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Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Controversy in Landscape Architecture

Question: Contrast and compare the landscape theories associated with two significant designers.

Plate 1, The Poets Garden, Ernst Cramer. Source: Baunetz (2009).

Plate 2, Jupiter Artland, Charles Jencks. Source: Edinburgh reporter (2012).

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Contents
Controversy in Landscape Architecture ................................................................................... 1 Controversy in Landscape Architecture ................................................................................... 3 Introduction ........................................................................................................................................ 3 Early years ...................................................................................................................................... 3 Awards and Exhibitions .............................................................................................................. 4 Most Notable landscape: ............................................................................................................... 5 The Architects Process ................................................................................................................... 6 How they work Style and Key Features of Design ...................................................... 6 Landscape Theories Underlying Philosophy ................................................................... 9 Inspirations and who they inspired: ................................................................................... 10 Critics and Controversy: the viewpoints: ............................................................................. 11 New Projects .................................................................................................................................... 15 The Star of Caledonia ............................................................................................................... 15 Conclusion ......................................................................................................................................... 16 References ........................................................................................................................................ 17 Appendix ............................................................................................................................................ 21 Biography ...................................................................................................................................... 21 The Poets Garden: .................................................................................................................... 22 The Garden of Cosmic Speculation: .................................................................................... 24 Most Significant / Notable works ......................................................................................... 26 Troubled times............................................................................................................................. 27

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Controversy in Landscape Architecture Introduction


This paper Controversy in Landscape Architecture looks to a comparison of the noted landscape architects Ernst Cramer and Charles Jencks. It is entitled so due to the portrayal of the two designers both in the public perception of their works as well as the critics within the field of Landscape Architecture. Ernst Cramer (1898-1980) and Charles Jencks (1939 -) have both had varied and yet controversial careers. Their significance in the world of architecture has been recognised by many. Ernst Cramer is hailed with the accolades of being the forefather of the modern movement in architecture and one of the most important Swiss landscape architects in the 20th Century (Petschek, 2008). Jencks as author and theorist of many publications is hailed with creating postmodernism (Jencks, 2012). The justification of comparing these two Landscape Architects should become apparent when reading this paper, for it is how their similar works have created criticism and controversy throughout the public realm and landscaping world that makes them similar. They are also parallel in their designs both using various materials and earth re-grading creating their own form of land art. Were their landscapes created from a strong contextual beginning helping to thus form a concept or were they merely placed in the context without meaning to the existing land? This question will be answered throughout the paper by examining their designs and the placement in the landscape. With careers spanning many decades the two designers have worked in different eras, countries and design periods. How has this had impact on their design, work and style?

Early years
Cramer and Jencks were born in two different centuries but just 41 years apart. Both were alive during the Second World War, although it had less effect on Jencks an American toddler at the time than it did on Cramer, who was a guard on border patrol in Switzerland. Both men travelled but the inspiration for their work is from a totally different origin. Cramer began to work as a landscape architect at the age of 31 however Jencks started to practise much later at the age of 60. Jencks spent much of his early years either in education, or teaching, he lectured in over forty universities throughout the world. Cramer also spent many years in the teaching role. Jencks published his first book at the age of 30 called Meaning in Architecture and went on to write 40 more. Cramer was also published but within magazines and periodicals. Both Cramer and Jencks suffered the loss of their wives which had an impact on them (see appendix), (Weilacher, 2001; Jencks, 2013). For a full Biography of the two designers see appendix. 3

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Awards and Exhibitions


One of the first exhibitions (Zurich Horticultural Show 1933) Cramer and his new firm showed in afforded him little publicity. He was given a small plot behind the public toilet to create a show garden. This was not written about in the press however photographs were published. Cramer started to take many photographs of his work looking at the garden as an atmospheric image which could help with publicity. Cramer was often seen with a camera around his neck capturing the ambiance of his gardens. He used these photographs as a way of advertising himself within magazine articles. He published pictorial views of his gardens with limited words, letting the photographs sell his designs. Cramer took part in several exhibitions Plate 3, Flame 1977, Ernst Cramer. Source: Weilacher (2001). and created over ten competition gardens. He was also asked to create stand alone commissions and designed Flame a sculpture for Roche AG in Sissen (plate 3 of Cramer and his trusty camera in hand), (Weilacher, 2001). Jencks has received several awards spanning his career notably three honorary Doctorates for Science, Letters and Literature from 2005 2011 (RSA, 2012). He also received awards for specific landscapes; Landform Ueda at the Scottish National Gallery won the Gulbenkian Prize (plate 4), (Architravel, 2013). His publications are on the text list of many universities and are widely read. Among these are publications about his designs for The Garden of Cosmic Speculation and The Universe in the Landscape which talks about many of his design concepts (Jencks, 2012).

