Rozprawy doktorskie na temat „GARDEN”

Denna slutreflektion beskriver mitt arbete med mitt kandidatarbete samt mina tankegånger under och efter projektet samt hur jag arbetat, de problem jag stött på och hur jag löst dem. Delarna av denna reflektion är först en beskrivning av vad jag gjort, därefter en beskrivning av hur detta projekt var tänkt att fungera. Den tredje delen är en beskrivning av hur jag arbetat under projektet, baserat på mina veckorapporter. Den fjärde delen är själva reflektionen och den beskriver mitt arbete i mer detalj samt mina tankar och funderingar och hur jag löst de problem som uppstått. Den sista delen är ett slutord där jag sammanfattar mina tankar om utbildningen och mitt projekt jämfört med de liknande spel som finns idag samt mina tankar kring genren i allmänhet.
• Detta är en reflektionsdel till en digital medieproduktion.

Bone Garden is a collection of poetry that inspects interpersonal communication and an often misguided sense of connection with others. Through investigations of memory, disaster, aging, and gender, the collection depicts a world in which many of us fruitlessly search for empathy and a sense of solidarity. Leading this investigation is a narrator whose frustrations with isolation often result in passive aggressive behavior or violence that furthers her separation from others. Bone Garden proposes solidarity as a salted plot and despair as the bitter fruit harvested by those who believe in it.

Tesis para optar al grado de Magister en Administración (MBA)
Chile y el mundo se encuentran en un proceso de cambio profundo, la población mayor de 60 años está aumentando, y el envejecimiento es cada día más extenso, mientras, la natalidad está disminuyendo. Saber con cuánto dinero se va a jubilar, hoy en día es fácil de determinar. Pero, la evolución en las distintas etapas de la vida está relacionada con el papel más o menos activo que desempeña el individuo en la sociedad, es frecuente que las personas suspendan sus obligaciones laborales por alguna razón y comiencen a depender cada vez más de sus familias, de su comunidad y por cierto de la sociedad. Por lo tanto, el Plan de Negocio está basado en el concepto de “Residencia para el adulto mayor”, pensando que la vejez es una etapa en la que todos en algún momento nos encontraremos, por lo que un ambiente especialmente diseñado para el adulto mayor, que integre sus necesidades, con una vida activa y un entorno que entregue, además de tranquilidad, oportunidades de realizar actividades de esparcimiento, rodeado de un ambiente que genere las condiciones para labores que mantengan al cuerpo y mente activa son la clave del éxito para satisfacer una necesidad que la oferta actual del mercado no cubre. Por lo anterior se ha definido como “Factor de Éxito”, contar con una ventaja competitiva que nos posicione como una de las empresas más confiables del mercado, con características diferenciadoras como son la infraestructura necesaria para la realización de actividades de integración, alianzas con hospitales e instituciones que contengan beneficios para nuestros adultos mayores, vida social activa con la comunidad donde se encontraran, transporte para trámites, visitas o traslado desde y hacia sus hogares, flora y fauna propia del lugar en donde este inserta la residencia, seguridad mediante conexión a través de WEB familiar y actividades de integración que aseguren a los clientes y familiares un lugar idóneo y confiable para sus adultos mayores. El Mercado Objetivo que “Grand Garden" identifico es en función a la cantidad de hogares que se encuentran en Santiago y alrededores, su ubicación geográfica, el precio por cada servicio y el nivel de ingresos de los familiares y clientes, llegando a apuntar al mercado ABC1 donde se encuentran 231 hogares de ancianos que representan el 51,9% del total y cuyos familiares o clientes están dispuestos a pagar por un servicio de cuidado de entre M$0.5 y M$1.8, dependiendo de la comuna y el servicio que se entregue, siendo estos servicios en más de un 95% solamente hospedaje y cuidado. La Inversión y modelo financiero que el proyecto requiere presenta una inversión inicial de M$65.- que los socios aportarán en partes iguales, cuyo destino es la compra del terreno para la construcción del bien, los gastos de puesta en marcha del negocio y la cobertura del déficit operacional que se requiere en el comienzo del proyecto, que tiene una duración de 4 meses. Al mismo tiempo se requiere conseguir la aprobación del proyecto y levantamiento de capital por un total de M$150, para esto, se ha diseñado nuestro modelo de negocios basado en la creación de valor para el accionista a través de un negocio rentable e innovador y con retorno esperado de un 19% (k0), tasa que corresponde a la del retorno requerido por el proyecto más el costo de endeudamiento o riesgo de inversión. La compañía creada, presentará ingresos, costos y dividendos que permiten resultados positivos al segundo año del proyecto, con un modelo de negocio innovador y familiar que crea ventajas competitivas en el mercado actual, los antecedentes financieros se encuentran revisados y analizados teniendo como resultado de la evaluación los datos adjuntos que se explican en el desarrollo de este proyecto.

