado. "Transformations in the gardens and landscapes of the historical Traituba’s Farm." Ornamental Horticulture 23, no. 1 (January 24, 2017): 45. http://dx.doi.org/10.14295/oh.v23i1.953.
Full textAbstract:
The historic garden should be considered one that has cultural significance, being not only the squares and public gardens, but also its first manifests found in the form of orchard garden and vegetable garden in the historic farms of Brazil. Traituba’s Farm located in southern Minas Gerais, on the Royal Road route, is considered an important historical farm that emerged in the eighteenth century during the settlement process of this region. It was in the same period, that current rural landscape from southern Minas Gerais, composed of several other historic farms and the historic rural gardens began their formation process. The aim of this study was to conduct a historical and cultural rescue of the gardens and landscapes of the Traituba’s Farm. With this rescue, characterize and analyze their landscapes in their different ages, as well as identify and understand the main morphological changes of its gardens included in the architectural complex of the farm. This study focused on the period between 1725 and 2013. To trace the historical, cultural and landscape evolution, it was made researches through site visits, interviews, bibliographic and iconographic research, always following the principles of studies of historic gardens. Traituba’s Farm since its formation was always a region icon, because of its wealth, power and intense trade. Its landscapes have undergone many changes and are characterized initially as a pastoral model, then the bucolic and picturesque style, after the construction of the new farmhouse. With the decline of its activities, decades later the model that remained was the picturesque and pastoral as its origin. For a long time, its gardens were presented as orchards gardens and vegetable gardens with utilitarian characteristics, influenced by the Portuguese culture. Just in 1950s the front yard received a significant intervention and new species were planted where that the design can be seen until today. The significance of this paper is due to the historical value of the Traituba’s Farm, the magnificence of its architectural ensemble, peculiarity of gardens and landscapes, and great cultural representation in the region
7
MAKI, Rie, and Kana SEKIMOTO. "Shigemori Mirei's View on "Picturesque Garden Layout by Sesshu"." Journal of The Japanese Institute of Landscape Architecture 71, no. 5 (2008): 445–48. http://dx.doi.org/10.5632/jila.71.445.
Full text
8
Taylor-Leduc, Susan. "The Pleasures of Surprise: The Picturesque Garden in France." Senses and Society 10, no. 3 (September 2, 2015): 361–80. http://dx.doi.org/10.1080/17458927.2015.1130309.
Full text
9
Knudsen, Karin Esmann. "“It was a sweet view – sweet to the eye and the mind.” Jane Austen og det pittoreske landskab." K&K - Kultur og Klasse 45, no. 123 (August 29, 2017): 291–308. http://dx.doi.org/10.7146/kok.v45i123.96911.
Full textAbstract:
It is obvious in Jane Austen’s novels that she was interested in the ongoing debate of ’the picturesque garden’, and in all her novels the characters are discussing how to look at the landscape, how to ‘improve’ the estates according to certain rules, and how taste and moral are connected to each other. The picturesque garden is inspired by paintings from the 17th century by Claude Lorraine and Nicolas Poussin, and in that way a clear line can be drawn back to Theocritus and Virgil, who introduced topoi as ‘locus amoenus’ and the ‘pastoral’. This article is examining how the relation is between these topoi, which are ideal landscapes that only exist in literature and painting, and the discussions of the design of real physical landscapes of contemporary England. It is difficult to decide on which side Austen was in the discussions of the picturesque. The article concludes that Austen’s voice is to be heard in the narrative, the development of the characters, and that she ends up with an attempt to reach an authentic relationship with landscape and nature that foreshadows a romantic feeling of nature. An appendix shows the later reception of Austen’s relationship to landscape, by analyzing a scene from modern films based on Jane Austen’s novels.
10
Rychkov, Petro, and Nataliya Lushnikova. "Natural materiality: water as an active element of the gardens by Denis McClair at Volhynia." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 11, no. 2 (September 17, 2016): 52–62. http://dx.doi.org/10.35784/teka.547.
Full textAbstract:
The paper gives coverage to peculiarities of water elements application in landscape compositions created in 19th century by gardener of Dionizy Mikler (Denis McClair) at Volhynia. Being an ambassador of English landscape garden style in this region D. Mikler seamlessly integrated picturesque natural and artificial water components in the garden structure. There are considered the role and ways of interaction of water elements with the landscape compositions by giving examples of Polish landowner´s residences in Gorodok, Mizoch, Mlyniv and Shpaniv.
11
Condello, Annette. "‘Sybaris is the land where it wishes to take us’: luxurious insertions in Picturesque gardens." Architectural Research Quarterly 15, no. 3 (September 2011): 261–69. http://dx.doi.org/10.1017/s1359135511000807.
Full textAbstract:
Towards the end of the eighteenth century, the discovery of Pompeii attracted European aristocrats to include the Kingdom of the Two Sicilies (Southern Italy) on their Grand Tour itinerary. Similarly, Sybaris, an ancient Greek colonial polis also directed aristocratic attention to the region. French painter and engraver Jean-Claude Richard de Saint-Non and his entourage of architects most famously documented the ruinous Sybaris and exported its imagery back to France. In parallel with these developments, interest in recreating sybaritic images within luxurious Picturesque gardens arose. Drawing upon a pair of garden case studies, Monsieur de Monville's Broken Column House (1780–81) at Désert de Retz, Chambourcy, and Queen Marie-Antoinette's hameau (1783) within the Petit Trianon Gardens at Versailles, this paper examines the sybaritic images, their influences and the ethical values of the creators of these gardens. Monville and Marie-Antoinette were, for instance, charged of excess. This paper is concerned with the way in which these sybaritic places were configured and how they encapsulated a mythic Sybaris, and argues that the charges of excess levelled against their creators partly stemmed from the unusual and sybaritic effects to be found at their private entertainment gardens.
