WHAT:

Cueva de Altamira (Cave of Altamira)

WHEN:

Upper Paleolithic

17,000 - 14,000 BP

Magdalenian culture

WHERE:

Cantabria region

Santillana del Mar, Espana

WHY:

Per Jellicoe, primitive man wanted to set his mark on the landscape.  These paintings could have been done as spells for hunt, but no one can really be sure of the true reason they were done, which is what attracts modern artists.  Represents an urge to find out about human existence.  Although drawings are instinctive and made before geometry was known and have varied scales, these cave painings are the first and the most pure of all the intuitive arts of landscape design.  A point in space as opposed to an extension into landscape.  

WHAT:

Alignement du Menec (Alignment of the Menec)

WHEN:

Neolithic Age

3300 BC

pre-Celtic culure

WHERE:

Golfe du Morbihan

Carnac, Bretagne, France

WHY:

Per Jellicoe, primitive man wanted to set his mark on the landscape by raising artificial hills or rearranging stones.  Made with over a thousand stones, it is set with two other alignments in a crowded landscape of stones.  Whoever was buried there was important to them, and it represents the passage of life to death and the sequential burials of the clan through time.  People were not at war and the beginning of agriculture allowed for storage of food and increase in power.  Beginning of procession  

WHAT:

Stonhenge

WHEN:

Neolithic Age and Bronze Age, in use until Iron Age

Henge 3050 BC

Wood 2500 BC

Stone 2500 - 1500 BC

WHERE:

Salisbury Plan in the Marlborough Downs

Wiltshire, England

WHY:

Per Jellicoe, primitive man wanted to set his mark on the landscape by raising artificial hills or rearranging stones.  These stones weigh up to 50 tons and came many miles way.  The stones were shaped with purpose, and signifies the arrival of geometric man, together with his instruments.  The henge by Avon was for the ritual of birth, Stonehenge was for the ritual of death - although not a true henge (henges have a berm outside a moat).  

It is the climax of symbolic British circular sanctuary.   

WHAT:

White Horse of Uffington

WHEN:

Bronze and Iron Ages

1400 - 600 BC

Celtic culture

WHERE:

White Horse Hill in the Bershire Downs

Uffington, Oxfordshire, England

WHY:

Per Jellicoe, primitive man wanted to set his mark on the landscape by raising artifical hills or rearranging stones.  This was inspired by both gods and ancestors.  It is perhaps the first engraving on any landscape of a major work of art.  This was almost certaintly made for the Gods.  They were done for agricultural uses and stops for giants.  Pre-roman coins had a similar horse on one side.  Scraped topsoil off and they would bring in more chalk and compact. 

WHAT:

Dolmen de Menga (Dolmen of Menga)

WHEN:

Copper of Chalcolithic Age

2500 BC

Iberian culture

WHERE:

Valle del Guadalhorce in Andalucia

Antequiera, Malaga, Espana

WHY:

Per Jellicoe, primitive man wanted to set his mark on the landscape by raising artifical hills or rearranging stones.  This was purposefully done for burials and water well.  

Features corbel arches, impressive in construction in that they innovated building a sand hit, fitting lintel to column and taking sand out of chamber.  They also rolled stones on cut branches.  

WHAT:

Garden in Eden

WHEN:

Book of Genesis, chapters 1-3

AM 1 (3760 BC)

Creation of Adam, Michelangelo 1508 - 1512

WHERE:

Basin of the Pishon, Gihon, Tigris, Euphrates Rivers

Mesopotamia (substantially coterminal with Iraq)

WHY:

From the first three chapters in the Book of Genesis.  This was the cultural root of all the gardens in the western world. Per Jellicoe, this was a metaphor for a transition between a hunter gatherer society to an agricultural society.  The storage of food allowed for the concentration of wealth, power, and slavery.  The expulsion from the garden was an allegory from a hunter gatherer to agricultural society.   Signifies the effect of irrigation on a dead world.  Agriculture is what allowed cities to develop.  The paradise garden is an idealization of a square enclosed against a hostile world.  It is common to Judaism, Christianity, and Islam.  Compare to Court of the Lions.  Hebrews were the first to think of the idea of one God.  