Plate 4, Charles Jencks, receiving Gulbenkian Prize, Richard Calvocoressi, Charles Jencks, Lady Cobham, Loyd Grossman. Source: Culture 24 (2004).

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Most Notable landscape:


Both Cramer and Jencks have created distinguished landscapes that have been publicised throughout the world. The following briefly describes their most notable landscape, with full designs featured in the appendix section along with their other significant landscape designs. The most notable garden in Cramers career is one that started him on a path to using minimalist and architectural forms in the landscape, which was a decisive change from the picturesque garden design style that he had previously used. This drastic change in his designs came about in the 1950s. At the Swiss Horticultural Exposition 1959 he designed The Garden for the Poets which showcased his new design philosophy. Unfortunately the garden no longer exists as it was part of an exposition. It has been reconstructed by Pol Ghekiere at the University of Hannover, 2003, in front of the Landscape Architecture department (Polghekiere, 2010).

Plate 5, University of Hannover. Source: Wiki (2012).

Jencks most notable landscape: The Garden of Cosmic Speculation is still in existence and can be viewed on one day of the year by the public. This is his own private garden situated in Portrack House, Galloway, his Scottish home. The garden was designed with his late wife Maggie Keswick in 1989 and was one of his first landscape architect projects at the age of 50 (Jencks, 2002).

Plate 6, Garden of Cosmic Speculation Source: Maggie Centre (2010).

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

The Architects Process


How they work Style and Key Features of Design
Within his education studying at Oeschberg College under Albert Baumann, Cramer was made to copy plan drawings of historic sites like Versailles to learn both from history and technical drawing skills, it is here that he took his motto from Baumann you must write but little, draw a lot (Weilacher, 2001 p 18). Baumann was a mentor but became a friend to Cramer (Weilacher, 2001). During the second war Cramer moved his office premises and took on extra staff who were young but well trained including Ernst Racheter a 19 year old journeyman gardener. Together they set up a plant and tree nursery and Racheter started to direct the firm designing his own gardens alongside Cramer. Another new employee was Willi Neukom who brought with him real creative drawing skills which enabled Cramer to be free to create and have a work force to transform his ideas into reality. Both men learnt from Cramer and set up their own practises in later years (Weilacher, 2001). From interviews and emails of employees of Cramer, it is evidenced that he preferred to draw out ideas and work with them on site (Petschek, 2008). For The Poets Garden the construction documentation and detailing was never found and a former employer Fritz Dove explained, in an email: The published drawings probably also served as construction drawings. By entering the height of the tops of the pyramids they were useable for the rough grading work, and the final form was influenced by the quantity of available material and the sinking of the fill area (Fritz Dove, email of August 9, 2007) (Petschek, 2008 p 34). Cramer was more at home on site than at a drawing board and used his own landscape construction team to build the garden where he could advise and make decisions immediately (Petschek, 2008). He designed in stages adding to the design and constantly adapting to the changing conditions (Weilacher, 2001). In the 70s, Cramer developed a new design expression to work with topography, which featured terraces (plate 7). This was a movement away from the harsh right angled previous work. He was quite prone to coming up with a concept and quickly sketching it down, which was coined a napkin sketch by Christopher Eriksson, who was then in charge of drawing up and detailing the project (Weilacher, 2001).

Plate 7, Terrace Design, Ernst Cramer Source: Weilacher (2001).

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Plans, to Cramer were an aid to implementation, they lacked expression, he much preferred sketches and models. He sketched many designs on scraps of paper but they had much more meaning than that of a plan (plate 11). Cramer modelled in white plasticine and even made his own special shaping tools to enable him to manipulate the clay better (Plates 9 and 10) (Weilacher, 2001).
Competition design for cemetery in Granichen. Cramer, 1974, Plate 9, Napkin sketch. Source: Weilacher (2001) Plate 10, clay model. Source: Weilacher (2001)

Plate 11, sketch drawing of canal; flowing into Caspian Sea, 1977, Cramer. Source: Weilacher (2001)

Jencks describes his work as land forming, he discusses how there have been many movements: land art to installation art to body art etc. and how from the post-modern period onwards art forms have been expanding. (Jencks, 2003).
Plate 12, Landform Bridge, Jencks. Source: Jencks (2012)

In land forming what I do is a mixture of sculpture, gardening, landscaping, architecture and epigraphy, writing. So youll see in my work Im always writing, maybe thats my background in literature. It's a hybrid art that Im doing. Its neither sculpture, architecture or gardening, but it's all of them. It pulls them all together (Education Scotland, 2005).