12
Zeng Wei. "POETIC AND PICTURESQUE IMAGINATION IN THE ART OF THE CHINESE CLASSICAL GARDEN." Acta Horticulturae, no. 999 (June 2013): 207–12. http://dx.doi.org/10.17660/actahortic.2013.999.28.
Full text
13
Dunaeva, E. N., A. V. Dunaev, and N. A. Martynovа. "Zones of the Botanical garden of the Belgorod University (Belgorod, Russia)." Journal of Native and Alien Plant Studies, no. 1 (December 28, 2021): 87–90. http://dx.doi.org/10.37555/2707-3114.1.2021.247477.
Full textAbstract:
The Botanical Garden of Belgorod University (National Research University (NRU) “BelSU”) is a unique scientific installation (USI) and performs scientific, educational and educational functions in the region by its employees. There are three zones within the boundaries of the Botanical garden: a Forest park, an Arboretum Park, and a Recreational zone. The Forest park, as an organic part of the complex ecotope of the Botanical garden, is a model of a forest-type community formed on chalk and loam underlain by chalk, and is used for sightseeing and walking purposes. The collection fund of the Arboretum Park is a scientific and educational base for students and postgraduates of the biological, pharmaceutical and geographical faculties of the National Research University «BelSU». The Recreational zone has no clear boundaries and potentially includes all the most picturesque places and likely walking routes. Such conceptual zoning contributes to the harmonization of the ecological environment of the Botanical garden.
14
Rashidova, Feruza Ulugbekovna. "The Technology Of Creating Topiary Compositions With The Participation Of Ornamental Shrubs - Frame Topiary In The “Green Art” Style." American Journal of Agriculture and Biomedical Engineering 03, no. 05 (May 22, 2021): 39–44. http://dx.doi.org/10.37547/tajabe/volume03issue05-08.
Full textAbstract:
To create a unique design on your sites, in parks, recreation centers, playgrounds, to create amazing entrance groups, you can use landscape figures - topiary. Using decorative figures, depending on your wishes and fantasies, you can create fabulous corners for children using the figures of fabulous characters; picturesque corners with animals, creating whole compositions: for example, using a family of bears, rabbits or roe deer, you get an exceptional view of your site, which will delight you and your guests throughout the whole season; cozy corners with benches, etc. The fashion for ornamental gardens, ponds and rocky slides will never disappear from our garden plots. Cutting shrubs and trees in the form of various shapes is now in vogue. Interest in topiary art today is starting to gain momentum more and more, exhibitions of landscape art cannot do without elements of topiary compositions.
15
Brook, Isis. "WILDNESS IN THE ENGLISH GARDEN TRADITION:A REASSESSMENT OF THE PICTURESQUE FROM ENVIRONMENTAL PHILOSOPHY." Ethics & the Environment 13, no. 1 (March 2008): 105–19. http://dx.doi.org/10.2979/ete.2008.13.1.105.
Full text
16
Olausson, Magnus. "FREEMASONRY, OCCULTISM AND THE PICTURESQUE GARDEN TOWARDS THE END OF THE EIGHTEENTH CENTURY." Art History 8, no. 4 (December 1985): 413–33. http://dx.doi.org/10.1111/j.1467-8365.1985.tb00182.x.
Full text
17
Gaete, Miguel A. "The Garden of Eden Revisited." Latin American and Latinx Visual Culture 4, no. 4 (October 1, 2022): 9–25. http://dx.doi.org/10.1525/lavc.2022.4.4.9.
Full textAbstract:
This article examines the view of South America as the Garden of Eden through the lens of three German romantic artists: Johann Moritz Rugendas, Otto Grashof and Carl Alexander Simon. I discuss some of their paintings and drawings of the jungles of Brazil and the forests of Chile, along with notes and entries from their travelogues, to determine the extent to which specific elements from the German Weltanschauung, together with a colonialist gaze, drove their depiction of South America. The general argument is that linkages between South America and paradise raised by German artists throughout the nineteenth century would not have meant a glorification of South American nature, as is usually maintained. On the contrary, they should be read as the conjunction of factors such as racial assumptions prompted by new scientific disciplines, a sense of cultural superiority, and an intense obsession with both the past and an idea of purity projected onto distant lands. This, in turn, would have been part of a series of appropriative discourses concerning regions beyond Europe, put into practice by German romantic explorers of the time. In this fashion, this essay proposes a reoriented interpretation of these artists and their work, challenging the prevalent idea that the development of romantic landscape painting in South America was almost entirely determined by European aesthetic trends such as the sublime and the picturesque.
18
Chernyshev, Denys, Yulia Ivashko, Dominika Kuśnierz-Krupa, and Andrii Dmytrenko. "Role of natural landscape in perception of Ukrainian sacral architecture monuments." Landscape architecture and art 17 (March 14, 2021): 13–21. http://dx.doi.org/10.22616/j.landarchart.2020.17.02.
Full textAbstract:
The article analyses the impact of natural environment on the creation of a Christian church design, as an example, reviews the Orthodox architecture of Ukraine – historical and contemporary one. From time immemorial, Orthodox churches were erected in the most picturesque places – on high hills, steep banks, near rivers and lakes – so that the temple was reflected in the water surface. A typical example is the historical silhouette of the steep right bank of Kyiv, formed by many churches, cathedrals and monasteries located along the edge of the hilly shore. If temples in the urban environment were constrained by the conditions of dense quarterly development (the principal cathedrals and monasteries were an exception), then the peculiarity of the remote suburban monasteries – the hermitages – was precisely the creation of nature and architecture picturesque combination. At the monasteries, parks, gardens and flower beds were created, artificial lakes were arranged. During the domination of the atheistic ideology, temple construction was in decline, most of the cathedrals, churches and monasteries were destroyed or redesigned under the socialist functions of clubs, museums of atheism, schools and storages. The contemporary course in the creation of new Orthodox churches is aimed at restoring the lost sequence in the church building. In this case, particular attention is paid to the natural environment: churches are built in park areas, in forest parks, on the banks of lakes, surrounded by flower beds. The relevance of the study is explained by the presence in Ukraine of a large number of Orthodox churches – both architectural monuments and newly built, which are traditionally surrounded by gardens, parks and flower gardens as symbols of their non-earthly purpose, the image of the Garden of Eden. Therefore, during the restoration and new construction of such objects, it is necessary to understand the features of the сhurch landscape design, which has been formed and improved over the centuries.