WHAT:

Babylon - Hanging Gardens

WHEN:

Neo-Babylonian period - Chaldean dynasty

ca 600 BC

Nebuchadnezzar II, king of Babylonia (ca 605-562 BC)

WHERE:

Babylon, Babylonia, Mesopotamia (al-Hillah, Babil, Iraq)

WHY:

King Nebuchadnezzar decided to build a mountain for his wife who was homesick.  This was a gathering space where people would meet, drink, and talk with friends.  Contained many royal lodgings.  

One of the seven wonders of the ancient world.  Resembled a theater, step pyramid.  Impressive height at about 8 stories high, 90'.  

WHAT:

Perspepolis - Apadana (Audience hall)

WHEN:

Achaemenid Dynasty

ca 550 - 330 BC

Darius the Great - Xerxes the Great

WHERE:

Perspeolis, Persia (near Shiraz, Fars, Iran)

WHY:

Inspired by the Edenic garden, a massive columned hall used for reception by Kings where they received tribute. With the domestication of horses by the Assyrians came the first hunting park, the first landscape expansion into the environment.  Compare to the italian renaissance villa, beginning of the connection to the landscape.  Culmination of the architecture of the Assyrian and Persian conquirors, relfecting the post and lintel structures of both Egype and greece and based on a plan this was still composed of squares.    

WHAT:

Spring Carpet of Khosrau I - Garden Carpet

WHEN:

Sassanid period

ca AD 500

Image ca AD 1700

Khosrau I, emporor of Persia, 531 - 579

WHERE:

Mesopotamia for Spring Carpet

Persia for Garden Garpet

Ctesiphon, Persian Empire (al-Mada'in, Iraq)

WHY:

 A representation of the Persian paviliion garden, the idea of the garden being paradise. Emperor of Persia had a carpet 450’x 100’ made of silk and had gold threads, pearls, and jewels.  Center has a pavilion with a fountain and the four rivers of Genesis, paradise is represented.  Hebrews hae the Garden of Eden, persians have the Paradise garden.  In the carpet we see cross linkages between the cultures.  Compare to the Court of the Lions or any of the Islamic courtyards.  Wavy lines are water with fish.  Four parts, four gardens.  Muslims conquered North Africa before they conquered Spain, that’s how typology spread.

It became the model for subsequent garden carpets.  

WHAT:

Pyramids of Khufu - Khafra - Menkaure

WHEN:

Old Kingdom, IV Dynasty

ca 2560 - 2540 - 2520 BC

Khufu, Khafra, Menkaure, pharaohs of Egypt

WHERE:

Necropolis of Giza - Pyramids of Cheop - Chepren -  Mykerinos

Giza, Giza, Egypt (el-Gizah, Eypt)

WHY:

The pyramids were supposed to guarantee the afterlife of the pharaoh.  The idea that they were built by slaves has been dismissed.  The fact that they were relating to the cosmos is very obvious, because positions are deliberate as they were fanatical about exactitude.  They were built to pay off taxes.  The size of the dominant mass represents the power was buried there.   

WHAT:

Funerary Temple of Hatshepsut

WHEN:

New Kingdom, XVIII Dynasty

ca 1470 BC

Hatshepsut, pharoah of Egypt 1479 - 1458; Senenmut (architect)

WHERE:

Necropolis of Thebes

West Thebes, Egypt (ad-Dayr al-Bahri, Luxor, Egypt)

WHY:

Mortuary temple dedicated to the sun god Amon-Ra.  Representative of New Kingdom funerary architecture, it both aggrandizes the pharaoh and includes sanctuaries to honor the gods relevant to her afterlife. This marks a turning point in the architecture of Ancient Egypt, which forsook the megalithic geometry of the Old Kingdom for a temple which allowed for active worship, requiring the presence of participants to create the majesty 

It's integration with the landscape makes this visually striking.  Compare to the renaissance villa.  Very symmertrical lane planted on both sides and going into the mount.  Closest you can get to landscape and architecture.     

WHAT:

Valley of the Nobles - Pond Garden

WHEN:

Middle Kingdom, XII Dynasty

ca 1981 - 1975 BC

Meketra, court of Amenemhat I, pharoah of Egypt, 1991 - 1962 BC

WHERE:

Tomb-chapel model

Thebes, Egypt (Luxor, Egypt)

WHY:

Of importance is the idea of a pavilion facing a basin.  The idea is that if this is your tomb, you take this with you.  This represents most likely the placed that they lived in.  Does not represent paradise.  Compare with Court of the Myrtles.  