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Jencks is conscious of working with a big idea which is created with him and the client. My work always is involved with other people who get excited by the idea. When you have a really big project, and Ive had some huge ones, you have to step back and say to yourself What is worthy of this landscape? (Education Scotland, 2005). Jencks uses science to inspire concept, for instance cell division was used as the inspiration to look at the big question What is life? He designed a project at Jupiter Artland, a sculpture park near Edinburgh that explores the cell and its division. He used sketching to look at the patterns made by the cell and then created a plasticine model to help to work with topography (Plate 13 and 14) (Jencks, 2011).

Plate 13, Cell Sketches, Jencks. Source: Jencks (2011)

Like Cramer, Jencks often works with site and concept sketches and then develops these quickly in plasticine. One major difference in the practise of Jencks work is the use of computer software. Although he by no means relies on this he does use computers for most stages of the design process from research to final design (Jencks, 2011).
Plate 14, Cell model, Jencks. Source: Jencks (2011)

He uses the internet as a means of research often looking on you tube to find films of scientific interest (Jencks, 2002). Jencks works with other architects and companies. In 2002 he worked with LAND and together they created digital plans of the design process through to final master plan (Plate 15). He still began the journey with hand sketches and used models throughout (Jencks, 2003). Plans were/are used by both men however sketches and models were far more useful and documented than individual plans.

Plate 15, Public Park Millan, Jencks. Source: Jencks (2011)

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Landscape Theories Underlying Philosophy


Through much of his early career Cramer worked with a picturesque style of gardening and created many romantic truly Swiss domestic gardens. The era of his early work was a difficult time due to war and a crisis in the economic state of the country. Swiss culture and tradition was sought out by the people they rejected the radical Modernism in garden architecture. After the war these traditions were broken down to allow for more freedom in design. Switzerland had been almost isolated by the war and stuck in a traditional Swiss style. Work at this time by Cramer and his peers, was the start of a new era in design (Weilacher, 2001). 1944, was a turning point for Cramer in his philosophy and style. He joined the Swiss Werkbund, an association of artists and architects in Zurich formed by the Bauhaus master Johannes Itten which set new guidelines for Swiss culture (Weilacher, 2001). The turnaround was more pragmatic than theory based; he was seeking out new ideas and answers to transform the paralysis that had occurred in post war Switzerland. He became experimental in his practise sometimes collaborating with artists and other architects. He wanted to make his mark by making a significant contribution to his era. He was influenced by Alfred Roth who edited Werk magazine which contained current cultural events and kept the new Modernism alive during the war years. In 1950 he designed a school grounds, this was the start of a more abstract era of design. Cramers designs became progressively modernistic, simple and abstract (Weilacher, 2001). Whilst Cramer worked with a modernist philosophy for a large part of his life Jencks spent much of his, turning away from the rationalistic principles of modernism. Instead he spent time lecturing on postmodernism, a theory of philosophy which he has been credited for defining. In an interview with Point of View Architeam Jencks describes how in the 1960s there was complexity and contradiction and from looking at Jacobs, the complexity theories have been reabsorbed into a new scientific paradigm (Jencks, 2012). The universe can be understood as a complex self-organising system (Jencks, 2012). He talks about how these common ideologies are now being explored, that were suppressed in the modernism movement, which was deterministic, very much about creativity verses the machine. The new paradigm is more a fluid pattern; it looks at the paradox between living and dead, and the patterns which underline architecture, computers and life itself. This he believes was formulated from scientific roots looking at self-organising systems. Jencks describes his philosophy now as the late stage of post-modernism or the second stage (Independent, 2011; Points of view, 2012). Jencks has designed many gardens that are inspired by cosmology, namely his cosmic garden which is a postmodernist landscape at his Scottish house (See Appendix) (Jencks, 2002).

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Inspirations and who they inspired:


Cramer was an inspiration to many especially those apprentices he took on and trained like Ernst Racheter and Willi Neukom. He inspired those he taught at universities and those who learnt about his works like Dieter Kienast, a Swiss Landscape Architect who described his work as Swiss radical garden architecture (Conan, 2007). In terms of inspirations for his work Cramer developed over the years going through different styles. Herbert Bayer created The Marble Garden in 1955, which is an experimental garden. Four years later Cramer developed his own experimental landscape in The Poets Garden (Landscape design, 2010). One of his biggest inspirations was that of Gustav Ammann who he was apprentice to. Cramer took inspiration from many countries and settings, after returning from a holiday or trip his work would often develop a different style for example his picturesque Ticino gardens (Weilacher, 2001). He was particularly inspired by Oscar Niemeyer (Brazilian modern Architect) whom he met in Berlin, after which he journeyed to Brazil where he spent time photographing the architecture. Upon his return he created the theatre garden (plate 25) inspired by all he had seen (Taylor and Francis, 2012). Plate 25, The Theatre Garden, Cramer. Source: Weilacher (2001) Similar to Cramer, Jencks was inspired by a modernist architect; Sigfried Giedion, whom he studied under. Giedion was a critic and art historian who wrote Space, Time and Architecture (Smith, 2009). Another role-model is Le Corbusier who Jencks described as multi-modal (Dezeen, 2007). His biggest inspiration has been that of science and the developments that have occurred over the last centuries, the desire to relate to the universe and share this passion with others (Glancey, 2011). Jencks also took inspiration from natural patterns (plate 26) (Jencks, 2003).