19
Roosevelt, Priscilla R. "Tatiana's Garden: Noble Sensibilities and Estate Park Design in the Romantic Era." Slavic Review 49, no. 3 (1990): 335–49. http://dx.doi.org/10.2307/2499982.
Full textAbstract:
In “Baryshnia-krestianka” Aleksandr Pushkin introduces us to Grigorii Ivanovich Muromskii, a “nastoiashchii russkii barin” reduced to living on his one remaining estate, who squanders his remaining wealth creating an “Angliiskii sad.” The gardening revolution of eighteenth century England, inspired by the overgrown ruins of Rome and Naples and by a new feeling for untrammeled nature, set in motion a vogue for informal, picturesque landscaping that swept across Europe, altered garden design in the United States, and reached Russia in the reign of Catherine as the harbinger of a later, more pervasive aristocratic Anglomania. As Muromskii's landscaping proclivities suggest, by the early nineteenth century the English or “irregular” garden had become a universal form for the Russian country estate, its basic motifs carried out on whatever scale an estate owner could afford.
20
Cooperman, Emily T. "Belfield, Springland and early American picturesque: the artist's garden in the American Early Republic." Studies in the History of Gardens & Designed Landscapes 26, no. 2 (April 2006): 118–31. http://dx.doi.org/10.1080/14601176.2006.10435944.
Full text
21
van Oostveldt, Bram. "Ut pictura hortus/ut theatrum hortus: Theatricality and French Picturesque Garden Theory (1771-95)." Art History 33, no. 2 (April 2010): 364–77. http://dx.doi.org/10.1111/j.1467-8365.2010.00749.x.
Full text
22
Conforti, Claudia, Fabio Colonnese, Maria Grazia D’Amelio, and Lorenzo Grieco. "The Critical Agency of Full-Size Models, from Michelangelo and Bernini to the Picturesque Garden." Architectural Theory Review 24, no. 3 (September 1, 2020): 307–26. http://dx.doi.org/10.1080/13264826.2021.1925716.
Full text
23
Lavin, Sylvia, and Claude-Henri Watelet. "Sacrifice and the Garden: Watelet's "Essai sur les jardins" and the Space of the Picturesque." Assemblage, no. 28 (December 1995): 16. http://dx.doi.org/10.2307/3171447.
Full text
24
Paden, Roger. "The Ethical Function of Landscape Architecture." Environmental Philosophy 15, no. 2 (2018): 139–58. http://dx.doi.org/10.5840/envirophil201841766.
Full textAbstract:
This essay presents a theory of aesthetics for landscape gardening based on Karsten Harries’s theory of the ethical function of architecture. It begins with an attempt to understand Horace Walpole’s praise of William Kent’s contribution to the development of “the modern taste in gardening,” according to which Kent was largely responsible for achieving the progressive revolution in landscape architecture that produced the picturesque style of English landscape gardening. After examining Harries’s theory, the essay discusses whether landscape architecture can produce works of art and examines several historically-important garden styles to argue that it can. Finally, it discusses problems inherent in Modern and Postmodern landscape architecture.
25
Lee, Myeong-Jun, and Jeong-Hann Pae. "Modern Vision in the 18~19th Century Garden Arts - The Picturesque Aesthetics and Humphry Repton's Visual Representation -." Journal of the Korean Institute of Landscape Architecture 43, no. 2 (April 30, 2015): 30–39. http://dx.doi.org/10.9715/kila.2015.43.2.030.
Full text
26
Lu, Sa. "The Role of Taoism in the Development of Images of Gardens and Parks in Chinese Art." Человек и культура, no. 5 (May 2022): 106–16. http://dx.doi.org/10.25136/2409-8744.2022.5.38677.
Full textAbstract:
The article reveals the role of Taoism in the development of images of gardens and parks in Chinese art. Taoism is considered as a spiritual component of the traditional culture of China, affecting all spheres of human essence, including its expression in the visual arts. The problem of this study is to show how the Taoist ideas about man and the world around him were expressed in the works of landscape painting of the V–XIV centuries, when both the formation and development of the art of depicting nature and the formation of the fundamental principles of landscape planning took place. Both phenomena of Chinese culture were obviously influenced by Taoism, so the focus is on picturesque images of gardens and parks and the means of their artistic embodiment, which were formed as a result of the influence of philosophical and religious ideas. The purpose of the publication is the stylistic and semantic analysis of Chinese medieval landscapes depicting garden and park ensembles and elements formed under the influence of Taoist aesthetics. Such a perspective should enrich Russian science with new information about the formation and enrichment of the figurative series in the landscapes of Chinese masters over a long period of time, as well as evaluate the originality of their visual interpretation of philosophical and aesthetic ideas. This will allow us to see how the images of gardens and parks conveyed through the symbolism of images the inner world of a person and the authors themselves, how the ideas of the Taoists associated with these images manifested themselves not only in the subject of paintings, but also in an artistic form.
27
Balmori, Diana. "Architecture, Landscape, and the Intermediate Structure: Eighteenth-Century Experiments in Mediation." Journal of the Society of Architectural Historians 50, no. 1 (March 1, 1991): 38–56. http://dx.doi.org/10.2307/990545.