WHAT:

Valley of the Nobles - House and Garden

WHEN:

Middle Kingdom, XVIII Dynasty

ca 1380 BC

High official, court of Amenhotep III, pharoah of Egypt 1388 - 1348 BC

WHERE:

Tomb-chapel mural

Thebes, Egypt (Luxor, Egypt)

WHY:

Tomb for the very powerful. Bilateral symmetry, trellis with grape vines, house with canvas rooftop with shade.  Four basins.  Birds, lotus flowers, fig trees, date palms and sycamores.  Used materials found around there.  Fresco painting, mural, depicting the life of the inhabitants of the city, making it a reflection of their experiences, giving importance to their culture, immortilizing in stone.  Representation of Koranic afterlife that predates. Islam.  Wall to prevent sandblasing by desert.    

WHAT:

Acropolis of Athens

WHEN:

Hellenic period

460-430 BC

Illustration Leo von Klenze 1846 

WHERE:

Attica

Athens, Greece

WHY:

Search for perfection through geometry.  The angle of view was fundamental.  The temple was the pure manifestation of the search for proportion.  The Greeks would think of the form of the temple as a culture.  The space around it was not considered.  Were more into how you perceived the temple from an angle.  Concentrated on the relation of masses to each other, i.e., in volume.   During Hellenic times became more and more democratic, became more of a civil and religious symbol, not political.  Political was agora.    Site of the Parthenon, the Propylaea, the Erechtheum and the Temple of Athena Nike

WHAT:

Agora of Athens

WHEN:

Hellenic period to Imperial Rome period

VI c BC to AD II c

Peisistratos, tyrant of Athens 546 to 527/8 - Kimon, statesman and strategos

WHERE:

Attica

Athens, Greece

WHY:

Search for perfection through geometry.  The angle of view was fundamental.  The temple was the pure manifestation of the search for proportion, a microcosm of heaven brought down to eartch. This is where the Greeks would vote and exile, go to war.  Symbol of democracy.  Now, symbol of democracy is the public park.  When they had an emporer he was above, overseeing everything.  To have a democracy you need a space to discuss politics.  This is what the Agora represents.  The piazza becomes lifted bc of the climate, and they have a need bc of the democratic values that they had.  Space is not well defined, compare to the Roman forum which is very well defined.  

WHAT:

Delos - Courtyard house - Perisyylon

WHEN:

Hellenic period

V c BC

WHERE:

The Cyclades of the Aegean Archipelago

Delos, Greece

WHY:

The peristyle with courtyard.  Here this is a Greco/Roman and Perisan/Islamic root.  The Greco/Roman is the peristyle, which was borrowed from the Greeks.  Done for privacy for family and friends, and because climate allows it.  The Romans had the atrium which was Etruscan.  An early Roman house would have both.   Eventually the atrium disapperared.  The Persian/Islamic element is the Courtyard.  Compare the courtyard to the Court of the Lions, paradise carden, with pavilion in center.  The architecture surrounds the space, in line with the Koranic description of paradise.  The courtyard was needed for light, ventilation, and circulation.   Colorful mosaics (a status symbol) the most striking feature of the house.  

WHAT:

Delphi - Tholos of Athena

WHEN:

Hellenic period

380 - 360 BC

Theodorus the Phocian, architect 

WHERE:

Mount Parnassus in the Valley of Phocis

Delphi, Greece

WHY:

Greek sanctuary is the first specifically sacred landscape in which it is set and second, the buildings that are placed within it.  Vincent Scully, 1962.  Greeks were really good at sighing the building.  The sight was sacred and they would represent that in the architecture of the building, and also in sculpture.  

WHAT:

Miletus - Theatre

WHEN:

Hellenic period

V to BC

WHERE:

Anatolia in Turkey

Miletus, Greece

WHY:

Emphasis is placed on symmetrical arrangement, giving a more formal character to civic open spaces.  Architectural forms project into the spaces, definging but not enclosing.  Angular form in different directions set up dynamic interactions.  Remember by imagining two long legs of an ‘M’.  Greeks knew perfect layout of theatre for audio perfection.  They had some resonating technology that you could hear, vessels.  Really good expression of integration with the landscape.  