Plate 26, Inspiration. Source: Jencks (2011).

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Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Critics and Controversy: the viewpoints:


Cramer was one of the leading members of a revolution of modern landscape architecture in a somewhat stagnant post war era. Jencks developed this revolution further and was the creator of the post modernist movement. Jencks is fully aware of how controversial his designs and opinions can be, since he published his first book he has had media attention and criticism follow him. He has been quoted saying that designing with and taking risks is so important but can cause controversy. Each of his landscape designs has been a big, bold statement which has caused a mixed review amongst the profession and public (Education Scotland, 2012). Whatever else one can say about Jencks, his work certainly provokes - as great art should (BBC Gardens Illustrated, 2011) By his own writing Cramer states that We must strive to include the surroundings countryside, so that we acquire a real connection with nature (Weilacher, 2001 p 30). This did not always mean using the context but rather framing views to it. In the 30s the overall picture of the garden was of up most importance to Cramer even if it was an exotic one. In his gardens in Erlenbach (plate 16) and Zollikon around Lake Zurich he used the same techniques of framing views however these designs could have been any where; they were quite devoid of their Swiss mountain context (Weilacher, 2001).
Plate 16, Schoeller Garden, Erlenbach 1934, Ernst Cramer. Source: Weilacher (2001)

Within the 30s and early 40s Cramer was establishing himself as a serious Garden designer, his romantic picturesque garden style was, at that time pleasing to the public. He proved that he could design residential and domestic schemes by entering gardens into national exhibitions showcasing his work. He was not groundbreaking but rather following along with the traditions of the country. In one exhibition he almost replicated the work of Harry Maab by following his suggestions for the typical pool garden (plate 17 and 18). It was not until his work became more innovative that people started to see him in a different light and to criticise. Unlike Jencks who was innovative in his style from his first works. (Weilacher, 2001)

Plate 17, The Shower Garden, Harry Maab 1931. Source: Weilacher (2001)

Plate 18, The Pool Garden, Ernst Cramer 1933. Source: Weilacher (2001)

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Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

One of the first times Cramer had been heavily criticised for his work was within the expo 1959 show with The Poets Garden (see appendix). As his new style which looked at the tension between naturalism and abstraction was fairly radical for the time, it created a shock amongst the landscaping world and the public internationally (Weilacher, 2001). In 1963 Cramer designed The Theatre Garden (plate 19) for the International Horticultural Show in Hamburg. He was able to implement new ideas about architectonic garden design without any restrictions, creating large concrete posts that were lit by night. Critics and the public however were displeased with this new abstraction: the garden shows no more sign at all of the much-loved intimacy and beauty of a garden (Weilacher, 2001 p 159).

Plate 19, The Theatre Garden, Ernst Cramer 1963. Source: Weilacher (2001).

In 1967 Cramer entered a competition with a radical cemetery plan (plate 20 and 21) which went against the normal conventions as such the jury voted against it, however it showed a new style, with logically structured enclosed spaces based on a Scandinavian model (Weilacher, 2001).

Plate 20, Cemetery model, Volketswil, Ernst Cramer 1967. Source: Weilacher (2001)

Plate 21, Cemetery plan, Volketswil, Ernst Cramer 1967. Source: Weilacher (2001)

Both Cramer and Jencks have been criticised for the lack of context driven work by their peers and have divided the publics opinions. In an interview with Mark Brown of the Guardian Jencks spoke of his ideas and how he wants to create works that make people stop and question the here and now and the cosmos, he spoke about his work: "I do believe architecture, and all art, should be contentdriven. It should have something to say beyond the sensational, the lack of culture in so much new architecture is worrying" (Jencks, 2012; Brown, 2012). Tim Richardson, landscape critic, historian and author reviewed The Garden of Cosmic Speculation in the Journal of Garden Design (2007). Although he describes the garden as thrilling he feels its loudness and ludicrousness is increasing making it a garden not of concept, nor symbolism but of demonstration of cosmological theories. Richardson notes the most effective part of the garden is that which is the least literal, theory lead area (JGD, 2007). 12