Full textAbstract:
In eighteenth-century England, formal neoclassical buildings began to be coupled with landscape settings that expressed a contrasting aesthetic based on chance, intuition, informal ordering, and local accommodation. At the same time, the relationship between art and nature was being reevaluated. The divergence of styles for architecture and landscape posed a critical challenge for eighteenth-century architects and designers. Chief among the strategies used by eighteenth-century practitioners to meet this challenge was the "intermediate structure"-an architectural entity such as hermitage, grotto, or artificial ruin set into the landscape in order to articulate the relationship between art and nature, and between divergent architectural and landscape languages. Alexander Pope and William Kent developed influential versions of the intermediate structure-Pope in his grotto at Twickenham, and Kent in his garden buildings at several country houses. The role of these structures was undermined, however, in the later eighteenth century, when the links between architecture and landscape were further suppressed by Brownian landscaping and by the development of the Picturesque, which sought to conceal human interventions in the landscape. The connection between architecture and landscape as parts of one aesthetic composition was broken, and it has remained so until today.
28
Chekmarev, Vladimir. "History of Ahtyrki Manor Complex Formation." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 161–71. http://dx.doi.org/10.36340/2071-6818-2019-15-4-161-171.
Full textAbstract:
The article concerns the formation of the manor complex of Akhtyrka in the context of the development of Russian estate culture of the early XIX century. Based on textual and graphic materials, the author makes an attempt to clarify the features of the planning structure and the figurative and artistic originality of the estate, formed in the 1820s. The new manor complex was located on the picturesque steep slope of the left bank of the river Vorya, that was specially blocked to create very vast ponds, effectively edged with landscape and regular parts of the park. All elements of manor buildings corresponded to the style of late Moscow classicism, in particular, the architectural work of D. Gilardi. The central elevated part of the palace was crowned with a dome, and its garden façade was accented by a semi-secular terrace located in the center. Its northern facade was accented by a six-columned portico with a pediment decorated with the stucco coat of arms of the Princes Trubetskoy. On the north side, an extensive front yard was approaching the building, which in plan was close to the shape of a square. In its central part there was a pool with a fountain, around which roses and many other no less bright colors grew along symmetrically laid paths. The formation of the park fully met the general planning plan developed by one of the outstanding masters of landscape gardening art. On the lithographs dated 1st half of the XIX century by an unknown artist called “View of the village of Akhtyrki, owned by Prince Ivan Nikolaevich Trubetskoy. From Moscow - 60, and from Khotkovo in 3 versts ” this newly created complex is represented by picturesque ponds. Here we find their asymmetric shores, elegantly drawn, the bridge, the vast landscape park, the alleys and the very long volume of the main manor house, which rises spectacularly over the entire surrounding area. In front of the southern facade of the main house, a vast meadow was built on the relief smoothly lowering to the ponds. Near the building itself, birch trees flanked it, and from the east and west there were straight avenues planted only with lindens. At the coastline, we notice asymmetrically planted cypress trees together with shrubs. In 1924, the manor house burned down, which entailed the complete liquidation of the estate complex.
29
Choupina, António. "Des yeux qui ne voient pas." Sophia Journal 5, no. 1 (December 1, 2020): 86–89. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_08.
Full textAbstract:
I must confess that – due to a broken foot – my enchantment with nature was somewhat faded. Staring at these photographs became an almost cathartic experience, serenity washing over in a dream, renewing a passion for the universe that created architecture and that, in turn, is recreated by it. If the Boa Nova Tea House were like Saramago’s stone raft, adrift in a vast ocean, then the Serralves Museum would be like one of Cesário Verde’s bucolic poems, bathed in idyllic foliage. From the very first page, one discovers the building romantically dressed in seasonal vegetation, enveloped in a curtain of greenery, which drapes leaves as floating water lilies and droplets of rain. Distant windows seem to emerge beyond the sumptuous filter, manipulating a type of picturesque nostalgia: the primitive longing for a Garden of Eden or the simple magic of a child playing outside. Having planted an oak tree in Serralves, this interpretation might be biased by my own boyish recollections or, perhaps, the landscape architect was just prone to episodes of refined apophenia. João Gomes da Silva was invited by Álvaro Siza to help mediate the relationship with Jacques Gréber’s 1932 designs, supposedly inspired by the geometries of Versailles. Having planted an oak tree in Serralves, this interpretation might be biased by my own boyish recollections or, perhaps, the landscape architect was just prone to episodes of refined apophenia. João Gomes da Silva was invited by Álvaro Siza to help mediate the relationship with Jacques Gréber’s 1932 designs, supposedly inspired by the geometries of Versailles. When Siza’s Alhambra project was exhibited here, in 2017, I pointed out that Gréber’s octagons and waterlines were connected to Granada – like those of Luis Barragán or Louis Kahn. In fact, all of Serralves can be viewed as a modern-day Alhambra and not because of its embellished gardens, protected by a stone wall, but because of its sequencing of spaces, of light and shade. [...]
30
Carter, Rand, John Dixon Hunt, and Charles-Joseph de Ligne. "Gardens and the Picturesque." Eighteenth-Century Studies 28, no. 2 (1994): 267. http://dx.doi.org/10.2307/2739207.
Full text
31
Batey, Mavis. "Two Romantic Picturesque Flower Gardens." Garden History 22, no. 2 (1994): 197. http://dx.doi.org/10.2307/1587027.
Full text
32
Yazdani, Nasim. "The Effects of Cultural Background and Past Usage on Iranian- Australians’ Appreciation of Urban Parks and Aesthetic Preferences." Landscape Online 70 (June 28, 2019): 1–14. http://dx.doi.org/10.3097/lo.201970.