Tesis para optar al grado de Magister en Administración (MBA)
Chile y el mundo se encuentran en un proceso de cambio profundo, la población mayor de 60 años está aumentando, y el envejecimiento es cada día más extenso, mientras, que la natalidad está disminuyendo. Saber con cuánto dinero se va a jubilar, hoy en día es fácil de determinar. Pero, la evolución en las distintas etapas de la vida está relacionada con el papel más o menos activo que desempeña el individuo en la sociedad, es frecuente que las personas suspendan sus obligaciones laborales por alguna razón y comiencen a depender cada vez más de sus familias, de su comunidad y por cierto de la sociedad. Por lo tanto, el Plan de Negocio está basado en el concepto de Residencia para el adulto mayor, pensando que la vejez es una etapa en la que todos en algún momento nos encontraremos, por lo que un ambiente especialmente diseñado para el adulto mayor, que integre sus necesidades, con una vida activa y un entorno que entregue, además de tranquilidad, oportunidades de realizar actividades de esparcimiento, rodeado de un ambiente que genere las condiciones para labores que mantengan al cuerpo y mente activa son la clave del éxito para satisfacer una necesidad que la oferta actual del mercado no cubre. Por lo anterior se ha definido como Factor de Éxito, contar con una ventaja competitiva que nos posicione como una de las empresas más confiables del mercado, con características diferenciadoras como son la infraestructura necesaria para la realización de actividades de integración, alianzas con hospitales e instituciones que contengan beneficios para nuestros adultos mayores, vida social activa con la comunidad donde se encontraran, transporte para trámites, visitas o traslado desde y hacia sus hogares, flora y fauna propia del lugar en donde este inserta la residencia, seguridad mediante conexión a través de WEB familiar y actividades de integración que aseguren a los clientes y familiares un lugar idóneo y confiable para sus adultos mayores. El Mercado Objetivo que Grand Garden identifico es en función a la cantidad de hogares que se encuentran en Santiago y alrededores, su ubicación geográfica, el precio por cada servicio y el nivel de ingresos de los familiares y clientes, llegando a apuntar al mercado ABC1 donde se encuentran 231 hogares de ancianos que representan el 51,9% del total y cuyos familiares o clientes están dispuestos a pagar por un servicio de cuidado de entre M$0.5 y M$1.8, dependiendo de la comuna y el servicio que se entregue, siendo estos servicios en más de un 95% solamente hospedaje y cuidado. La Inversión y modelo financiero que el proyecto requiere presenta una inversión inicial de M$65 que los socios aportarán en partes iguales, cuyo destino es la compra del terreno para la construcción del bien, los gastos de puesta en marcha del negocio y la cobertura del déficit operacional que se requiere en el comienzo del proyecto, que tiene una duración de 4 meses. Al mismo tiempo se requiere conseguir la aprobación del proyecto y levantamiento de capital por un total de M$150, para esto se ha diseñado nuestro modelo de negocios basado en la creación de valor para el accionista a través de un negocio rentable e innovador y con retorno esperado de un 19% (k0), tasa que corresponde a la de retorno requerida por el proyecto más el costo de endeudamiento o riesgo de inversión. La compañía creada presentará ingresos, costos y dividendos que permiten resultados positivos al segundo año del proyecto, con un modelo de negocio innovador y familiar que creará ventajas competitivas en el mercado actual, los antecedentes financieros se encuentran revisados y analizados.