WHAT:

Miletus 

WHEN:

Hellenic - Hellenisic - Roman Empire periods

V c BC - II c BC - AD II c

Hippodamus of Miletus, ca 498 - 408 BC, urban planner

WHERE:

Anatolia in Turkey

Miletus, Greece

WHY:

Laid out in hippodamian grid which becomes important in hispanic america.   The repetitive module of regular rectangular blocks for the residential sets up a rythum which is the bsis for the composition of the public parts.  Good comparison for the medieval piazza.  Juxtapose the hippodamian grid vs. organic growth.  Reborn again in the renaissance.  

WHAT:

Pompeii - Forum - Capitollum or Temple of Jupiter

WHEN:

Roman Republic - Roman Empire periods

150 BC - AD 62

WHERE:

Campania

Pompeii, italy 

WHY:

All about having an open space for democracy.  Good comparison would be the Agora in Athens which is pure chaos.  This is unified.  Roman forum like greek agora, gathering for civic life.  Projecting arms incorporated into colonades completely surrounding courts.  The spaces were dividied into separate units, each of a formal rectangular shape, reflective of the Roman philosiphy of dividing life into different rituals, each with its own special space and architectural expression.  

WHAT:

Pompeii - House of the Vettii

WHEN:

Roman Republic - Roman Empire periods

ca II c BC - AD 79

WHERE:

Campania

Pompeii, italy 

WHY:

A house would have both atrium and peristyle, minimum.  Greek and Roman tradition.  Eventually atrium disappeared and left with houses only with peristyle.  Not under pressure to accumulate water.  This area was semi public, could go in and do business.      

WHAT:

Rome - Roman Forum

WHEN:

Roman Kingdom - Roman Republic - Roman Empire periods

VIII c BC to AD 476

WHERE:

Latium

Rome, Italy

WHY:

Same as Pompeii forum.  Open space up vertically as well as horizontally.  That sort of sequence is very common of Roman empire, almost Baroque.   The forum served both public and commercial purposes, and the sacred temples were surrouded by taverns and simple market stands.  This combination of functions chagned and the forum became more and more public domain.  

WHAT:

Rome - Imperial Fora

WHEN:

Roman Empire period

AD 479

WHERE:

Latium

Rome, italy

WHY:

Switches from a space for democracy to a space to glorify the emporeror.  The architecture also changes, the vault and the dome.  The Roman ideal was always the axial connection, and its most grandiose realization is the Imperial Fora where the space and unitry of each square is preserved, while each individual forum becomes a link of an axial sequence.  

WHAT:

Rome - Villa Adriana - Canopus

WHEN:

Roman Empire period

c AD 125

Hadrian, emperor of Rome AD 117 - 138

WHERE:

Latium

Rome, italy

WHY:

Emperor Hadrian's retreat from Rome.  Representation of the Nile and the temple of the Nile.  The villa was the greatest Roman example of an Alexandrian garden, recreating a sacred landscape.  he site is an array of distinctive architectural creations where one can distinguish in the domes and shapes of buildings. These elements are in no way intended to follow symmetry as they are believe to have followed the shape of the rugged terrain around the villa. It is a major achievement of Western art due to its novel forms, planning and the visual and allusive invention.

WHAT:

Conimbriga - House of the Fountains

WHEN:

Roman Empire period

AD III c

WHERE:

Baixo Mondego

Conimbriga, Lusiania (Condeixa-a-Nova, Coimbra, Portugal)

WHY:

This is an expression of movement.  You have the movement of the imperial forum and the arch, vault, and dome being represented.  Amazing that it still works.  The Romans introduced the formal organization of space to the settlement.  Has one of the best examples of a Roman courtyard garden outside Italy. The peristyle court has pools, curving beds, and jets of water.  

WHAT:

San Gimignano

WHEN:

Etruscan - Roman - Romanesque - Gothic periods

III c BC to present

WHERE:

Toscana (Tuscany)

San Gimignano, Siena, Italia 

WHY:

The organic development of the piazza and the facades are unified.  You tend to have a hinge, three in this case, that connect.  Exemplifies the integration of two squares, which was frequent in medieval Germany.  A hill town, it has an untouched medievalism with its menacing towers, palaces, and churces, as well as from the spatial forms of its two squares.  The piazzas are connected via a very small passageway which the pedestrian feels pushed toward due to the longest side of the triangular larger square facing the passageway.  