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

In his article The Inflexible Abstraction (2012), Tim Waterman discusses how, for many Landscape students, the bugbear is the concept and how this can hinder the final design and programming on site (Waterman, 2012). Site analysis should be the starting point to design and from this contextual information a concept is formed. However as Waterman explains this is not the case for some designers. He calls Jencks the master of inflexible abstraction (2012) as he takes a huge idea like the universe and applies it literally to a site, creating forms without taking account of the site context. The forms created are then borrowed by students and used as cake-decorating (2012) across the site, which Waterman claims is what Jencks is guilty of too. He comments on how symbols and imagery are used to convey local and cosmic history with examples of creating a pool in the shape of Scotland which shows how representational his work is (plate 22) (Waterman, 2012).
Plate 22, Scotloch, The Fife Earth Project, 2009, Jencks. Source: Jencks (2011)

I would agree that some of Jencks landscapes, by his own admission, are not taken from the context and therefore the forms are without relation to the site. However the designs created certainly get people talking, they are controversial and people either love or hate them. I see his work as public art pieces more than landscape designs; they are creative land art (Jencks, 2003). Art is subjective but also has the ability to be very controversial. Opinion is often divided on matters of public open space and design. When Jencks was asked to re-design the largest disused coal mine (1,300ft long) in Cramlington, Northumberland he created a highly controversial piece. Northumberlandia (plate 23 and 24), a 3million sculpture, inspired by the rolling hills of the local context is one such bold, abstract landscape that has divided both the professional and public opinion. Wayne Daley, a councillor who was in office when the first application failed, criticised the design and called it ridiculous. There were complaints from local residents appealing that they would prefer natural countryside. Some members of the public found it demeaning to women; others favourably compared it to Gormleys Angel of the North (Brown, 2012). The landowner Viscount Ridley was called a pagan pornographer for allowing such a creation to take place (Independent, 2012). Waterman discusses how the concept was placed or rather imposed on the land and not created from it and how it is abstract art (Waterman, 2012). Tom Turner, landscape architect, however disagrees with this argument and writes that the work created by Jencks is not abstract but post-modern. He argues: I fully understand why so many clients are turning to Jencks instead of to landscape architects: he is carrying forward the nexus of artistic ideas from which the landscape profession arose (Turner, 2012). 13

Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Tim Richardson remarked that Its quite difficult to take it seriously, This massive woman you climb up (Richardson, 2012). To some people it is ridiculous and even comical but with over 2700 visitors in the first week it has certainly captivated an audience and got people talking (Brown, 2012). Plate 23, Northumberlandia, 2005, Jencks. Source: Northumberlandia (2012)

Plate 24, Northumberlandia, 2005, Jencks. Source: Northumberlandia (2012)

The contours that make up the body are used as pathways; there is an easy and a more athletic route, the views from the top are far reaching (plate 24).

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Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

New Projects
The Star of Caledonia

Plate 27, The Star of Caledonia. Source: AU News (2012). A new design by Jencks and Cecil Balmond to celebrate Scotlands scientific contribution to the world has been just been approved. The sculptural landform (plate 27) is to be 36m tall and located on the English, Scottish border (AU news, 2012). The interactive sculpture reflects the sun during the day and will use the energy to illuminate during the night (plate 28), (AU news, 2012).

Plate 27, The Star of Caledonia. Source: AU News (2012).

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Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

Conclusion
Both Jencks and Cramer have been guilty of creating landscapes from a conceptual standpoint which neglects the context. This said both have also created landscapes which work from the context and have then applied a concept to them. The designs created, have caused controversy but have also imprinted in peoples minds, started discussions and for that reason both men have been famous in their own time. I do not feel that either Jencks or Cramers designs lack meaning in fact they are full of meaning. This meaning does not always relate to the site and so the design becomes a work of art placed in the landscape, rather than a landscape itself.