Full textAbstract:
To understand how newcomers and established immigrants perceive cultural landscapes that have been imbued with a nationality’s cultural meanings and heritage, exploring the cultural background and landscape myths and values of that immigrants’ community can be a starting point. Examining whether immigrants perceive or prefer those values in a new landscape setting requires a wider understanding of immigrants’ activities, preferences, and expectations.The present paper aims to investigate how Australian urban park landscape settings may be perceived by Iranian immigrants in terms of having aesthetic attributes, and how they use these spaces. It approaches the issue of immigration and park experiences through seeking the links between park settings and the way immigrants see and interpret them based on their cultural, social, and geographical backgrounds. It particularly focuses on Iranian immigrants and Iran’s cultural landscape to explore different views of constructed natural landscapes and their effects on park usage and aesthetic preferences. This study explores how the icons of Iranian cultural landscape (Persian garden), urban park design, and past park use patterns of these immigrants may mediate interactions with new park environments, and how they may contribute to evoke a ‘sense of aesthetic’. It applies survey questionnaire, semi-structured indepth individual interview, and Q methodology with photographs as research methods, and employs theories of ‘place’ and ‘landscape visual characters’ to explore park usage and aesthetic preferences in both contexts: Iran and Australia.Findings of this study highlight the preference of undertaking ‘passive activities’ in urban park landscapes by Iranian research participants and demonstrate that they highly admire the aesthetic and picturesque aspects of Australian park landscapes. However, they miss the characteristics of Iran’s parks as well as the recreational, social, and sporting activities they used to carry out there.
33
Buma, Donald R. "Gardens and the Picturesque. By John Dixon Hunt." Environmental History Review 18, no. 2 (1994): 111–13. http://dx.doi.org/10.2307/3984807.
Full text
34
Рожак-Литвиненко, Ксенія Богданівна, and Анастасія Андріївна Бережна. "Види квіткового оформлення." Theory and practice of design, no. 23 (December 22, 2021): 150–60. http://dx.doi.org/10.18372/2415-8151.23.16282.
Full textAbstract:
У роботі піднімається питання різновиду квіткового оформлення у населених пунктах, в результаті дослідження розкриті основні чинники, від яких залежить якісний стан квітників. Були знайдені найбільш оптимальні форми оформлення квітників. Проаналізовані сучасні тенденції формування різноманітних видів квіткових та орнаментальних композицій, що використовуються у дизайні сучасних інтер’єрів, обговорюються історичні передумови декоративного та лісового садівництва, овочівництва, нові напрямки вирощування декоративних рослин, актуальні аспекти квіткового оформлення. Обґрунтована необхідність використання кімнатних рослин в інтер’єрах. З’ясовано, що при проектуванні квітників необхідно враховувати закони композиції і кольорознавства, обирати асортимент квітково-декоративних рослин з урахуванням безупинного цвітіння з ранньої весни до пізньої осені. Визначено, що основними елементами квітково-декоративного оформлення є: регулярні квіткові композиції і квітники, ландшафтні і абстрактні композиції і виставково-експозиційні об`єкти.У роботі окреслено наступні проблеми: варіації оздоблення, типи клумбових рослин, завдання озеленення, історія клумбових рослин.Розглянуто квіткове оформлення міст яке дає швидкий і ефективний естетичний результат, сучасні тенденції використання квітково-декоративних композицій: раціональність і доцільність розташування, створення яскравих акцентів у ландшафті міста. Основна маса квіткових композицій концентрується у загальноміському центрі, центрах житлових районів, місцях частого відвідування – парках, садах, скверах і т. п. Квітково-декоративне оформлення міського середовища підкоряється законам колористики, композиції, флористики, санітарно-гігієнічним вимогам.Представлено, що введення у міський ландшафт елементів живописності і природності досягається по типу природних, в яких композиційне рішення і асортимент рослин схожі на природне. До природних мотивів можна віднести квітучі і декоративно-листяні рослини у сполученні з компонентами природного ландшафту (кам`янистими матеріалами скельного і валунного типів, водоймами, геопластикою природного характеру, садовими формами живописної конфігурації).Виявлено, що при комплексному вирішенні квіткового оформлення в архітектурному середовищі враховуються: стильове архітектурне рішення будівель і споруд, характер декору фасадів, їх кольорове рішення, кольорові, композиційні і конструктивні особливості малих архітектурних форм, елементів міського дизайну, матеріал і колір дорожного покриття та ін. The paper raises the issue of the variety of flower decoration in settlements, as a result of the study revealed the main factors on which the quality of flower beds depends. The most optimal forms of flower garden design were found. The modern tendencies of formation of various kinds of flower and ornamental compositions used in design of modern interiors are analyzed, historical preconditions of ornamental and forest gardening, vegetable growing, new directions of cultivation of ornamental plants, actual aspects of flower registration are discussed. The need to use houseplants in interiors is justified. It was found that when designing flower beds, it is necessary to take into account the laws of composition and color, choose the range of flowering and ornamental plants, taking into account the continuous flowering from early spring to late autumn.The purpose of the study: to identify the main types of floral design that are used most often. It is determined that the main elements of floral and decorative design are: regular flower arrangements and flower beds, landscape and abstract compositions and exhibition and exhibition objects.The following problems are outlined in the paper: variations of decoration, types of club plants, landscaping tasks, history of flower plants.The floral design of cities which gives fast and effective aesthetic result, modern tendencies of use of flower-decorative compositions are considered: rationality and expediency of an arrangement, creation of bright accents in a city landscape. The bulk of flower arrangements are concentrated in the city center, residential centers, places to visit — parks, gardens, squares, etc. Floral decoration of the urban environment is subject to the laws of color, composition, floristics, sanitary and hygienic requirements.It is presented that the introduction of elements of beauty and naturalness into the urban landscape is achieved by the type of natural, in which the compositional solution and range of plants are similar to natural. The natural motifs include flowering and ornamental deciduous plants in combination with components of the natural landscape (rocky materials of rock and boulder types, ponds, natural geoplastics, garden forms of picturesque configuration).It is revealed that the complex solution of flower design in the architectural environment takes into account: stylistic architectural solution of buildings and structures, the nature of facades, their color scheme, color, compositional and design features of small architectural forms, urban design elements, material and color of pavement, etc.