El siguiente trabajo de investigación presenta, el análisis económico tendiente a determinar la viabilidad económica de la creación de “Wines Garden", un bar especializado en vinos que con una propuesta innovadora, que ofrecerá la mayor variedad de vinos a la copa de todo Mendoza dispensados con el sistema Bag In Box. Desde lo metodológico se utilizaran análisis, tendientes a destacar las cualidades del proyecto (Fortalezas, Oportunidades, Debilidades, Amenazas), interactuando en un contexto con múltiples agentes (Fuerzas de Porter. Análisis, Político, Económico, Social y Tecnológico). Por otro lado para determinar finalmente, la viabilidad económica, se valuara su implementacion, utilizando indicadores resúmenes que muestran fácilmente las conclusiones. Con capacidad para 70 personas el bar Wines Garden estima vender un promedio de 10.500 litros anuales de los varietales más sobresalientes, producidos por el socio estratégico del proyecto, bodega “Don Bosco". Actualmente no existen bares de estas características por lo que el mismo, obtendra una rápida diferenciación y levantará barreras a la entrada de nuevos competidores fortaleciendo tres pilares, la experiencia vivida por el cliente, la relación de parnetship con el socio estratégico y la maximización de las ventajas técnicas y económicas que brinda el sistema de envasado del vino. Con una tasa de rendimiento requerido de 7%, inferior a la tasa de indiferencia en la inversion del proyecto (44%), este obtiene un valor en moneda de porder adquisitvo del 2018 de $11.453.292,3 en diez años, logrando recuperar la inversión inicial al año tres de haber comenzado la actividad.
Fil: Fucili, Marco. Universidad Nacional de Cuyo. Facultad de Ciencias Económicas.

My family has influenced my identity and motivated me to be creative as I navigate through my journey of self-exploration. In my photography and paintings I explore the visual and symbolic aspects of flowers. I photograph flowers and in turn use the images to help guide me when painting florals. I encompass the characteristics and symbolic meanings of each flower, creating paintings that highlight the qualities found in my relationships with others. Flowers and life do not last forever but in my work I try to keep memories alive. In my photography, I focus attention on the vibrant colors and small details of the flowers revealing their unique pigmentation and velvety soft petals. To emphasize these features of the flower, I scan and manipulate my images on the computer. I use these altered images as models for my paintings. In acrylic on canvas, I paint flowers in homage to my relatives. Certain flowers have symbolic meanings, such as roses that signify happiness or sunflowers that signify power. I use some of these traditional meanings and sometimes create my own implications when painting. Collectively, my family creates a colorful and vivacious bouquet.

TESIS PARA OPTAR AL GRADO DE MAGÍSTER EN ADMINISTRACIÓN
PTY Garden supone la creación de una empresa dedicada a ofrecer el servicio de jardinería en el distrito de La Chorrera, provincia de Panamá Oeste, distante a 39.1 Kms del centro de la ciudad de Panamá. Su actividad principal será el mantenimiento, diseño y ejecución de zonas verdes y jardines en áreas residenciales. El proyecto cuenta con varios elementos diferenciadores, como lo son la apuesta por las nuevas tecnologías e innovación a la hora de diseñar paisajes vinculados a la jardinería Feng-shui y al uso de técnicas para la conservación y mantenimiento de jardines. El servicio está orientado a hombres y mujeres mayores de 25 años, que estén interesados en el mantenimiento de los jardines de sus residencias, por lo que se estima un tamaño de mercado de USD$15,114,390.00 dólares al año. La elección de la provincia de Panamá Oeste responde a 3 motivos principales: por un lado, en los últimos años la provincia ha presentado un crecimiento demográfico significativo, siendo el punto de mayor producción residencial del país. Fenómeno que se ha dado debido a que el 70% de los proyectos residenciales son de interés preferencial, ya que la Ciudad de Panamá no es capaz de cubrir la gran demanda de viviendas que exige la población, por lo que recurren a áreas aledañas a la ciudad donde residir. Otro motivo es que Panamá Oeste es considerada la “Ciudad Dormitorio”, ya que la mayoría de los ciudadanos que residen en esta zona, trabajan en la ciudad en jornadas extendidas, por lo que no disponen de tiempo para realizar actividades como la jardinería. El último y uno de los más relevantes motivos es que en La Chorrera no existe una empresa que brinde el servicio de jardinería, más bien empresas de jardinera en la ciudad deben viajar hasta la provincia para prestar sus servicios. Su equipo gestor está representado por Milagros Macias, Lic. En Ingeniera Marítima, con conocimiento y experiencia en servicio al cliente y manejo de personal. Además cuenta con habilidades en el diseño de jardines utilizando los módulos de AutoCAD. El análisis financiero realizado muestra que el proyecto es factible y que requiere de una inversión inicial de USD$45,000 dólares. El VAN que arroja es de USD$106,227.36 dólares, la TIR de 76% garantiza la capacidad adquisitiva si la tasa de descuento subiera y el análisis de sensibilidad muestra que existe un 69% de probabilidades de éxito en su ejecución, convirtiéndolo en un proyecto que espera una buena rentabilidad.

