Moonlight Gardens & Theories within Landscape..

Working towards my first design of the second year I've began to understand concepts a lot more, in the first year I struggled to get to grips with this but I do feel I’m finally getting somewhere and having a strong concept really helps the design process!


With our assignment brief being a moonlight garden and having to have an observatory of a nocturnal natural phenomena I was quite a mouthy start! I wanted my observatory to be somewhere in which the client could reflect after a long days work. I did some research into reflective space some of which are shown below.

Finding images that related to Reflection and and the thorght of being Peaceful was retively hard but to me personally these images linked quite well.

I also took a lot of my influences from Christopher Bradley-Hole a designer I did my Influential Designers assignment on.

This next paragraph was taken from that essay on Badley-Hole.

Bradley-Hole got a lot of his influence from designers who have come out of the twentieth century and their thoughts towards design, Christopher Lloyd being one of them. Court explained that influences to Bradley-Hole have been the planting styles in Europe, especially those in Germany, Holland and Sweden. And then going on to say… He has never been interested in shrub and mixed borders, and the use of perennials allows a new freedom to combine plants in a more modern way, (1999). Court also expresses Bradley-Holes influence from Christopher Lloyd in the book ‘The Modern Garden Makers’ by saying Christopher Lloyd’s garden at Great Dixter was the greatest influence on him as he was able to appreciate that the informal style of planting can still retain a definite structure (1999). The image to the right is the garden Bradley-Hole designed in his 1997 Chelsea Flower Show Garden, called the ‘The Latin Garden’ and shows his perennial planting schemes, Court also talks about how the use of polished plaster and steel combined with gravel beds and mirror-smooth water was incredibly disciplined. It was very far removed from the standard gardens normally seen at the Show. The whole setting was immensely stimulating with its use of oblongs and squares influencing the three different sections of the layout, (1999).

Lots of this influence I've took and started to use in my design process for Pembridge Square.

Below includes some on Bradley-Hole's work which inspired me.

 

“Walls must have clean lines, pure form, and a sharp finish.”