35
Robinson, Sidney K. "Picturesque Anticipations of the Avant-Garde and the Landscape." Landscape Journal 10, no. 1 (1991): 12–15. http://dx.doi.org/10.3368/lj.10.1.12.
Full text
36
Ross, Stephanie, and John Dixon Hunt. "Gardens and the Picturesque: Studies in the History of Landscape Architecture." Journal of Aesthetics and Art Criticism 52, no. 2 (1994): 250. http://dx.doi.org/10.2307/431178.
Full text
37
Major, Judith K., and John Dixon Hunt. "Gardens and the Picturesque: Studies in the History of Landscape Architecture." Journal of Architectural Education (1984-) 48, no. 1 (September 1994): 67. http://dx.doi.org/10.2307/1425311.
Full text
38
Major, Judith K. "Gardens and the Picturesque: Studies in the History of Landscape Architecture." Journal of Architectural Education 48, no. 1 (September 1994): 67–69. http://dx.doi.org/10.1080/10464883.1994.10734624.
Full text
39
Sik, Sarah. "Water Lilies Among the Wheat Fields." Journal of Japonisme 1, no. 1 (January 4, 2016): 93–121. http://dx.doi.org/10.1163/24054992-00011p06.
Full textAbstract:
While John Scott Bradstreet’s introduction of the Japanese jin-di-sugi method of woodworking at the Minneapolis Craftshouse has been well chronicled, his work in the more ephemeral arena of Japanese gardening has not been similarly illuminated. This article considers Bradstreet’s activities as a Japanese gardener in the context of his eleven trips to Japan, examining three gardens in Minneapolis. The broader context of the introduction of Japanese gardens to the American public at World’s Fairs is also considered, along with the development of a critical perspective among design reform advocates who discriminated between an educated approach informed by the history and symbolism of Japanese gardening, versus the popular Japoniste fad for picturesque effects.
40
Kempe, Deborah. "GARDENS AND THE PICTURESQUE: STUDIES IN THE HISTORY OF LANDSCAPE ARCHITECTURE. John Dixon Hunt." Art Documentation: Journal of the Art Libraries Society of North America 12, no. 1 (April 1993): 35. http://dx.doi.org/10.1086/adx.12.1.27948526.
Full text
41
ROSS, STEPHANIE. "John Dixon Hunt, Gardens and The Picturesque: Studies in The History of Landscape Architecture." Journal of Aesthetics and Art Criticism 52, no. 2 (March 1, 1994): 250–51. http://dx.doi.org/10.1111/1540_6245.jaac52.2.0250.
Full text
42
Kim, Min-Ji. "A Study of the Picturesque Aesthetic as a Heterotopia: Focusing on English Landscape Gardens." Journal of Aesthetics & Science of Art 67 (October 31, 2022): 6–30. http://dx.doi.org/10.17527/jasa.67.0.01.
Full text
43
Markova, Оlena M. "phenomenon of musicality in expressiveness of V. Kandinskyi canvases." Linguistics and Culture Review 5, S2 (July 29, 2021): 303–16. http://dx.doi.org/10.21744/lingcure.v5ns2.1354.
Full textAbstract:
The radicalism of the picturesque aspirations of modern and avant-garde style was fed by overcoming the statics of this art form and the subject specify of the expression. Ideal and temporary nature of the music presented the source of this sort expressiveness, which to the ful was used by V. Kandinskiy. His music preparation, subsequently friendship with A. Schoenberg promoted the corresponding to creative choice, which he has done the declaration of the abstract art and projection music sign to compositions and acceptance in graphic sphere. Kandinskiy rested in achievements post-impressionism – post-symbolism, in which are presented “washed away” in scene, not clearly given image. The music elements painting Kandinskiy realized as independence of the colour and symbolic elements in compositions. In this work is made analysis of linen “Composition II”, “Improvisation 8” and “Improvisation IV”. It is attention to symbology Roman and Arabic numerals, presented in name, which put into composition of the picturesque linen to associations with conditional image types of the music sound. The special accent is made on analogy of the symmetries of the distribution colorful heel and line to ?rchytonic construction of the music forms.
44
Wulandari, Retno, Roso Witjaksono, and Ratih Inekewati. "Community Participation in the Development of Urban Farming in Yogyakarta City." E3S Web of Conferences 232 (2021): 01024. http://dx.doi.org/10.1051/e3sconf/202123201024.
Full textAbstract:
The optimal yard utilization would support the family’s food independence a well-managed yard will provide benefits in improving family food self-sufficiency, nutrition, increasing family income, and making a beautiful, picturesque, and comfortable home environment. Efforts to build family food security in urban areas can be carried out through yard utilization on a narrow land. This study aims to determine the urban yard utilization and the members’ participation in it. The research was conducted in Bausasran Subdistrict in Yogyakarta City, employing a descriptive analysis method with 40 samples of Women Farmer Groups’ members. The research results revealed that community participation in urban yard utilization activities was classified as active. The community’s active participation was indicated by the existence of “Kampung Sayur Bausasran”, developed by establishing nursery gardens, creating group gardens, making vegetable aisles, cultivating medicinal plants, cultivating horticultural crops, and catfish farming. Vegetable villages can provide good results for community economic empowerment if managed optimally.
45
Alekseeva, Tetiana. "The objects of Nature Reserve Fund of Poltava oblast as a factor of ecological tourism development." Scientific Herald of Chernivtsi University. Geography, no. 824 (January 30, 2020): 48–54. http://dx.doi.org/10.31861/geo.824.2020.48-54.