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Elizabeth Lister

Theory and History of Landscape and Garden Design

98030720

References
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Independent (2011) Interview [www document]. http://www.independent.co.uk/arts-entertainment/music/features/the-a-to-z-ofpomo-2351908.html?origin=internalSearch (Accessed March 2013) Independent. (2012) Interview [www document]. http://www.independent.co.uk/arts-entertainment/art/news/just-like-marmiteour-lovehate-affair-with-public-art-8219402.html?origin=internalSearch (Accessed March 2013) Jencks, C. (2002) The New Paradigm in Architecture : The Language of PostModernism. 7th edn. Yale University Press, New Haven and London. Jencks, C. (2003) The Garden of Cosmic Speculation. Frances Lincoln, London. Jencks, C. (2011) The universe in the landscape : landforms by Charles Jencks. London: Frances Lincoln. Jencks, C. (2011) Article [www document]. http://archinect.com/features/article/29809 (Accessed April 2013) Jencks, C. and Kropf, K. (eds.) (2006) Theories and manifestos of contemporary architecture. 2nd edn. Chichester: Wiley-Academy. Jencks, C. (2012) Mark Brown interview [www document]. http://www.guardian.co.uk/artanddesign/2012/sep/03/sid-sexist-picnicnorthumberlandia-joy (Accessed March 2013) Kassler, (1984) Interview, in Petschek, P. (2008) Grading for landscape architects and architects. Basel; London: Birkhuser; Springer Keyword. (1995) Photo [www document]. www.keywordpicture.com (Accessed March 2013) Landscape design. (2010) Article [www document]. http://thlandscapedesign.blogspot.co.uk/2010_04_01_archive.html (Accessed March 2013) Maggie Centre (2010) Photo [www document]. www.maggiescentres.org (Accessed April 2013) Markimo. (2000) Archive of Swiss landscape architecture [www document]. http://www.markimo.ch/userfiles/File/Doks%20Markimo%202008/G59_Broschu ere.pdf Markimo. (2012) Photo [www document]. http://www.markimo.ch/userfiles/File/Doks%20Markimo%202008/G59_Broschu ere.pdf (Accessed April 2013) Metamute (2012) Photo [www document]. http://www.metamute.org/editorial/articles/style-without-subversion (Accessed April 2013) Northumberlandia.(2012) Photo [www document]. http://www.northumberlandia.com/page_details.html?PID=58&sec=ab (Accessed April 2013) Page park. (2012) Photo [www document]. www.pagepark.co.uk (Accessed April 2013) Paisajimo. (2012) Photo [www document]. http://paisajimopueblosyjardines.blogspot.co.uk/2011/11/el-paisajista-suizoernst-cramer-1898.html (Accessed April 2013) 18

Elizabeth Lister

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Petschek, P. (2008) Grading for landscape architects and architects. Basel; London: Birkhuser; Springer Petschek, P. (2008) Grading for landscape architects and architects. Basel; London: Birkhuser; Springer Points of view. (2012) Interview [www document]. http://www.architravel.com/pointofview/interview/charles-jencks-onarchitecture-and-theory/ (Accessed April 2013) Polghekiere (2010) Photo [www document]. http://polghekiere.blogspot.co.uk/2013_01_01_archive.html (Accessed April 2013) Polghekiere. (2013) Photo [www document]. http://polghekiere.blogspot.com/2013/01/2010good-urban-parks-and-our (Accessed March 2013) Powell. K, (1995) Interview [www document]. http://www.independent.co.uk/news/people/obituarymaggie-jencks1591343.html (Accessed February 2013) Richardson, T. (2007) Interview [www document]. http://thinkingardens.co.uk/reviews/tim-richardson-revisits-the-garden-ofcosmic-speculation/ (Accessed March 2013) Richardson, T. (2012) Interview [www document]. http://articles.washingtonpost.com/2012-11-22/lifestyle/35509815_1_princessanne-locals-critics (Accessed March 2013) RSA (2012) Interview [www document]. http://www.thersa.org/events/speakers-archive/j/charles-jencks (Accessed March 2013) Smith. (2009) Article [www document]. http://www.guardian.co.uk/books/2009/jan/17/space-time-architecture-sigfriedgiedion (Accessed February 2013) Stadt-zuerich. (2012) Photo [www document]. http://www.stadtzuerich.ch/content/ted/de/index/gsz/natur-_und_erlebnisraeume/park_und_gruenanlagen/blatterwiese.html (Accessed April 2013) Symmetry Magazine. (2010) Photo [www document]. http://www.symmetrymagazine.org/article/october-2010/gallery (Accessed April 2013) Taylor and Francis. (2012) Photo [www document]. http://www.tandfonline.com/doi/abs/10.1080/02513625.2002.10556807 (Accessed March 2013) Tumblr (2012) Photo [www document]. www.tumblr.com (Accessed April 2013) Turner, T (2012) Article [www document]. http://www.landscapeinstitute.org/news/index.php/news_articles/view/comment _bad_role_models_for_landscape_architecture/ (Accessed February 2013) Waterman, T. (2012) Article [www document]. http://www.landscapeinstitute.org/news/index.php/news_articles/view/comment _bad_role_models_for_landscape_architecture/ (Accessed March 2013)

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Weilacher, U. (2001) Visionary Gardens : Modern Landscapes by Ernst Cramer. Birkhauser Verlag Ag. Wiki. (2012) Photo [www document]. http://de.wikipedia.org/w/index.php?title=Datei:CramerPyr.JPG&filetimestamp= 20080928155244 (Accessed March 2013)

