ENLACE
Mostrando entradas con la etiqueta Diseño de jardines. Mostrar todas las entradas
Mostrando entradas con la etiqueta Diseño de jardines. Mostrar todas las entradas
Jardinosofía
«Si quieres ser feliz una hora, bebe un vaso de vino;
si quieres ser feliz un día, cásate;
si quieres ser feliz toda tu vida, hazte jardinero».
Proverbio chino
Desde los jardines colgantes de Babilonia hasta los huertos ecológicos de las «guerrillas urbanas», el jardín ha sido un reflejo de la sociedad. Quien tiene la suerte de contar con un trozo de verde alrededor de su casa, se enfrenta a una decisión complicada: ¿vallarlo y cultivar coles? ¿Decorarlo con una línea de setos perfectamente recortados? ¿Colocar unos columpios y una fuente? ¿Sentarse allí a mirar el horizonte pensando en la inmensidad del cosmos? Y parecidas preguntas se hacían ya los filósofos presocráticos, los decadentes franceses versallescos y el primer misántropo que se fue a vivir a unas ruinas en medio de un bosque. La forma en que usamos esa «naturaleza domesticada» que son los jardines evoluciona con el mundo, y con cada persona. Y en este libro se narra a través de los jardines de los pensadores, los artistas y los arquitectos de la historia. Una historia que es la de la felicidad, la buena vida y el uso del tiempo y del espacio, en un libro único que habla sobre todo del placer.
Santiago Beruete
Santiago Beruete (Pamplona, 1961) es licenciado en Antropología y Filosofía, y se doctoró en esta última disciplina con una tesis sobre jardines. Vive en Ibiza y, cuando no está en el jardín o escribiendo, imparte clases de Filosofía y Sociología.
Jewell box - St Louis, 1936
Jewell box
Forest Park Sights
St Louis
1936
El invernadero Art Deco es una edificación de 700 m2 de superficie y 17 metros de altura, y fue construido en 1936.
El joyero (Jewell box) también conocido como el invernadero de flores St. Louis, es un invernadero ubicado en Forest Park, St. Louis, Missouri, como un centro de horticultura pública y está incluido en el Registro Nacional de Lugares Históricos (NRHP) desde el año 2000.
Fue diseñado por el arquitecto William C. E. Becker y construido en 1936 por el Robert Paulus Construction Company. Es un espacio singular resuelto con diferentes niveles escalonados en voladizo sobre una estructura de arcos parabólicos de acero, cubierta con lucernarios especiales con el fin de evitar daños por el granizo frecuente de la zona. En 1938, una tormenta de granizo rompió un millar de hojas de vidrio en los invernaderos del Forest Park, pero ni uno en el Jewel Box
En 2002, el Jewel Box fué renovado con una importante dotación de tres millones y medio de dólares para la rehabilitación del conjunto, instalaciones y plantaciones interiores, mejoras en los sistemas de calefacción y aire acondicionado, y ciertas modificaciones para permitir que el edificio se utilice para la celebración de eventos.
Enlace
(guía interactiva general del parque)
VILLA DE ESTE (II)
Documental de la BBC "Italian Gardens", de Monty Don.
Cap.I - Rome
Parte dedicada a la VILLA D'L ESTE
Tivoli
(5min 40sg)
Tivoli
ENLACE VÍDEO EN INGLES
TEXTO DE LOS SUBTITULOS
This man was Cardinal Ippolito d’Este, and his garden
harnessed water and made it dance and perform like no other before since.
I’ve been to Villa d’Este a few times before.
You come in from the top but originally, it was
designed to arrive at the bottom of the garden, and then the visitor would
slowly climb us this hill, amazed at all the wonders they seeing and thoroughly
puffed by the time they reached the top.
And that’s how it was originally designed, so that it
would unfold and reveal itself and, by the time you reached the top, which is
where the cardinal would have been, you were in a state of breathless awe.
Cardinal d’Este had vast wealth, and an overwhelming
desire to became pope.
When he failed in his first attempt in 1.549, he hired Rome’s most distinguished architect,
Pirro Ligorio, to create the biggest and most ambitious water garden since
Hadrian’s villa.