Full textAbstract:
The feature of present time is a sharp deterioration of environmental quality, so it is important to form the population with careful attitude to nature. The efficient approach of influence on the people’s consciousness is ecological tourism that is spreading in many countries. Its development in Ukraine is closely connected to environmental areas. That’s why the Nature Reserve Fund for ecological tourism development question is interesting and socially important. At one time, the contribution to the development of ecological tourism was made by domestic and foreign scientists. In this way works of A. S. Kuskov considered the main tasks of ecological tourism and requirements for work. O. Dmytruk defined principles, functions, and integration foundations of ecological tourism. V. V. Khrabovchenko studied the question of origin and development of ecological tourism and analyzed the phenomena of ecological tourism as a factor of stable development. General theoretical and practical aspects of recreational nature management in Ukraine were covered by K. Y. Kilinska, V. M. Rudenko, N. P. Anipko, N. S. Andrusiak, N. I. Konovalova. The foreign scientists B. Dzhons, R. Bakli, H. Lofman developed the conception of ecological tourism. The each region has its own specific conditionals of development of ecological tourism. Among them is the Natural Reserve Fund. The aim of this work is to study the objects of Poltava Regional Natural Reserve Fund as factors of ecological tourism development. The paper used the domestic and foreign geographical sources and methods: descriptive, analytical, synthesis, comparison, deduction, graphic, cartographic and others. Nowadays there are in existence several definitions of the concept ecological tourism. The Ukrainian scientist O. Beidyk thinks ecotourism is a recreational activity which has the least impact on the natural environment. The ecological routes are applied for different purposes: recreational, educational and upbringing, gaining the emotional impressions from communication with nature etc. The Nature Reserve Fund – is a territories and objects which have a special protective, scientific, recreational and other value. They are created for saving the natural diversity, maintaining the general ecological balance and environmental monitoring. Ukraine has 11 categories of nature-reserved objects. All of them differ in potential needed for ecological tourism development. There are 384 objects in Poltava oblast. They make up 4,95% of a the total area of the region. Among them there are 178 partial reserves, 2 national natural parks, 5 regional landscape parks, 137 natural monuments, 2 dendrological parks, 1 botanic garden. The partial reserves are one among the most numerous environmental objects of Poltava oblast. They are created to maintain the ecological balance and to save biological kinds and natural complexes. Botanical, landscape, geological, hydrological, forest partial reserves of Poltava oblast are picturesque areas around coasts of rivers where the plants are well preserved. The environmental legislation still has not provided them for recreational use. Natural monuments are a big category of environmental objects that have protective, scientific, cognitive, cultural, and recreational value. The most promising for tourism developing are complex, botanical, geological and hydrological natural monuments. They can be attracted to make ecological routes, or be used for educational and upbringing purposes. A large value for ecological tourism development has regional landscape parks that are created to save natural complexes and objects to provide the conditions for rest of population. The main functions of regional landscape parks are protective, defense the culture and history memorabilia, recreational and educational. Among of such objects Dykan regional landscape park that saves age-old broadleaf forests. The regional landscapes Kremenchuk Plains park is located within the floodplain and island of Dnipro (Zelenyi and Shalamai) has a lot of opportunities for making of ecologically oriented routes, organizing excursions for pupils and students. Protect tracts are characterized by considerable potential for development of ecological tourism, but the legislative mechanism to use them are still unregulated. The dendrological parks are made to save different kinds of trees and shrubs for the most efficient scientific, cultural, recreational, educational use. So their resources are actively attracted to organization of tourist activity. In this way, the ecological tours are done in the Ustimov dendrological park, where visitors can become familiar with its interesting history and variety of plants. So, environmental territories and objects play a big role for development of ecological tourism in Poltava oblast. The resource of national landscape parks are attracted to the most to recreational activity. The cognitive direction of ecological tourism is the most important for dendrological parks, natural monuments, botanical gardens of Poltava oblast. This gives them special educational and upbringing value. The organization of tourist activities within the protected tracts and environmental areas can still be considered (with some exceptions) as a potential task.
46
dos Santos, Joaquim Manuel Rodrigues. "Reshaping the Urban Space in Portuguese Fortified Cities." Journal of Urban History 43, no. 1 (August 3, 2016): 53–69. http://dx.doi.org/10.1177/0096144214566960.
Full textAbstract:
In the early nineteenth century, the (obsolete) Portuguese urban fortifications were frequently ruined and suffering from a gradual desertion around them. With the emergence of patrimonial concerns, those defensive structures began being considered as historical and cultural monuments. As a result, the isolation of these monuments became a common practice that often created public green areas (gardens and parks) framing monuments, giving them a picturesque image. The consequences of these rehabilitation actions on urban fortifications in Portugal are analyzed here, focusing particularly on those that created new public green spaces within and around urban areas. In fact, the shape of several Portuguese cities was conditioned by those interventions: not only were breathing areas conceived in the middle of dense urban masses, allowing their fruition by local populations, but also some ancient urban belts associated with former defensive needs were recovered by those interventions.
47
Lwin, Zaw, and M. P. Sharma. "Environmental Management of the Inle Lake in Myanmar." Hydro Nepal: Journal of Water, Energy and Environment 11 (July 9, 2012): 57–60. http://dx.doi.org/10.3126/hn.v11i0.7164.
Full textAbstract:
The Inle Lake, the second-largest lake in Myanmar, is located in Shan State in Myanmar. More than 170,000 people inhabit the lake and its surroundings, and their main business is agriculture with the fl oating gardens. Due to its picturesque siting and diverse fauna, combined with the unique lifestyles and traditions of human inhabitants, the lake is considered as one of the primary tourist destinations in Myanmar. The Inle is not only designated as the 190th World’s Eco-region but also nominated as one of the fresh water biodiversity hotspots. Since the last decade, the lake has been facing serious threats due to natural and man-made pressure leading to the deterioration of its water quality and shrinkage of the open water area. According to the assessment of its water quality in 2012, the trophic state index of the Inle Lake is found to be in the range of eutrophication.The present paper aims to identify the problems based on data collected from the lake authorities and prepare a management plan for its conservation. The estimated cost is 31.18 million US$ and is expected to improve the lake health signifi cantly, if the conservation plan is implemented by the government in the true sense.DOI: http://dx.doi.org/10.3126/hn.v11i0.7164 Hydro Nepal Vol.11 2011 pp.57-60
48
Thu, May Theint. "ICT skills and challenges faced by high school teachers of Inle Lake located in the Nyaungshwe township of Shan State in Myanmar." Journal of Green Learning 2, no. 1 (June 28, 2022): 29–37. http://dx.doi.org/10.53889/jgl.v2i1.102.