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Appendix
Biography
Cramer was born in Zurich. His father died when he was young and so he and his older brother were brought up by his grandparents in a rural area. He attended school from 1905 1913 where he was passionate about drawing, so much so that he started an apprenticeship at Zurich gasworks in technical drawing. He was unsuited to this and changed within a year to a garden apprenticeship with Frobels Erben, where he met Gustav Ammann his future role model. After three years, learning both gardening and landscaping skills he travelled working as a journeyman gardener (skilled in many gardening areas) in Switzerland, Germany and France. He returned to Switzerland and attended college at Oeschberg Horticultural College Koppigen Bern. He learnt technical drawing, garden construction and business (Weilacher, 2001). He spent a further five years as a journeyman gardener and in this time married Anna Russnberger. In 1929 at the age of 31 Cramer headed an existing gardening firm and took it over whilst lecturing at horticultural colleges in Zurich, Wetzikon and Horgen. He independently designed and created many private and domestic gardens from 1929 onwards (Weilacher, 2001). Jencks was born in Baltimore the son of a composer and Scottish mother and grew up in New England. Unlike Cramer, Jencks did not have an apprenticeship or any formal horticultural training. Whilst Cramer worked his way up by travelling around gardening, Jencks spent the years in formal education completing a degree in English Literature, masters in Architecture both at Harvard and a PHD in Architectural History at the Bartlett School of Architecture at University College, London. Jencks studied under Sigfried Giedion who was a modernist architectural critic and art historian who wrote Space, Time and Architecture which has been a running theme in much of Jencks work. Giedion was a peer of Walter Gropius who founded the Bauhaus movement and Le Corbusier who was part of the Schweizerischer Werkbund which Cramer was a member of from 1944 (Smith, 2009). Although no evidence is found at present Cramer may of influenced Jencks work as his peer Gropius did. After his masters Jencks moved to the UK with his wife and two children to continue his formal education. He divorced from his wife and 2 years later began designing furniture from 1975 onwards where he took part in many exhibitions. His first architectural design was Garagia Rotunda, Truro, in 1976. He went on to design his London house and other buildings. Jencks created sculptures, land art but his most famous work is his writing of some 40 books and his landscape architecture projects (Jencks, 2013).

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The Poets Garden was created for a Swiss Garden Exhibition called G | 59 (1959) situated around lake Zurich covering an area of 37 acres (Plate 28). The purpose of the whole exposition was to promote new Swiss designs, with various exhibits showcasing designs, horticultural trends, plants and vegetables. The exhibition came after the war, the economic crisis and at a time when Swiss design standards were being redefined (Petschek, 2008).

The Poets Garden:

Plate 28, Swiss Garden Exhibition, 1959. Source: Markimo (2012)

The garden was a 2500 m minimalist instillation, most unlike Cramers usual work and unlike what the public perception of a garden was. The inspiration came from abstract geometrical principles (plate 29), (Petschek, 2008). It was made up of four grass pyramids, a grass cone, and a flat water basin in which the earth shapes were reflected. The pyramids were 2, 2.8, 3 and 4 metres high, the cone was 3m high and 11m diameter. Apparently the visitors estimated the pyramids to be a lot higher than they actually were which was due to the effect of the perspective of the sloped sides Plate 29, The Poets Garden design, Cramer, 1959. (Petschek, 2008). Source: Markimo (2012)

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Kassler describes the garden alongside other notable landscapes in her New York publication by the museum of modern art as; The garden was not so much a garden as a sculpture to walk through abstract earth shapes independent of place, with sharp rises foreign to the nature of their material (Kassler, 1984; Petschek, 2008).

Plate 30, The Poets Garden, Cramer, 1959. Source: Wiki (2012)

The grass pyramids were popular with children however many adults did not understand the abstract spaces. They would run up and down the 45steep edges causing some damage and erosion (Petschek, 2008). The Poets garden illustrates how Cramer moved away from traditions and broke out into abstract forms in the landscape which served to represent not imitate nature (plate 30 and 31). This was a change from the natural or picturesque garden movement seen in Swiss design previously (Weilacher, 2001). The garden was flattened and levelled off at the end of the exposition in autumn 1959 to create what is now a park and large open childrens playground on the land called Blatterwiese (Stadt-zuerich 2010) Hans Fischli wrote to Cramer in August 1959 to congratulate him on his garden: You create a sense of space that I have never experienced before in the open air. You prove that a clever mind combined with the precise use of the trade does not have to apply the same technique for soil as the force of the natural elements do. You do not create an imitation of a natural reality, but you fabricate a work which we abstract painters and sculptors have tried to attain through practical measures for Plate 31, The Poets Garden, Cramer, many years (Markimo, 2000). 1959. Source: Paisajim (2012) 23

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The garden was designed and developed by Jencks with the help of his late wife Maggie in 1988 at his wifes mothers and now his house in Dumfries, Scotland (plate 32), (Jencks, 2002).