WHAT:

Siena - P del Campo - Palazzo Pubblico - Torre del Mangla - Capella di Piazza

WHEN:

Gothic - Renaissance periods

XIII - XV c

WHERE:

Toscana (Tuscany)

Siena, Siena, Italia

WHY:

Purely medieval, one of the best preserved squares in Italy, praised by Dante.  The space opens like a shell with the whole square sloping gradually toward the center like a small ampitheater.  Shows the regularizing tendency in the late Middle Ages, in the quest for perfection through uniformity.  Attempt to begin reularization of facades along the piazza.  

WHAT:

Venezia - Piazza di San Marco

WHEN:

Byzantine - Venetian Gothic - Renaissance - Neoclassical periods

IX c - 1177 enlargement - XII & 1723 & 1890 pavement

Andrea Tirali, 1723 pavement architect - Giovanni Canal (Canaletto) 1697 - 1768, painter

WHERE:

Veneto

Venezia, Italia (Venice, Italy)

WHY:

 If ever a square was to become the symbol for a whole city, it would be St. Mark's square.  The "ballroom of Europe".  Pieces are medieval.  Idea of two piazzas with a hinge.  Byzantine architecure.  Renaissance in the library and government buildings.  Neoclassical from Napoleon.  

WHAT:

Cordoba - La Mezquita - Patio de los Naranjos

WHEN:

Damascus Emirate - Umayyad Emirate - Umayyad Caliphate

VIII-X c

WHERE:

al-Andalus

Cordoba, Espana

WHY:

One of the oldest gardens in Europe.  Mosque, modular development of space as it expanded and cathedral in middle.  Space is so big you don’t feel the cathedral.  Muslims liked Spain bc climate was a bit milder than in the desert.  Use of river rock typical of Cordoba. Linear array creates a serene feeling.  Row of orange trees aligned with rows of columns inside the mosque.  

WHAT:

al-Madinah al-Zahra - Throne Room - Pavilion - Pavilion Gardens

WHEN:

Umayyad Caliphate

953-957

Abd ar-Rahman III, emir and caliph of Cordoba 912-961

WHERE:

al-Andalus

Median Azahara, Cordoba, Espana 

WHY:

Good representation of the persian paradise garden.  A pavilion surrounded by lower gardens separated by wall.  Four basins, one filled with mercury.  Throne looking to pavilion.  An imposing palace on the side of a hill overlooking a vast plain outside of Cordoba. It reminds us of the extent to which Umayyad architectural traditions are extensions of Late Antique traditions: beautiful drilled, abstracted Corinthian capitals; the use of cut stone and the columnar tradition; and an axial, basilical throne room

WHAT:

Granada - Alhambra - Sala de los Comares - Patio de los Arrayanes (Myrtles)

WHEN:

Islamic period

1333-1354

Yusuf I, sultan of Granada 1333-1354

WHERE:

al-Andalus

Granada, Espana

WHY:

Simple design, typology of two pavilions and basin with hedges.  Women could see everyone who was coming in but could not be seen against the lattice.  The sultan sat in darkness, simple fountain design.  When the muslims saw this, they would think of paradise, an earthy representation of the Koranic paradise.  Plaster calliphagry saying God is great and ceramic tiles.  Sala de compares, idea was to make you feel inferior.  Typical feature of islamic architecture (lattice) that you can see out but you can’t see in.  The basin is almost flush because they would sit on the floor.  

WHAT:

Granada - Alhambra - Patio de los Leones

WHEN:

Islamic period

1377

1066 - lions

Muhammed V, sultan of Granada 1354-1359, 1362-1391 - Yusuf Ibn Nagrela, vizier & poet

WHERE:

al-Andalus

Granada, Espana 

WHY:

Reception halls around court.  Religious function, wash before entering. Space is shaded and humid  Lions unusual because they were not supposed to represent animals and were possibly a gift from a jewish minister. Two main variations on lions.  Male, female, with poem inscribed along 2 sides of fountain.  Center is one piece of marble, and serves as source and drain.  The water runs from the building toward center, then to lions.  Representation of the Koranic paradise.  Has greco/roman  element - the peristyle, and the only islamic courtyard that has colonnade all around. The Persian/islamic elements are: pavilions, persian and the four rivers of paradise, islamic. 