The Garden Of Eden is a ballet for four instrumental quintets: brass, woodwind, string, and percussion. Each ensemble is associated with one of four dancers: God, Adam, Eve, -and the Serpent, respectively. The duration of this ballet is approximately sixteen minutes and is divided into three parts depicting (1) the creation of the world and Adam; (2) the creation of Eve-and the warning about the tree of knowledge; and (3) the Serpent's temptation of the main characters, as well as their subsequent banishment from the garden by God. One of my reasons for composing this work was to answer an important question: how to control musical motion and emotion. Since ballet incorporates both motion in its choreography and emotion in its program, it provided a perfect medium in which to work.

COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Jardins botânicos são instituições que visam a pesquisa, o estudo e a conservação vegetal, e estão cada vez mais abertas ao público. O Jardim Botânico do Rio de Janeiro, uma das mais antigas instituições científicas do país, tem na dimensão educativa um importante elo de ligação com o público. As escolas são parte significativa do universo de visitantes, que a cada ano e para a qual, foram criados projetos específicos de educação ambiental. Este estudo teve por objetivo examinar as relações do Jardim Botânico do Rio de Janeiro com o público escolar, através de observações de práticas educativas desenvolvidas na instituição, e de entrevistas realizadas nas escolas, com professores que levam suas turmas para visitas ao Jardim. Os dados obtidos na pesquisa permitem identificar questões que favorecem e outras que dificultam a aproximação entre esses dois universos, Jardim e escola, o que pode contribuir para a construção de uma possível parceria.
Botanical Gardens are institutions increasingly open to a public that seeks to study and preserve flora. The Botanical Garden of Rio de Janeiro, one of the oldest scientific institutions in Brazil, has created an important bond with the public through its educational activities. Schools, for which specific environmental educational projects have been created, are a significant portion of the universe of visitors, which is increasing every year. The present study has the purpose of examining the relationship between the Botanical Garden and the school public, by means of observation of the educational practices developed by the institution, together with interviews conducted with the teachers who bring their students to the Garden. The data obtained in the research allowed the identification of elements that favor, as well as those that hinder, the approximation of these two universes, The Botanical Garden and the school, thus contributing to the development of an effective partnership.