Ligorio demolished whole streets to make room for the
garden on the steep hillside, and built a sophisticated system to bring water
from a nearby aqueduct.
In today’s money, all this would cost a cool 100
million pounds.
But this wasn’t just a matter of d’Este displaying his
wealth and artistic taste, although it was certainly that.
He also intended to impress visitors with the depth of
his scientific knowledge.
And these were truly astonishing feats of
hydro-engineering.
The scale of the water is just ridiculous, really.
Miles over the top, but what d’Este did was re-channel
the water supplying the town, and took a third of it – a third of the town’s
water supply – to make his garden, so having done that, then he was determined
to do something big whit it, so he had an enormous hydro-technical display and
it still remains the most impressive I’ve ever seen, and it all comes from one
source, and there’s no pumps at all.
The whole thing is powered by pressure, so knew what
they were up to.
By studying Villa Adriana, Renaissance architects
re-discovered ways of taming water that had been lost for a thousand years.
They found they could control the water’s speed and
movement using different size pipes and spouts and, with this new knowledge,
the artistic ambition of gardens rose to new astonishing creative heights.
This is the Terrace of 100 Fountains. Took five years
to make. It uses water that comes from a single source, no pump, all the fountains
have the same velocity, the same rhythm, the same sound, and it builds up as we
walk along.
It’s like a musical instrument.
Now, poor old Cardinal d’Este, he hardly saw this.
It took five years at the end of his life and then was
completed, and behind this beauty is a nagging pain for him, because the three
layers of water represent rivers leading to Rome, and of course, that’s where d’Este
wasn’t, and that’s where d’Este most of all wanted to be.
In the two decades it took to construct his garden,
Cardinal d’Este made five failed bids for the papal throne.
At every setback, his garden got grander and grander,
and the coded messages it sent out became ever more pointed.
The waters of the 100 Fountains flow down here to a
garden called Rometta and the story behind it is that the Pope forbade Cardinal
d’Este to build a palace in Rome, because he knew that he would challenge his
power, so d’Este petulantly said,
“Ok, I cant’ have my palace in Rome, I’ll have Rome in
my palace”
And so he built a model of Rome. Rometta was originally more than twice its current
sice, but most of it was demolished in the 19th century.
VILLA DE ESTE (I)
El palacio y el jardín de la Villa d'Este, situada en Tívoli, son uno de los testimonios más notables y completos del refinamiento de la cultura del Renacimiento. Su diseño innovador y los estanques, fuentes y otros elementos arquitectónicos de su jardín –uno de los primeros “giardini delle meraviglie”– constituyen un ejemplo incomparable del paisajismo italiano del siglo XVI, que sirvió muy pronto de modelo para la creación de jardines en todo el resto de Europa.
http://whc.unesco.org/en/list/1025
Pirro Ligorio (1510-1583)
Arquitecto, pintor y diseñador de jardines italiano nacido en Nápoles. Con 24 años viajó a Roma donde fue nombrado superintendente de los monumentos antiguos por los Papas Pío IV y Pablo IV. En ese tiempo comenzó las excavaciones en Villa Adriana en Tívoli, diseñando los juegos de agua de Villa d'Este y las fuentes de Villa Lante en Bagnaia, junto a Giacomo Vignola. En 1552, recibió el encargo del Príncipe Pier Francesco Orsini de terminar el jardín de la "Villa de las maravillas" de Bomarzo, cerca de Viterbo. Este vergel, más conocido como el Parque de los Monstruos, es en la actualidad algo único en el mundo, un pequeño microcosmos de edificios y esculturas fantásticas que compiten en dimensiones con el paisaje y que representan las siete maravillas herméticas de los metales transmutables y las plantas milagrosas. A la muerte de Miguel Ángel Buonarroti en 1564, fue nombrado arquitecto de la Basílica de San Pedro para intentar finalizar la cúpula, aunque fue despedido cuatro años después al querer cambiar varios diseños. Es notable su mapa de la Antigua Roma (Antiquae Urbis Imago) de 1561. Murió en Ferrara el 30 de octubre de 1583. © epdlp
ORTO BOTANICO - PADOVA (II)
Documental de la BBC "Italian Gardens", de Monty Don.