WHAT:

Granada - Generalife - Patio de Acequia (Irrigation channel)

WHEN:

Islamic - Mudejar periods

XIII - XIV c - XVI c - XIX c jets

Muhammed II, sultan 1273-1302, Spanish nobility

WHERE:

al-Andalus

Granada, Espana 

WHY:

Generalife was the precursor of the Italian renaissance villa.  It overwhelms the senses with color, sound, light.  Compare to the Court of the Lions which is paved and doesn't have a lot of fragrance.  Typology of the two pavilions and the rivers of paradise.  Water jet discussion went on for decades.  Built in the open country as a summer retreat under the protection of the alls, it is in direct contrast to the introvert interior of the Alhambra.  The gardens are an extension of the architecture of the house, lying openly along the falling landscape.  

WHAT:

Reales Alcazares - P de las Doncellas (Maidens)

WHEN:

Mudejar - Renaissance periods

1364-1366 - 1540-1552 - 1572 pavement

Pedro I, king of Castilla - Carlos V, emperor 1519-1556, Luis de Vega - Felipe II, 1554 - 1598

WHERE:

Andalucia

Sevilla, Espana

WHY:

Use of pots that keep people from falling in.  Plasterwork, tile - had no tv, very little entertainment. Depending on the distance, you grab a different patten.  These courtyards were for keeping firewood, another for keeping stone and so on.  They were storage spaces.  The idea of modular development space.  Seville known for cermaic tiles, overuse of ceramic tiles, and clay rather than pavement.  

WHAT:

Reales Alcazares - Jardines de las Damas 

WHEN:

Mudejar period 

XIV-XVI c

Felipe II, king of Spain 1556-1598

WHERE:

al-Andalus - Andalucia

Sevilla, Espana

WHY:

Breezy effect to keep cool and view the garden.  Very typical of Seville where you would have the ceramic tile on everything.   Important is green architecture, cooling effect of wind.  

WHAT:

Granada - Alhambra - Patio de Daraxa - Mirador (balcony) de Daraxa

WHEN:

Mudejar - Islamic periods

1528-1537 - XIV c

WHERE:

Andalucia

Granada, Espana 

WHY:

Might have influenced the renaissance in terms of architecture showing window to the wider landscape.  it’s not something you would expect of modular architecture.   Hall of two sisters, then on to balcony - in Islamic times, there would have been a view of the city and garden.  Charles V had the fountain raised in the Chrisitan manner.  The clerestory, stained glass, is very interesting.  It was recently restored.  

WHAT:

Granada - Alhambra - Jardines del Partal

WHEN:

Islamic - Mudejar periods

XV-XVII

Nasrid dynasty - Spanish nobility

WHERE:

Andalucia

Granada, Espana 

WHY:

Influenced by islamic architecture.  The access is at the center, perpendicular to the contours.  More unified concept of space, and courtyard like gardens.  Runlets on stairs very typical of islamic architecture.  Mixture of both italian and islamic influences in runlets.     

WHAT:

Granada - Generalife - Patio del Cipres de la Sultuna

WHEN:

Islamic  - Baroque periods

XIII-XIV - post 1529

Nasrid dynasty - Spanish nobility

WHERE:

Andalucia

Granada, Espana 

WHY:

Legendary meeting place for lovers by Italian cypress.  Foutain surrounded by pool, surrounded by island, surrounded by water.  Nothing quite like that.  Islamic frescos to the wall on right.  Carmen, like the woman’s name, refers to arabic ‘car’ - which means orchard.  The carmen is very typical of Granada.  You can see, but you’re not seen.  

The axis is developed along the contours rather than perpendicular.

WHAT:

Florence - Piazza della Santissima Annunziata

WHEN:

Renaissance period

1427 hospital - 1454 1516 1500 Church

Silk Guild, patron, Brunelleschi, architect - di Barolomeo, da Sangallo, D'Angolo church

WHERE:

Toscana (Valley of the Amo in Tuscany)

Firenze, Italia

WHY:

Whole idea of defining the space.  Compare to agora (chaotic).  Compare to Roman or Pompeii forum (regularized, so very similar).  Change - from religion to humanity.  Neo-platonic principles. There was something divine in mathematical harmony.  Proportion becomes very important.  Rather than reading genesis or koran, now for the first time we have theory written by humans.  Paul Zucker:  Renaissance space influenced by architectural theories.  Yearned for clarity with regard to volume and space by way of the street and square.  Street is only an agglomeration, but square is unified tied together by all possible architectural means.  Other architects replicated Brunelleschi's design to keep uniformity, which was important to the idea of the unison of the square.  