The Sultanate of Oman is an old sea-faring country located in southeastern Arabia. The coastline of Oman is approximately 1750 km long. It extends from the Musandam peninsula in the north of the country, which includes the important sea-lane of the Straits of Hormuz, to the border with Yemen in the south. Neighboring countries are the United Arab Emirates to the north, Saudi Arabia to the west and Yemen to the south. The Sultanate has a free market economy. Oil and gas are its biggest drivers. However, because of the realization that the oil reserves will not last forever, one of the initiatives is to capitalize on tourism. Scenically, Oman is an extremely beautiful country; it offers everything from pristine beaches and fascinating rugged mountains where terraced agriculture is practiced very successfully, to rolling red desert sands that stretch as far as the eye can see. Then, in the south, there is the unique escarpment of the southern mountains of Dhofar, whose seasonal mists attract vast numbers of tourists in the height of the season every year. In 2012 Oman was voted one of the world’s top tourist destinations. It is a country where one can still see the real Arabia without too much glitz and glamour. The best time to enjoy its unique beauty and attractions is from November through mid- April. These are the coolest months of the year. Climatically, Oman is a hot country. Typically summers along the coastline and in Muscat can reach a maximum of 48°C and may be unbearably humid during the months of August and September. Inland temperatures may exceed 51°C. The higher mountainous areas can reach 32°C in summer. Winters, which are generally from late November till mid-March, are cool and mild with rain falling mainly in January. Maximum winter temperatures in Muscat do not normally exceed 25°C and the minimum temperature is around 8°C. The higher Hajar mountains (2800 m - 3000 m) experience freezes (-3°C) and occasionally receive light snow in mid-winter. The annual rainfall in Muscat is approximately 120 mm. Tropical cyclones are rare but in recent years have caused severe damage along the coast and inland as well - for example, Cyclone Gonu in June 2007. The Oman Botanic Garden project was promulgated by Royal Decree in 2006. The GPS coordinates for the garden are North 23° 33’ 35.65’’ and East 58° 07’ 50.95’’. The garden is a first for Oman and for the Gulf region as a whole, as it will focus almost entirely on the native flora of this country alone. The Oman Botanic Garden nursery is tasked with growing all the plants needed for this massive undertaking. In addition to native Omani plants, the plants of the ancient agricultural terraces will also be cultivated and displayed: Damascus roses, citrus, deciduous stone fruits, pomegranates and date palms. Most of the deciduous fruit trees and roses grown in Oman are cultivated on the cooler mountain terraces and irrigated using the ancient falaj (water canal) system. Some of these working falaj systems are hundreds of years old—the canals are constructed of stone and mortar. The more modern falaj are built of block and cement. All falaj work on gravity and the keeper of the canal ensures that equal amounts of water are allocated on a daily basis to those who own plots on the agricultural terraces. The garden is situated northwest of the capital city, Muscat, on 420 ha of nature reserve. It is within easy reach of the international airport (20 minutes) and the main Sultan Qaboos Harbor (45 minutes). Arid, undulating topography, interspersed with seasonal wadi systems (intermittent streams), is fairly common on the Oman Botanic Garden site. Lower hill slopes are covered mainly in Acacia tortilis. To the south and west, one can make out the Western Hajar mountain system.

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.

In this thesis I will describe the methods used and problems I have faced and attempted to solve during my time developing a math game for younger kids, a game that makes an attempt to teach kids something called number sense. Teaching pre school kids about number sense is something relatively new and the group I have been working with are of the understanding that it’s something that is very likely to be important to prevent children from falling behind in math during the earlier years of school. Number sense basically means the ability to connect symbolic numbers to their meaning interms of sets, amounts and dimensions such as larger-smaller, higher-shorter, more-less, etc. If this proves to be useful then the quality of education will improve as a result of more children being able to keep up with their math from an early stage.

Sustainable Built Environments Senior Capstone Project
School gardens are booming in Arizona as their opportunities for educational development continue to grow. One common problem, however, is that most schools with a school garden lack a proper managerial system that would help their garden be used to its full potential. The work compiled in this capstone project defines a managerial structure and provides a site-specific example of an intern manual that is intended to be used as in introductory guide with all the necessary resources to get an intern started.

This thesis proposes a hypothetical building that intends to provide a relatively "private space" while in a public park to facilitate a conversation with therapists, small group-talk sessions, and classrooms to practice yoga. People are encouraged to walk and talk, and exercises are methods of psychotherapy. The architecture plan of this thesis encourages people with depression to evolve with others, and all programs have at least two people as a group. The distance between the two is the main key for all the designing of space. In other words, this thesis is also about a study of human psychology about "comfort zones."
Overall, the project is going to be a two-story building on the empty space of an urban park while its existence does not break the original park's intention which is providing space for the community to relax and enjoy life. It is a project with its form and function that embodies care for humanity physically and psychologically.

Includes bibliography.
In the month before the outward fleet arrived there came into the bay a giant whale. There it lay, its dark bulk floating just off the shore, watching. The people watched it back. From the bastions of the castle the soldiers trained their guns upon it. All were struck silent by the presence of this great beast; all felt the eye of the devil upon them. So many sins were recalled then, the prayers rose like smoke above the Valley hamlet.

