Baroque park

The first baroque parks or baroque gardens were put on in the time of the baroque in France, one call them therefore also French gardens. As milestone of the baroque horticulture art lock and garden of Vaux le Vicomte are to be regarded. A system parallel and in regular intervals right-angled cutting ways the essential structure of a baroque garden mostly forms. In such a way separated Compartiments is arranged by geometrically cut trees and bushes, hedges and flower patches in ornamentalen forms, lawns and plants (in the winter in a Orangerie to be accommodated). In addition supplementing accents are often set by stairs, channels, Grotten, wells and Wasserspiele. The baroque garden an absolutely artificial thing created by humans is accordingly to the age of the rationalism. When planning highest value on regularity and symmetry one put. After 1750 it was replaced by English the landscape garden, which corresponded to the spirit of the feeling SAMness better. Conceptionally the baroque garden decreases/goes back to the Italian gardens of the Renaissance. However if the garden of the Renaissance of small, less differentiated Compartiments numerous by addition was formed, and often without purchase to the respective building, then the baroque garden is part of an architectural total concept of a summer residence. Garden, main lock, auxiliary building, often also still one for the residence pre-aged locality (Karlsruhe, Mannheim, Versailles) form an organic whole. And also the garden organically arranged with main and secondary axes, which are formed by channels, basins or ways. The classical succession is thereby (of the garden front of the lock out): 1. Parterre, 2. Bosquet and 3. Bosco. The Parterre serves for the plan view from the residence building, and is therefore usually formed by low patches of high ornamentalen attraction. The Bosquet is the hedge and Niederwaldbereich of the baroque garden, which serves for the desire changing. Its mostly straight-line exteriors are formed by close hedges or trees cut into geometrically accurate forms. Individual parts of the Bosquet are thereby often like that something like "small worlds for itself", about if they are arranged in form of a Irrgartens. Bosco is thereby the often most extensive forest range of the garden, which served pretty often as hunting ground for splendid hunts. One of the first plants of this kind in Central Germany is the baroque garden of the lock Delitzsch. 1692 put on the yard gardner Andreas God hard Carl the garden in the new, French taste. After the plans of Carl developed a radial Wegenetz (on the basis of a so-called and a Rondell, whose axles and ornamentations are surrounded by book tree hedges ("Parterre de broderie"). The ornamentations one filled out with colored brick break and saved so spring, summer and autumn planting. At the same time an excellent action at a distance of the ornamentations was reached, which barks thus also from the Gemchern in floor of the lock well to be recognized is.

Gardens of the French Renaissance

Gardens of the Chteau de Villandry.

view of the garden of [Catherine de Mdicis from the chteau de Chenonceau.

The Gardens of the French Renaissance is a garden style largely inspired by the Italian Renaissance garden, particularly the gardens of Florence and Rome. King Charles VIII and his nobles brought the style back to France after their campaign in Italy in 1495. [1] They reached their peak in the gardens of the royal chateau at Fontainebleau, the Chteau de Blois, theChteau d'Amboise, and the Chteau de Chenonceau. . These gardens were characterized by symmetrical and geometric planting beds or parterres; plants in pots; paths of gravel and sand; terraces; stairways and ramps; moving water in the form of canals, cascades and monumental fountains, and extensive use of artificial grottoes, labyrinths and statues of mythological figures. They became an extension of the chateaux that they surrounded, and were designed to illustrate the Renaissance ideals of measure and proportion, and to remind viewers of the virtues of Ancient Rome. By the middle of the 17th century, during the reign of Louis XIV, the style evolved into the grander and more formal Garden la franaise.

A garden is essentially an outdoor room that has an experiential dimension, a social dimension, an ethical dimension, a spiritual dimension and a mythological dimension. The pure symmetry of a classical garden has always been softened, or made whimsical and brought back to the human realm by the judicious use of landscape details.
By the 1790s there was a reaction against these stereotypical compositions; a number of thinkers began to promote the idea of picturesque gardens. The leader of the movement was landscape theorist William Gilpin, an accomplished artist known for his realistic depictions of Nature. He preferred the natural landscape over the manicured and urged designers to respond to the topography of a given site. He also noted that while classical beauty was associated with the smooth and neat, picturesque beauty had a wilder, untamed quality. The picturesque style also incorporated architectural folliescastles, Gothic ruins, rustic cottages built to add interest and depth to the landscape

In order to differentiate a decorative planting space from a utilitarian garden area, sculpted planters provide transitional spots of green in a field of stone. This English composition stone Campana form urn is decorated with a foliate swag and supported by a decorative socle.