Cap.4 - The Veneto
Parte dedicada al ORTO BOTANICO DI PADOVA
(9min 25sg)
ENLACE VÍDEO EN INGLES
http://youtu.be/8wFo2Oi8jyU
TEXTO DE LOS SUBTÍTULOS
From the early
medieval period the crucial centre of Northern Italy’s wealth was the
independent Republic of Venice.
As Europe´s most
important trading hub, Venice dominated the critical trade routes to the East
for hundreds of years.
Ships brought back
fabulously valuable silks, gold an spices, and from the early 16th
century, goods and treasures also began to come in from the Americas.
Merchants and sailors
returned with unfamiliar plants and fruits from as far away as China and Chile.
Including wildly
exotic plants, such the potato and the tomato.
(Grazie, - Prego. –
Grazie.)
It seems
extraordinary to us now. When we take tomatoes for granted, but when they came
in, they were regarded as this extraordinary plant which had these slightly
suspicious-looking fruits which no-one dreamed of eating. They assumed they
were poisonous. It was ages before someone plucked up the courage and popped
them in their mouth. And, of course, now, everywhere in Italy lives off
tomatoes.
I am in Padua, 50
kilometres inland from Venice, in the
wealthy hinterland of the Venetian republic, knowh as the Veneto.
Venice has always
been the dominant city of the region, but the most significant garden was mede
here in Padua.
The Orto Botanico,
made in 1543 as part of Padua University, is thought to be the world´s oldest
botanical garden. Initially, it was set up to study and collect “simples”,
which is the description which was then given to medicinal plants.
The original garden
lies behind this beautiful circular wall. But when it was first laid out, the
wall wasn´t there. And people very quickly cottoned on to the fact that these
plants that they were laying in the beds, were potentially enormously valuable.
They were medicinal plants, so if a cure could be found, somebody was going to
get very rich indeed. So people came in and then nicked them and flogged them
at great profit. So they put up the wall, so, what you´ve got to see is,
actually, it´s a fortrees and the purpose of the wal is to keep people out.
At the same time that
art and architecture were being transformed in Renaissance Florence, scientist
were laying the foundations of modern botany in Padua. The Orto Botanico was
dedicated to studying the properties of newly-introduced as wll as indigenous
plants, so that they could be used safely and effectively. This was
revolutionary, because up to that point, plant-based remedies had largely
relied on superstition and folklore.
Most medicine was
based on the doctrine of signatories which basically meant that if a plant
looked like an aspect of the human body, then it would cure it. So, for
example, a walnut – it looks like a brain, so it was used to try an cure
diseases of the brain, or Pulmonaria, lungwort that we grow, was used for lung
diseases. In practice, that killed as many people as it cured.
The whole point of
the Renaissance was to explored and discover and apply the mind to science. So
by 1533, when the Chair of Botany was set up here in Padua, they wanted to
collect as many plants as possible, not just say, “It looks as thougt it will
do this”, but to find out.
The head of the Orto
Botanico, Professor Francesco Bonafede, realized that the first step towards
understanding medicinal plants was to identify and classify each specimen
accurately. You know, it´s really strange, because this is fundamentally a
filing system.
It´s a laboratory,
and there is no attempt to make a beautiful garden, the important thing is the
order and the seguence and the display of plants so they can be studied. And yet,
there´s a magic here, there´s a real charm. You walk in and you´re seduced, it
feels wonderful, it´s the most beautiful garden. I know I´m biased, of course. Of
course I´m bound to love it, but I defy anybody not to feel that magic.
As new plants came in,
they were given a specific position in an elaborate network of borders. To
learn how it works, I met the former perfect, Professor Elsa Cappalletti.
- This book was the first exercise book for
students, it was a pocket book, in
whitch there was the plan of the garden.
- So
this is the plan of the garden here. With the four squares.
- Yes.
- In the past, students had to identify plants
only observing their shape, the flowers and so on.
- And then they had to write the correct name of
the plant.
- Oh, I see. The identity.
- Perhaps there was a bella donna. Ok. And they
had to write, “bella dona”.