This project attempts to tie together different threads of my experience. It begins with the memory of looking through the garden fence and hedge of my childhood and considers the simultaneously separate and enmeshed lives of my immediate family and those outside of it. In this project I have engaged with the garden as a point of connection, a means by which to consider the possibility of more Edenic, sustainable futures rooted in concepts of care. An investigation into care, through my making, has been central to my research. Under the harsh structures of apartheid, the natural world carried on in spite of the social and environmental restrictions implemented by the apartheid government. I am interested primarily in human experiences of care, belonging and relationship against the backdrop of migrancy, the displacement of discarded people to infertile land, and the loss of indigenous cultures and natural areas. My intention in this work is for the viewer to be reminded of the unending cycles of nature - seasons, joy, nurturance and recurrence - in their silent yet peripatetic way. In this turning towards nature there is a recognition of the spiritual essence of the world as separate and distinct from humankind's inhumanity to each other. In a contemporary context, the prevalence of people from across Africa displaced into South Africa demands a closer consideration of human connections to the land, as does the recent crisis of Syrian migrants in Europe and the ensuing ethnic xenophobia. At present there are 60 million people displaced due to war, religious tension, politics and race. However, there is hope in the care provided by non-governmental organisations, the United Nations, governments and grassroots initiatives; people who want to help those with a bag and a child on their back.

This study presents the theory that language comprehension involves analyzing sentences into phonological structures, syntactic structures, and semantic structures. The interaction between the three levels of linguistic representation accounts for four stages of parsing: (a) &phis;-phrasing (i.e., combining words into phonological phrases), (b) attachment (i.e., attaching a phrase to an existing structure), (c) thematic interpretation (i.e., interpreting thematic relations), and (d) clausal analysis (i.e., processing a sentence clause by clause). Syntactic ambiguities are resolved through the four stages of parsing. This theory explains why some locally ambiguous sentences cause garden path effects whereas others do not and why some globally ambiguous sentences cause pun effects whereas others do not.

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.

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.

The purpose of this thesis is to investigate the garden as a cinematic space. It centres upon the idea that cinematic spaces accommodate and advance the medium’s peculiar relationship with movement. Previous study of cinema’s spatial specificity, the deployment of geographically identifiable places on film, and the role of space in constructing cinematic meaning has led me to identify an academic bias that considers other spaces, such as the city or the road, as fundamentally cinematic but curiously neglects the garden. My thesis will correct this critical blind spot and, moreover, promote the garden as the most complex of such spaces. It draws on the work of geographers, philosophers, and film scholars engaged with questions of space including, but not limited to, Doreen Massey, Michel Foucault and Giuliana Bruno. I especially build on their assertions that all space is mobile, political and sensorial and apply these insights to the overlooked space of the garden. I frame this research within the context of British film culture, arguing that this national cinema offers exemplary representations of the types of movements that I have chosen to explore, for example, colonialism. A secondary research question thus involves the garden’s role in articulating Britain’s somewhat fragmented national identity. The project takes a range of films as case studies, from Michael Powell and Emeric Pressburger’s A Canterbury Tale (1944) to Richard Laxton’s Grow Your Own (2007).

Detta examensarbete syftar till att skapa ett gestaltningsförslag till en trädgård baseratpå pc-spelet League of Legends. Arbetet följer konceptet corporate garden då detbaseras på en produkt som är skapad av ett företag. Arbetet ska besvara frågan ”Hur kanett gestaltningsförslag för en corporate garden för spelföretaget Riot Games medinspiration från spelet League of Legends se ut?”, ”Hur uppfattar spelarna landskapet ispelet?” samt ”Vilka växter kan passa i en miljö med halvskugga till skugga, lågt pHvärdesamt relativt hög markfuktighet i zon 1? ”. Metoderna som nyttjades var en kortlitteratursökning åtföljt av en mer omfattande studie av spelets landskapsgrafik samtenkätfrågor till målgruppen spelarna. Motiven till tagna beslut presenteras tillsammansmed växtvalen, varpå illustrationsplanen presenteras. Som komplement till dennaanvänds exempelskisser i mindre skala för att kunna peka på detaljer, såsom placeringav växtval. Resultatet pekar på 25 stycken olika växter som passar i de olikaståndorterna. Växtvalen består av lignoser, perenner, mossor och knölar/lökar.Illustrationsplanen visar en stor parkliknande trädgård i pc-spelet League of Legendsanda.