The Garden of Cosmic Speculation:

Plate 32, The Garden of Cosmic Speculation, Jencks, 1989. Source: tumblr (2012)

From discussions with scientists and friends the name of Garden of Cosmic Speculation was used to celebrate fundamental aspects of nature (Jencks, 2003 p 17). Which Jencks describes as anything from planting suitable species to creating new innovative designs like the waves and forms used in the garden (plate 33), (Jencks, 2002). As well as elements of nature to underlie the cosmos (Jencks, 2003 p17) Jencks sees the new discoveries over the century in science as an inspiration to create original and fresh concepts and gardens. He discusses in his book The Garden of Cosmic Speculation (2003) that gardens are both a miniaturisation and celebration of the universe and that in building we heighten our five senses. He created a garden of five sections which each tell a story of the forces and forms of nature (Jencks, 2003 p 17). Jencks Plate 33, The Garden of Cosmic Speculation, wants to challenge how people think Jencks, 1989. Source: Kuriositas (2012) about the universe, the unknowns in science and what gardens actually look like (Jencks, 2003). 24

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Plate 34, The Garden of Cosmic Speculation, Jencks, 1989. Source: Kuriositas (2012)

So many people believe in theories like the black hole without the ability to see or experience it. In terms of designing the landscape, he takes models of modern science which lead him to design. Jencks talks about his polemical intentions of both the book and the garden but that they are not there to create a reaction, rather to question science and gardening. The garden, he feels should be there for enjoyment but to also experience and relate to the universe (plate 34). The original idea that inspired the garden was the universe; it is an ever growing, ever changing landscape. (Jencks, 2003). The garden is designed using a set of themes based around science and space including DNA, genetics, waves and the cosmos (Gardener, 2010). Tim Richardson describes it now as: The Garden of Cosmic Speculation is no longer a dialogue with the universe, it is a monologue about the universe. It is becoming The Garden of Comic Extrapolation, and someone needs to say it (Richardson, 2007). Jencks is currently working on a new landscape which takes the ideas from this garden, at CERN in Switzerland (plate 35 and 36), (Symmetry Magazine, 2010).

Plate 35 plan design, 2012. Source: CERN (2012) Plate 36, The Garden of Cosmic Speculation at CERN, 2012. Source: Jencks (2012)

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Most Significant / Notable works


Cramer designed over 1400 projects many of which were private gardens. Among these were gardens for influential families such as the Vogel-Silzer family who commissioned him in 1933 to design a 13 acre site which is unchanged to this day (plate 37 and 38), (Weilacher, 2001).

Plate 37 and 38, Vogal-Sulzer Garden, 1933 and 2001. Source: Weilacher (2001)

His work in the earlier years was in the style of romantic domestic gardens. Cramer took part in several exhibitions and many competitions which showcased his work and allowed peers and the public to see his designs (Weilacher, 2001). Jencks unlike Cramer has a smaller number of projects. He designed several landscapes and created sculptures or sculptural elements for other projects. In his early years he designed furniture and buildings including Garagia Rotunda (plate 39), Truro and his own house in London. He developed and designed his personal garden in Scotland with his wife Maggie. Most of Jencks designs were in the public realm for high end clients or important landmarks such as the Scottish National Gallery (Jencks, 2012). He has also designed sculptures a DNA sculpture at Kew (plate 40) and landscapes in a sculpture park in Scotland (Jencks, 2012).

Plate39 Garagia Rotunda, 1976. Source: Metamute (2012)

Plate 40, DNA at Kew, Jencks 2003. Source: Geograph (2012)

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Troubled times
Both Cramer and Jencks suffered the loss of their wives to terminal illness. Cramer lost his wife in 1943 from cancer at the age of 49. He was left behind with an 11 year old daughter who needed a mother figure and so he remarried just a year later to Gertrud Burki. Gertrud worked in the office and was able to sort out many of the issues with organisation becoming a huge support to Cramer. His work was only affected for a short period (Weilacher, 2001). Jencks also had tragedy in his life with the death of his second wife Maggie (plate 41). He married his first wife Pamela Balding, whom he had two children with Ivor and Justin, and divorced after 12 years. He was with his second wife Maggie, a fellow landscape architect, for 18 years and had a son John and daughter Lily, who is now a landscape architect. For the last two years of her life Maggie struggled with cancer. Jencks was a big support to her and together they started a foundation called Maggies which is a series of buildings set up to give support to cancer patients and their families. There are currently 10 buildings and gardens and more proposed for the future. The gardens surrounding the centres have been designed by many landscape architects including Charles Jencks (plate 42), his daughter Lily and Dan Pearson. Instead of impacting his work Jencks turned the negative to productive and created amazing spaces that help other people. Jencks is now married to Louisa Lane Fox who he lives with in London and Scotland (Powell, 1995).

Plate 41, Maggie Jencks. Source: Keyword (1995) Plate 42, Maggies Centre, Highlands, Scotland. Source: Pagepark (2012)

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