Ornamental elements can be lamp posts, gazebos, bridges, paving designs, gateway entrances, benches, curving balustrades, or art. The use of the term landscape detail in this context is as an artifact, rather than as a drawing. The mathematical precision of a classical landscape design, while it points to a control over nature on the one hand, then creates a perfect foil for the addition of creative elements that mirror the natural forms the Landscape Architect has just controlled so effectively.

Statues were first placed in ancient sacred groves, and then later placed in ancient European gardens up until the 19th and early 20th centuries. This beautifully weathered Mid-19th century English stone figure of Hebe, a cup bearer to the gods, was done by the famous London sculptors, Austin and Seeley.

Sculptures intended for outdoor spaces provide character and add the needed cohesiveness to the landscape. With their organic forms, these artifacts animate a setting. In the context of history, a garden is an enclosed outdoor space, regardless of its size. A walled-in area was meant to protect cultivated plants, domesticated animals and people. But in ancient times, people also wanted to bring inside their walls the elements of their sacred groves, hence the statuary they chose to enliven their gardens.

A late 19th century French bronze figural group of a maiden with an admiring Pan at her feet is a perfect evocation of the ancient belief that human-like Gods intervened in the affairs of everyday life.

Aesthetic gardens not only protect however, they also, like other works of art, provide intellectual and spiritual rewards. The spiritual world has always been a great part of what the artist brings to garden design and has been for thousands of years. There were very strong religious aspects behind the earliest gardens, which were enclosed temple compounds in Ancient Egypt, and Mesopotamia, as well as religious enclosures in ancient Christian and Islamic gardens, Chinese and Japanese meditative gardens, and especially Roman gardens where religion was more centered around the home.

The pure symmetry of this balanced, mathematical design leading to a clear ocean view is softened by the ornate curls of the wrought iron section of fencing. The view itself is further controlled by the Sunset Belvedere, which creates a frame within the larger picture.

The mathematical emphasis of classical Roman gardens was derived from studying newly found philosophical works by Plato, and more importantly by Pythagorus, who originated the thought that all things are mathematical. Platos works and Pythagorean theories were studied anew during the Renaissance, and Lorenzo de Medici founded a Platonic Academy in his garden at Carregi, outside Florence. Ultimately, that had a great impact on garden design. The humanists of the day came to the conclusion that Greek and Roman architecture was based on mathematical proportions and thus, Neoplatonic designers began creating worlds of ordered beauty. The Cartesian gardens of the Renaissance clearly show this love of balanced relationships and Pythagorean harmonic proportion in their landscaping as well.

The meeting of scholars in Cosimo de Medicis garden in 1439 established that mathematics and geometrical patternsas seen in this landscapewere fundamental to the Neoplatonic ideal for integrating buildings and gardens.

Conceived in the tradition of an Italianate hillside villa, the classical gardens of this home overlooking Santa Monica Bay were designed by Todd P. Bennitt, of Bennitt + Mitchell, Landscape Architecture, to complement and complete the Renaissance theme of the house. The gardens are view oriented and linked to the architectural composition and orientation. Balancing the Pythagorean harmony and mathematical precision of the walkways, are colonnaded peristyle courts, balustraded walls and terraced retaining walls, which handle the slopes leading down to the edge of the cliff. The steep hillside conditions meant the gardens had to be terraced to create dramatic view sequences and strongly defined outdoor rooms. The spaces include the entry, the hillside forest, the motorcourt, the entry forecourt, the library terrace garden, the herb garden, the sculpture and rose terrace and the great lawn.