Includes bibliographical references (p. 169-186).
The argument of this dissertation is that the garden can be considered a proleptic eschatological landscape outside of time. To prove this argument I pull together strands of philosophical reflections on death, history of religions analysis concerning sacred space and time and monastic spirituality. I develop this argument by focusing on the enclosed garden, which has connected with it, in myth and metaphor, abundant meanings concerning life after death in a paradisiacal state of bliss. These meanings also become evident in the physical layout of the garden, which, when analyzing it in terms of substantial and situational definitions of sacred space, becomes a prime example of a sacred space, linked physically and symbolically to an eschatological space. The enclosed garden plays a very important role in monastic spirituality as it is not only associated with the cloister, but also with the Virgin Mary, which both offer the monk a gateway to eternity in Paradise. Physically the enclosed garden becomes the very center of the monastic precinct, offering through a ritual-sensory experience of its spatial qualities an experience which allows the monk a moment of spiritual transcendence. It is also, thus, in this moment, when the monk’s physical experience of the garden is woven together with ideas of paradise as an abode of eternity, that the garden becomes a sacred space which can lift him outside of time to experience paradisiacal happiness. This requires a process of hermeneutical interpretation from the monk and the theorist reflecting on this encounter. It is a dialogue between the garden and its interpreters, which leads to the conclusion that an encounter with the sacred never stands in isolation.

Mestrado em Arquitectura Paisagista - Instituto Superior de Agronomia
This paper aims to make known in Portugal the concept of "Rock Garden", where it came from, the influences that suffered, what are its benefits and how we can design a "rock garden" in our country. With Eastern influences, the rock gardens are like a patchwork of cultures culminating in gardens that are valued for their natural sustainability. Generally the concept of "Rock Garden" is associated with barren gardens, monotonous, where green is the predominant color and where vegetation comes down to cacti. However, this thesis explains how this idea, though not wrong, can be adapted to make colorful rock gardens, with a variety of native species. Therefore it would bring benefits both economically and environmentally friendly for our country. At a time when sustainability and economism are themes in vogue for our future, it is important that these areas are a habitat to new living beings, that they can be framed in the surrounding landscape and, above all, that they can be its natural extension. The role of landscape architect is essential in order to integrate human intervention along with nature through his knowledge

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

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.

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 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.

This dissertation examines the history of the Western Multistoried-Buildings garden (Xiyang lou) located within the Chinese imperial Garden of Round Brightness (Yuanming yuan) of the Qing dynasty. As a "Western-like" garden designed and cobuilt by the European Jesuits in China, the Western Multistoried-Buildings garden was unique in garden history. It provides a significant and unique case study of the cultural encounter between Chinese and European civilizations in the eighteenth century. The research reported in this thesis focuses on the communication between the visions of the Chinese emperor and the Western Jesuits during the construction of this European garden. The research demonstrates how Jesuit metaphysics fused with Chinese cosmology through the creation of the multiple jing, the bright views of the garden scenes, using the technique of the "line-method," which embodied the Chinese transformation of Western linear perspective. This research differs from the usual approach in history and cross-cultural studies that treats buildings and gardens as secondary objects re-presenting a priori or a posteriori ideas. It goes directly to the material context to analyze how the creation of a garden framed the minds of individuals who came from different cultures and religions. Such a "materialist" approach not only acts as a reflection of the Western metaphysical approach, but also attempts to initiate a new interpretative perspective that is closer to the poetic essence of the Chinese culture. As the Western Multistoried-Buildings garden demonstrates, there does exist a way by which cultural and religious conflicts are dissolved into the "round brightness" of cultural fusion, which in turn makes cultural differences shine.