WHAT:

Florence - Piazza della Signoria

WHEN:

Medieval - Renaissance periods

1299-1314 1376-1380 Palazzo - 1560-1580 Uffizi

Priori Arte Maggiore, di Cambio, architect - Cosimo the great, patron - Vasari, architect

WHERE:

Toscana (Valley of the Amo in Tuscany)

Firenze, Italia

WHY:

Medieval, L with hinge ,and uffizi, renaissance, space is unified. Change - from religion to humanity.  Neo-platonic principles. There was something divine in mathematical harmony.  Proportion becomes very important.  Rather than reading genesis or koran, now for the first time we have theory written by humans.  

Paul Zucker:  Renaissance space influenced by architectural theories.  Yearned for clarity with regard to volume and space by way of the street and square.  Street is only an agglomeration, but square is unified tied together by all possible architectural means.  Colonade repeated all the way around.  

WHAT:

Roma - Piazza del Campidoglio

WHEN:

Renaissance period

1538-1578

Pope Paul III, patron - Michelangelo Buonarroti, architect

WHERE:

Latium (Lazio)

Roma, Italia

WHY:  

Very good example of renaissance trying to unify the space.  The idea of open spaces connecting all the way to the people.  Michelangelo bound by two already existing structures on top of the Caitoline Hill.  Although topographically isolated like a Greek acropolis, it is not at all a "sacred area".  The angles used suggests a movement toward the background, a typically baruoque trait.  The verticals of the corinthian columns tie together all three structures.

WHAT:

Tivoli - Villa d'Este

WHEN:

Renaissance period

1549

Ippolito Cardinal d'Este, patron - Ligorio, della Porta, architects - Olivieri Venier, fountain designers

WHERE:

Campagna in the Latium (Lazio)

Tivoli, Italia

WHY:

The most impressive work of landscaping architecture in the sixteenth century.  It represents a grandiose system of axes in terms of roads, planted alleys, waterffalls, fountains, and basins.  The whole park resembles a town with various quarters that are integrated into an overall axial scheme of natural growth and man made order.  From this point on, landscaping and town planning are closely related and reflect identical aesthetic concepts.  

WHAT:

Bagnaia - Villa Lante

WHEN:

Renaissance period

1566

Cardinal Gambara, Cardinal Montalto, patrons - da Vignola, architect

WHERE:

Latium (Lazio)

Bagnaia, Viterbo, Italia

WHY:

Represents harmony through geometry.  Transition from architecture to the garden to the wider landscape.  Defined by the use of three architectural elements:  Terraces to overcome differences in level;  flower beds, patterened in definite designs, and most important, the strict emphasis on axial organization.  This axiality, in connection with the other two elements, brings graudual transition to adjacent architecture that ties garden and town planning closely together.  Someitmes the flower beds, geometrically shaped, are arrangled exactly like city blocks with squares in between.  

WHAT:

Caprarola - Villino Farnese

WHEN:

Renaissance period

1620

Odoardo Cardinal Farnese, patron - Giacomo da Vignola, attributed architect

WHERE:

Latium (Lazio)

Caprarola, Viterbo, Italia

WHY:

Represents harmony through geometry.  Transition from architecture to the garden to the wider landscape.  It is symmetrical but cannot walk directly along the axis.  Defined by the use of three architectural elements:  terraces to overcome differences in level, flower beds, patterened in definite designs, and most important, the strcit emphasis on axial organization.  This axiality, in connection with the other two elements, brings graudual transition to adjacent architecture that ties garden and town planning closely together.  Someitmes the flower beds, geometrically shaped, are arrangled exactly like city blocks with squares in between. 

WHAT:

Chateau de Chenonceau

WHEN:

Renaissance - Baroque periods

1515 - 1521 chateau - ca 1550 bridge - 1577 gallery

Thomas Bohier - Diane de Poitiers - Catherine de'Medici, Philbert de l'Orme, architect

WHERE:

Vallee de la Loire (On Cher River in Loire Valley)

Chenonceaux, Inre-et-Loire, France

WHY:

The moated chataeu gave rise to an imaginative water relationship from which sprang Chenonceau.  The water scenery is essentially French in its poetic combination of medievalism and classicism.  Flatter topography results in gardens developed more horizontally than in italy.   

