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The Idea of the Garden in the Renaissance
... Books surveyed are: Aben and De Wit (1999), Adams, W. H. (1978), Bentmann and Muller (1970), Berral (1978), Charageat (1955), Comito (1978), De Jong (1988, Dixon Hunt and Wills (1975), Berger (2002), Corner (1996), Fairbrother (1974, Fat and De Jong (1991), Frank (1956, Fleming and Gore (1979), Gollwitzer (1974), Gothein (1914), Hazlehurst (1980), Holmes (2001), Hussey (1967), Jashemski (1979), Jellicoe and Jellicoe (1975), Kask (1971), Laird (1992), Laurie (1975), Mann (1993), Mariage (1986), Moore, Mitchell and Turnbull (1993), Mosser (1991), Mostafavi (2003), Pechere (1987), Reh (1996), Reh, Steenbergen and Aten (2007), Shepherd and Jellicoe (1986), Smienk and Neimeijer (2011), Steenbergen (1990Steenbergen ( , 2008, Steenbergen and Bobbink (2009), Steenbergen and Reh (1996, 2011, 2012, Strong (1979), Thacker (1979), Tildon (2006), Tobey (1973), Turner (2005), Van Asbeck (1976), Van der Ree, Smienk and Steenbergen (1992), Van Voorden and Kwast (1997), Wittkower (1949), Woodbridge (1970Woodbridge ( ,1982, and Yong and Yong (2005). ...
Besides the efforts that are of descriptive and celebrative nature, studies related to Sri Lanka’s historical built heritage are largely to view material remains in historical, sociological, socio-historical and semiological perspectives. But there is hardly any serious attempt to view such material remains from a technical-analytical approach to understand the compositional aspects of their designs. The 5th century AC royal complex at Sigiriya is no exception in this regard.The enormous wealth of information and the unearthed material remains during more than hundred years of field-based research by several generations of archaeologists at Sigiriya provide ideal opportunity for such an analysis. The present study is, therefore, to fill the gap in research related to Sri Lanka’s historical built heritage in general and to Sigiriya in particular. Therefore the present research attempts to read Sigiriya as a landscape architectonic design to expose its architectonic composition and design instruments.The study which is approached from a technical-analytical point of view follows a methodological framework that is developed at the Landscape Design Department of the Faculty of Architecture at Delft University of Technology. The study reveals that the architectonic design of Sigiriya constitutes multiple design layers and multiple layers of significance with material-spatial-metaphorical-functional coherence, and that it has both general and unique landscape architectonic elements, aspects, characteristics and qualities.The richness of its composition also enables to identify the landscape architectural value of the Sigiriya, which will help re-shape the policies related to conservation and presentation of Sigiriya as a heritage site as well as the protection and management as a green monument. The positive results of the study also underline that the methodology adapted in this research has devised a framework for the study of other examples of historical gardens and landscapes of Sri Lanka, which will eventually provide insight into the typological aspects of the possible Sri Lankan tradition of landscape design.
In the 15th century, Ferrara had gradually developed into a large regional center in Italy. Its culture marked by certain elite traits reached a highest level, shown by the opening of Ferrara University and extensive building activity, making Ferrara the “first modern city in Europe”. The brilliant and luxurious life of the city’s nobles was also of great importance.
The article discusses Petrarch’s ideas about the landscape, which he imagined in wide and diverse aspects, approaching directly to humanist concepts. On the one hand, the landscape was perceived by the poet as a cultural habitat, on the other hand, it was associated with intimate experience, awareness of natural space as necessary for creativity and disclosure of the lyrical features of an individual. Petrarch’s understanding of the landscape came into close contact with the garden, or the landscape cultivated, ideal; in addition he made available contribution to the forming of the Renaissance garden conception.
In this volume, Rebekah Compton offers the first survey of Venus in the art, culture, and governance of Florence from 1300 to 1600. Organized chronologically, each of the six chapters investigates one of the goddess's alluring attributes – her golden splendor, rosy-hued complexion, enchanting fashions, green gardens, erotic anatomy, and gifts from the sea. By examining these attributes in the context of the visual arts, Compton uncovers an array of materials and techniques employed by artists, patrons, rulers, and lovers to manifest Venusian virtues. Her book explores technical art history in the context of love's protean iconography, showing how different discourses and disciplines can interact in the creation and reception of art. Venus and the Arts of Love offers new insights on sight, seduction, and desire, as well as concepts of gender, sexuality, and viewership from both male and female perspectives in the early modern era.
Adopting an evidence-based approach, this book uses two state-of-the-art experimental studies to explore nature’s therapeutic benefits in healthcare environments, emphasizing how windows and transparent spaces can strengthen people–nature interactions. High-quality, supportive, and patient-centred healthcare environments are a key priority for healthcare designers worldwide, with ageing populations creating a demand for remodeled and updated facilities. The first study demonstrates individual psychophysiological responses, moods, and preferences in simulated hospital waiting areas with different levels of visual access to nature through windows, while the second experiment uses cutting-edge immersive virtual reality techniques to explore how gardens and nature views impact people’s spatial cognition, wayfinding behaviors, and experience when navigating hospitals. Through these studies and discussions drawing on architectural theory, the book highlights the important benefits of having access to nature from hospital interiors. This concise volume will appeal to academics and designers interested in therapeutic landscapes and healthcare architecture.
This essay explores the gardenscapes that Thomas More inhabited, and how these locations defined his writing and the critical canon. Through a study of both More’s works and the earliest posthumous recollections of the author in Ellis Heywood’s Il Moro, I consider how physical spaces and their respective environments of enclosure or exposure influenced More and posthumous remembrances of him.
Giovanni Battista Ferrari (1561-1623) was a Jesuit friar who had an intense interesting in the scientific culture of the early seventeenth century Roma. His horticultural book, Flora overo la cultura di fiori (1638), dedicated to one of the member of Lincei Academy, strongly reflects this intellectual atmosphere, which was the mixture of the new and the old style of knowledge. Analyzing Ferrari's geometrical flower bed designs from the point of view of astrology and cosmology, this study researches the design principal of the early modern Italian gardens and points out the reflections of contemporary scientific culture that is represented by Lincei Academy.
Two questions left unresolved in (he existing editions of Le Printemps d’Yver are investigated: firstly the probable date of the episode described by Yvcr, and secondly the prevailing doubts as to whether or not the work is complete in its present form. Correlating the dates of the ceasefires during the Religious Wars, the publication of Yver's work and the estimated time of his death suggests that the frame story might have been set at Whitsuntide, 1571. The second question of the novel's completeness is, of course, crucial for a full appreciation of the author and his Le Printemps. The structure of a frame-novel that almost certainly served as a model for Yver’s own composition is considered in conjunction with the French work. In addition, thematic elements relating to Venus, the goddess of love, are examined both in the frame story and the enclosed tales as further evidence of structural unity in the book. It is then argued that Le Printemps, far from being incomplete, is a neatly constructed, tightly-woven and finished artistic product.
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