This study offers additional nuance to the garden topos and trope within nineteenth- and twentieth-century Canadian women's writing and extends the critical discussion of landscape and the garden as archetype in Canadian literature. This dissertation cross-fertilizes literary analysis with garden theory, using the work of such garden historians as John Dixon Hunt, Mark Francis, and Randolph Hester. The argument emphasizes that gardens in literature, like their actual counterparts, are an art of milieu, reflective of their socio-physical contexts. Both real and textual gardens are rhetorical: their content and formal features invite interpretation. A textual garden performs similarly to an actual garden by providing a spatial frame; a means of naturalization; a vivid exemplar of growth, fertility and beauty; a mediation of the artificial and the natural; a space of paradox; and a site of social performance.
The specific focus of this study is "domestic gardens": gardens that are intimate, immediate to the home, and part of daily life. Chapter one separates the garden from archetypal models by studying the garden as an actual place (specifically, the backwoods kitchen garden) described in the works of Susanna Moodie and Catharine Parr Traill. Chapter two examines how the garden influences Moodie's and Traill's writing of the "transplanted" female emigrant. Chapter three presents the bower as an important precursor to the domestic garden through Gabrielle Roy's Enchantment and Sorrow (1984) and "Garden in the Wind" (1975). Through the bower, Roy mediates the female artist's ambivalence toward home in her pursuit of independence. Chapter four explores Carol Shields' sanctification of the domestic in her fiction through the concept of paradise as both an ideal setting and a mode of being. Chapter five provides a "garden tour" of the poetry of Lorna Crozier, culminating in the garden as a model for the text itself and for the genre of palimpsest. For these writers, literal and figurative gardens are ways of "planting" their characters and personae, "plotting" their narratives, mediating social conventions, and providing an interpretative lens through which readers may perceive the texts as a whole.

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.

The Two-eyed Seeing Garden is an ethnobotanical garden that is a living description of the interrelationships between land, plants and people that explicates two ways of seeing. The goal of the Two-eyed Seeing Garden is to combine two frameworks, one of Indigenous Traditional Knowledge and one of Western Scientific Knowledge, in an attempt to create a bridge between the two knowledges in order for the inter-relationships between the two systems to be made visible. The Two-eyed Seeing Garden emphasizes the worldview of Indigenous Ecological Knowledge as an independent valid knowledge system that describes local knowledge in connection with other local knowledges, nearby and far away. These knowings can be thought of as layers that begin to intersect and eventually connect the same way as ripples do in a pond. Small and central, yet moving out. The physical garden is this too. It is a small place that is nested within a larger region. Although it may have walls and be distinct from it’s immediate surroundings, it can connect to the larger region. The Two-eyed Seeing Garden is an example of wholeness and connectivity from its most minute aspects to its situatedness in the larger context. The relationships make the invisible visible and describe the co-creation and co-existence of all those that inhabit this land now and since time immemorial.

Historic landscapes are vital elements of our nation's cultural continuum and must be protected as a part of living fabric of the community. This thesis addressed the preservation of historic landscape gardens, focusing on design strategies that can make historic time legible in landscape. It proposed a landscape plan for the preservation of Palm Cottage Garden in Gotha, Florida, a significant historic landscape resource. To determine the criteria used to establish how and to what period the estate should be restored, the Secretary of the Interior's Guidelines for the Treatment of Cultural Landscapes was followed. This process involved documenting the current site conditions and evaluating natural and cultural resources. For the garden to continue to keep its historic fabric, rehabilitation was selected. The garden was designed to preserve existing features and make efficient contemporary use of the garden possible. The landscape plan focused on strategies that reveal the site's significant past through new design elements while adapting to current and future needs.

During his eight-year Italian sojourn (1600-1608), Sir Peter Paul Rubens became familiar with villeggiatura, a form of villa life (unique to Italy) modeled on the antique garden. Rubens' experience was personal, for a close examination of a select number of his works demonstrates that he fully assimilated this humanistic tradition. He participated in the intellectual currents of his time, the source of ars hortulorum. In his pictures, Rubens took over forms found in gardens of antiquity, the Renaissance or the Baroque and, in certain instances, recreated the mood, function and sense found in these gardens and as described by literary works. Most important, Rubens' own life of villeggiatura is clearly made evident in several of these paintings.
His preference for the humanistic hortus over the garden traditions of other countries reveals Rubens' admiration, shared with other humanists for the ancients and their culture which provided personal models for poise and enlightenment.
The result of this study focuses on a new dimension to our understanding of Rubens' oeuvre, his involvement with villeggiatura and the ars hortulorum.