WHAT:

Chateau de Villandry

WHEN:

Renaissance - Modern - Influenced by Jacques II

XVI c - 1906 preservationAndrouet du Cerceau, Renaissance architect

WHERE:

Vallee de la Loire (Loire Valley)

Indre-et-Loire, France

WHY:

The castle's gardens are the reconstitution of a 14th century French garden based on ancient texts. These gardens are divided into four terraces: an upper terrace, followed by a terrace with the water garden surrounded by a cloister of linden trees, followed by a terrace with the decorative, embroidery, garden with sculpted box hedges and yew trees in the topiary style, and finally a lower terrace with a decorative vegetable garden, it also displaying embroidered shapes.  Flatter topography results in gardens developed more horizontally than in italy.   

WHAT:

Chateau de Vaux-le-Vicomte

WHEN:

Baroque period

1656-1661

Louis le Vau, architect - Andre le Notre, landscape architect - Charles le Brun, artist

WHERE:

Ile-de-France

Melun, Seine-et-Mame, France

WHY:

Inspired by the moated chateau, Vaux-le-Vicomte is the seminal expression of the Jardin à la française, the French aesthetic of formal gardens that swept Europe in the 17th century.  From 1641, Nicolas Fouquet gave full rein to the genius of the renowned landscape gardener André Le Nôtre who used the latest technical, scientific and artistic knowledge of his era.  All nature should conform.  The supreme moments were those of carnival, fireworks, and countless guests in the gardens.    Flatter topography results in gardens developed more horizontally than in italy.   

WHAT:

Chateau de Versailles - B de Lantone - Tapis Vert - B de d'Apollo - Grand Canal

WHEN:

Baroque period

Louis XIV, king - Andre le Notre, landscape architect, Gaspard & Balthazar Marsy, sculptors

WHERE:

Ile-de-France

Versailles, Yvelines, France

WHY:  

The concept of comprehensive landscape planning was fully realized in the gardens, palace, and town of Versailles, which came to symbolize the power of a united nation.  Expression of power over land and space being infinite.  Topography dictates flatter spread than italy.  Element of time into the three dimesional.  

HOW WELL: 

WHAT:

Rome - Piazza di San Pietro

WHEN:

Baroque period

Sixtus V, pope 1585-1590, patron - Giovanni Bemini, colonnade architect

WHERE:

Latium

Rome, Italia

WHY:  

Dominated square conceived by Bernini as being subdivided into three units.  Emphasized dymanic movement.

WHAT:

Rome - Piazza del Popolo - S M di Monte Santo - S M del Miracoli

WHEN:

Baroque period

1586 - 1662 churches

Sixtus V, pope 1585-1590 - Rainaldi, Fontana, Bemini church architects

WHERE:

Latium

Roma, italia

WHY:

Two almost identical churches were built to frame an obelisk.  Emphasized movement in one direction.  The First comprehensive baroque town planning project organized by  setting up an obelisk as the hub of the raidating streets.  Stimulated power of fan motif.  Baroque space concept of directed movement. 

WHAT:

Rome - Scalinata di Trinita del Monti (Spanish Steps)

WHEN:

Baroque period

1723-1726

Francesco de Sanctis, architect

WHERE:

Latium

Roma, Italia

WHY:

Fan motif, connected church to plazza below.  Purpose was to reconnect to the road that was not built.  Emphaisis on dymanic movement.  

White Horse of Uffington

Per Jellicoe, primitive man wanted to set his mark on the landscape by raising artificial hills or rearranging stones.  Represents the idea that man wanted to show himself as the center of the universe.  The beginning of processional space.  Gestures saying we are here to stay.  People were not a war, and the change in climate and deforestation marked the beginning of agriculture.  This lead to the accumulation of foodstuffs and an increase in power.  To be able to build such structures a cooperation is needed.  

Dolmen de Menga

Per Jellicoe, primitive man wanted to set his mark on the landscape by raising artificial hills or rearranging stones.  Represents the idea that man wanted to show himself as the center of the universe.  The beginning of processional space.  Gestures saying we are here to stay.  People were not a war, and the change in climate and deforestation marked the beginning of agriculture.  This lead to the accumulation of foodstuffs and an increase in power.  To be able to build such structures a cooperation is needed.  

Venezia - Piazza di San Marco