- So if they which bed the plant was in, then
they would know wichh plant it was? Yes, yes.
- So the pattern was, if you like, an aide to
memory as much as anything else?
- Yes, yes.
It may be a simple
system compared to our electronic wizardry, but actually, it´s beautifully
effective because you can see how, if a student who had studied here, came
across a plant in the field, perhaps on the other side of the world, wasn´t
quite sure what it was, but they vaguely remembered it, all they had to do was
think back to where they´d seen it in this garden, whitch particular bed. And
because each bed only had one plant, they´d hone in on that, look up in their
book, bed number 36, block number two – bingo, they´ve got the name.
The 16th
century saw an increasing flow of new arrivals. The very first foreing plant
introduced into the garden was in 1561, and was the Agave from Mexico, where it
was prized by the Mayans for its wound-healing properties.
The oldest surviving
plant in the garden is the Mediterranean fan palm, Camaerops humilis. This is
the original specimen, that has been growing here since 1585.
It´s hard to
exaggerate the importance of this garden. There were other botanic gardens
around the same time, the one in Pisa was just about the same period, but this
was where the study of plants really took on importance.
And that appreciation
of plants first of all as an aide to medicine and then as an end in itself, was
slowly, but inexorably shaping the way that we viewed our gardens.
ORTO BOTANICO - PADOVA (I)
"El jardín botánico de Padua es el origen de todos los jardines botánicos del mundo y es la cuna de la ciencia, de los intercambios científicos y la comprensión de la relación entre naturaleza y cultura. Ha contribuido en gran medida al progreso de muchas disciplinas científicas modernas, en particular la botánica, la medicina, la química, la ecología y la farmacia"
Texto de la UNESCO en su declaración como Patrimonio de la Humanidad en 1997.
PADOVA
La ciudad en una visita de dos minutos
El Jardín Botánico de Padua (Orto Botánico di Pádova), fundado en 1.545, es el jardín botánico universitario existente más antiguo del mundo.
 |
| Padova |
El Jardín Botánico de Pisa se fundó un año antes, en 1544, pero en el transcurso de su historia cambió de lugar y de diseño, encontrándose en su localización actual desde 1.591.
 |
| Pisa |
 |
| Orto Botánico de Pisa |
Página Web Oficial del ORTO BOTANICO DI PADOVA
Declarado patrimonio de la Humanidad en 1997
por la UNESCO
(Enlace con la página web de la Unesco)
El primer jardín botánico del mundo se creó en Padua en 1545. Ha conservado su trazado primigenio formado por un terreno circular, símbolo del mundo, rodeado por un anillo de agua. Con el correr del tiempo se le fueron agregando elementos arquitectónicos (pórticos ornamentales y balaustradas) y funcionales (instalaciones de bombeo de agua e invernaderos). El jardín sigue cumpliendo su función original de centro de investigación científica.
Podemos decir que es el más antiguo y a la vez el más actual e innovador, gracias a las instalaciones inaguradas a finales de 2014, que se sitúan junto al recinto histórico configurando un conjunto de referencia mundial en la historia de la botánica y en el diseño de jardines.
IL GIARDINO DI LA BIODIVERSITÁ
(enlace con vídeo del jardín original y de la reciente ampliación)
https://www.youtube.com/watch?v=gAAtwYf1c4o&feature=youtu.be
L'Orto Botanico di Padova. La Metamorfosi
(documental en italiano)
L'Orto Botanico di Padova. La Metamorfosi
(documental en italiano)
Visitiamo la nuova parte dell'Orto Botanico di Padova
(enlace vídeo)
Visitiamo la nuova parte dell'Orto Botanico di Padova
(enlace vídeo)
(enlace vídeo)
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| Alzado |
 |
| Sección esquemática |
The Biodiversity Garden, Botanical Garden of Padova
(enlace vídeo de plantas)
Creación de los Jardines Botánicos Canarios:
Jardín botánico de la Orotava "Jardín de Aclimatación" (Tenerife)
 |
| 1.790 |
Jardín botánico Viera y Clavijo, "Jardín Canario" (Gran Canaria)
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| 1.952 |
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