This kind of colonnade is called among the Greeks xystus because athletes during the winter season, exercise in covered running tracksThe xystus ought to be so constructed that there may be plantations between two colonnades, or groves of plane trees, with walks laid out among them among the trees and resting places there, made of opus signinum [i.e.paved]. Vitruvius, De Architecture Libri Decem, c. 27 BC

Materials utilized are traditional natural stone including granite, cobbles, sandstone and antique limestone. The plant materials include pines, Italian cypress, Canary Island palms and extensive hedging materials such as boxwood and myrtle. The garden statues and the pavilion, including the Wisteria Pavilion and the Sunset Belvedere are architecturally integrated and extend the architectural vernacular to the surrounding gardens. Water features include the antique motor court fountain, the

forecourt wall cascade and the library water runnel and lily pond. The herb garden features a stone pizza oven as well as outdoor kitchen facilities. The kiss of the sun for pardon, The song of the birds for mirth, One is nearer Gods Heart in a garden Than anywhere elseon earth. Dorothy Frances Gurney, A Little Book of Quiet, London: Country Life and George Newnes, 1915 With its exquisite view of the ocean and the horizon, are a collection of carefully placed statues, fountains and urns either created for the setting, or 19th century copies of Greek and Roman statuary found in Europe by Proler Garden Antiques, Inc. (garden-antiques.com). Descending a pine shaded drive, a circular cobbled court is graced with a large circular fountain surrounded by Canary Island palms. The gardens include a naturalized hillside, a terraced garden, rose and herb gardens and the entire estate is surrounded by a magnificently proportioned great lawn with its exquisite view of the ocean and the horizon, and the collection of carefully placed statues, fountains, pediments, finials and urns. These features are seamlessly integrated into the villa composition.

Shanghai
Shanghai (Chinese: ; Shanghainese: Znhae [zh]; Mandarin pinyin: Shnghi Mandarin
pronunciation: [xi])

is the most populous city in China. The city is located in eastern China, at

the middle portion of the Chinese coast, and sits at the mouth of theYangtze River. Due to its rapid growth over the last two decades it has again become a global city, exerting influence over finance, commerce, fashion, technology and culture. Once a fishing and textiles town, Shanghai grew in importance in the 19th century due to its favourable port location and was one of the cities opened to foreign trade by the 1842 Treaty of Nanking. The city then flourished as a centre of commerce between east and west, and became a multinational hub of finance and business in the 1930s.[6] However, with the Communist Party takeover of the mainland in 1949, the city's international influence declined. In 1990, the economic reforms introduced by Deng Xiaoping resulted in an intense re-development of the city, aiding the return of finance and foreign investment to the city.[7] Shanghai is now aiming to be a global finance hub and international shipping centre in the future,[8] and is one of the world's major financial centres.[9] Shanghai is also a popular tourist destination renowned for its historical landmarks such as The Bund, City God Temple and Yuyuan Garden, as well as the extensive and

growing Pudong skyline. It is described as the "showpiece" of the booming economy of mainland China.

Etymology and names

The two Chinese characters in the city's name are ("above") and ("sea") which together literally mean 'Upper Sea'. The earliest occurrence of this name dates from the Song Dynasty (11th century), at which time there was already a river confluence and a town with this name in the area. There are disputes as to exactly how the name should be interpreted, but official local histories have consistently said that it signifies 'The upper reaches of the sea'. Due to the changing coastline, Chinese historians have concluded that in the Tang Dynasty Shanghai was literally on the sea, hence the origin of the name.[12] A more poetic name for Shanghai switches the order of the two characters, " ", and is often used for terms related to Shanghainese art and culture. Shanghai is commonly abbreviated in Chinese to "".[13] As it is also an official abbreviation, this character appears on all motor vehicle license plates issued in the municipality today. The name " " is derived from H D ( / ), the ancient name for the lower section of the Suzhou Creek as it enters the sea, the same section which is today regarded as the lower section of the Huangpu River.[14] The character "" (H) is often combined with "" (Sng) to form the name Songhu ( ). Sng comes from another ancient name for theSuzhou Creek, the Song River, after which the town Songjiang is named. For example, the 1937 Battle of Shanghai