Full textAbstract:
In western Shan State of Myanmar, there is a picturesque lake, famous for its floating villages and gardens and the unique way of life of the local Intha people, with their living communities based entirely on the water. The present survey research was aimed at identifying the ICT facilities, skills, usage, and the problems faced by the high school teachers of basic education while using ICT. The population of the study comprised the teachers of 17 Inle villages. Instrument was developed by the first author. About 102 state high school teachers were selected from three government high schools. Descriptive statistics were used to analyze the data. The findings revealed that only some of the teachers have computers and Internet facilities at home and school. They are expert at simple skills like searching and browsing internet, social networking, and MS word but are less skilled or poor on other skills like using MS access, discussion forums/blogs and Windows file management. Teachers spend more time on computers for academic and other purposes than for recreational purpose. They believe that the use of ICT supports their learning, lack of technical support at home and at school, load shedding at home and at school and signal problem in Internet at home and are the problems faced by most of the teachers. Thus, the government high schools should invest more on improving the infrastructure to address the ICT related problems of teachers at the schools.
49
Čengić, Almedina. "ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS." Knowledge International Journal 28, no. 7 (December 5, 2018): 2361–65. http://dx.doi.org/10.35120/kij28072361a.
Full textAbstract:
The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.
50
Perperi, A. A., N. M. Yavorskaya, and P. V. Yavorskyy. "RESEARCH OF GEOMETRY IN THE ARCHITECTURE OF ANTONIO GAUDI." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 312–21. http://dx.doi.org/10.31650/2519-4208-2020-20-312-321.
Full textAbstract:
Exploring the work of Antonio Gaudi and his knowledge in descriptive geometry, which develops a spatial imagination, we notice the use of lines, shapes, volumetric geometric images in architectural creativity. In his early work, Antonio Gaudi designs buildings under the influence of the Moorish style, using geometric shapes and lines that emphasize Arabic motifs in the patterns. So in the house of Vissenty, made in the style of modernism, he applied the idea of a self-repeating element of a simple form toa more complex one. In a fragment of the gallery of the city park Guell, which is an example of the urban style, Gaudi used the transformation of one surface to another, while showing the smoothness of lines and the accuracy of surface construction and without violating their regularity.Combining various forms in one building or structure, Gaudi perfectly mastered the geometry of the curved lines of the second and third order in space. To achieve a similar effect of shaping, scientists tried in the 60s of the XX century by constructing curved lines and Bezier surfaces. Gaudi achieved a similar effect of shaping in a practical way.n his work, he used cylindrical, conical and spherical surfaces that smoothly passed one into another, as well as the surfaces of Catalan: a hyperbolic paraboloid, conoid, cylindroid. In creating volumetric interior plastic, the curved lines with a kinematic movement created bizarre shapes of the ceiling, smoothly turning into other geometric shapes of the walls.The staircasein one of the towers of the Sagrada Familia is a geometric image of a helicoid, where a complex geometric shape is taken as the generatrix, and the guides are two helises -cylindrical helical lines of different radii.In the geometric construction of a direct or inclined helicoid, it is necessary to have two guides and a movement step, which can be set mathematically. In any case, such a surface remains one of the most unique in nature because the helicoid is a minimal surface.Park Guell is located in Barcelona on the Carmel hill, an area of 17.2 hectares. It was built in the first half of the last century. The customer, who was Eusebi Güell.He huge park complex includes a territory with residential buildings and comfortable relaxation areas, amazing picturesque gardens, quaint shady alleys, multi-tiered terraces, colorful flower arrangements, winding grottoes and gazebos.Working on a park project, Gaudi was inspired by the beauties of the surrounding nature of the Carmel Upland and its picturesque landscapes. In the project, walking paths stretched across the entire park, the mountains were not specially cut from the terrain to emphasize the natural landscape of nature.Necessary for the construction of the elements of the park: poles and beams, were decorated under palm trees. Despite the fact that the height difference was 60 meters, the master skillfully beat the landscape with bizarre forms, emphasizing the desire of a person from simple to sublime.If you delve into history, you can see that the construction work is divided into three stages: the strengthening of hills and slopes with the arrangement of terraces for curved paths and the erection of walls; the construction of a colonnade, a market and mansions; building a bench in the shape of a snake. To date, all the facilities of the complex have been preserved in their original form. At the entrance to the park there are two houses resembling fabulous gingerbread houses, the walls of which arelined with ceramic fragments. The facade of eachhouse is decorated with a medallion with the inscription “Park Guell”. In Gaudi’s work, the “hundred columns” hall, which is inscribed in the landscape of the hill, is a terrace with 86 columns of 6 meters each. These columns support a ceiling with a bizarre shape of complex geometric surfaces of revolution. The plastic of the ceiling vault is made of modern concrete of the time, the decoration of which is made of ceramic in the form of a mosaic. In practical work, Antonio Gaudi took a self-repeating algorithm that developed in space in the form necessary for his design. Gaudi perfectly mastered the skills and knowledge of the discipline called Descriptive Geometry. Developing the spatial imagination, this discipline offers us all kinds of lines, geometric shapes and three-dimensional bodies, for the embodiment of the ideas of masters of architecture, one of which is Antonio Gaudi.