100 20th-Century Gardens and Landscapes E-Book

Twentieth Century Society

• Herausgeber: Batsford
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2020

Seitenzahl: 169

Beschreibung

A showcase of Britain's most extraordinary gardens and landscapes from the twentieth century to present day.100 20th-Century Gardens and Landscapes highlights the evolution of gardens and landscapes over the past century, tracing how these distinctive creations complemented buildings of their period. Entries in this book are grouped in chronological periods, documenting changing styles and techniques in a visual timeline. The examples chosen take the story from the Arts and Crafts garden and the garden city, through the landscapes created for mid-century housing and the new towns, to the low-maintenance gardens of the 1980s and contemporary trends for community and wildlife gardens.Designed landscapes were often integral to the conception of twentieth-century developments; the inclusion of a handful of particularly successful landscapes for memorial gardens, offices, industry, transport and parks demonstrate a changing attitude to public green space during the century and its increasing importance as private gardens have become ever smaller. Designers and architects such as Piet Oudolf, Charles Jencks, Frederick Gibberd, Geoffrey Jellicoe, Vita Sackville-West and Gertrude Jekyll are all featured, alongside more detailed essays on the history of gardens, planting styles, the importance of modern landscapes, and the career of Geoffrey Jellicoe.The text is written by architectural, landscape and garden historians including Elain Harwood, Barbara Simms and Alan Powers. Beautifully illustrated throughout with photography, illustrations and garden plans, this book is ideal for gardeners and landscape lovers alike.

Leseprobe

Hemel Water Gardens, Hertfordshire

CONTENTS

Foreword– Catherine Croft

Introduction– Susannah Charlton

1914–1929

The Private Garden in the 20th Century– Barbara Simms

1930–1949

1950–1959

Geoffrey Jellicoe and the Landscape Profession– Alan Powers

1960–1969

Landscaping to the Horizon– Elain Harwood

1970–1979

1980–1989

1990 onwards

Recognising the Value of Modern Urban Landscape– Johanna Gibbons

Further reading

Acknowledgements

Picture credits

Index

FOREWORD

100 20th-Century Gardens & Landscapes gives an overview of the radical changes that have taken place in the landscapes that surround us during the past century, both in how they were created and how we use them. It is both a history and a celebration. The Twentieth Century Society is primarily focused on buildings, but we work to protect landscapes too, especially where they were planned together with buildings as a complete ensemble. We are a conservation organisation, and landscapes offer different challenges to buildings. While a building is usually deemed complete when the builders leave site, gardens are planned to grow and develop; the intended final effect may only be achieved many years later, when plants and trees have had time to mature. Some elements can run wild, others decay. What does this mean for restoration objectives? To what state should a restoration aim to return a landscape to? And to what extent do we see gradual changes as part of a natural process akin to the patination of building fabric?

Landscapes are even more vulnerable to redevelopment pressures than buildings, be it complete redevelopment, or infilling spaces between buildings for financial gain or to accommodate a growing organisation. Neglect or lack of maintenance can have a major impact far more quickly than a similar disregard for a relatively robust building. Planting has also to evolve, to cope with changing uses and the changing climate.

Statutory consultees, like the Twentieth Century Society and the Gardens Trust, can often only intervene to save a landscape at the eleventh hour when it is under imminent threat. Many excellent designed landscapes may not meet the demanding criteria for registration by Historic England, and need protection by other means. Measures such as covenants to protect the landscape, as used at the Span estates or Hampstead Garden Suburb, can better help to maintain the planting and character of shared green space and streetscapes. Perhaps even more important is that people understand and appreciate the everyday landscapes around them. We hope this book will spur you to visit this very diverse group of places, some of which may not initially appear to be the work of designers at all.

The Twentieth Century Society is a tiny organisation facing growing demand for the conservation advice, research and campaigning that we undertake, as more of the heritage we champion comes under threat. Please join our many members, who enable us to protect outstanding 20th-century buildings and landscapes.

Catherine Croftwww.c20society.org.uk

Span Estate at Templemere, Surrey

INTRODUCTION

It was once obvious what constituted a garden or a landscape. There were the grandiose private gardens of the wealthy and/or privileged, and for the rest of us there were public parks and squares laid out by municipal authorities. Or so it seemed until the20th century.

Grand gardens continued to be formed, but many more people now had their own plot, however small, to create a significant outdoor space or ‘garden room’, as Thomas Church and John Brookes described urban gardens. Many more varied public spaces began to be created, ranging from the poignant war memorial or crematorium garden, to those that celebrated a festival, the Millennium, or – more enigmatically – the world’s hopes for peace. Landscaping became a wider part of the public realm, especially after World War II. New towns, housing estates, universities, reservoirs and motorways – even new forests – were planned to look good as well as to serve their users, so that the hand of mankind has a hold over the landscape everywhere we go in town and country today. This diversity and the importance of landscape reflects the egalitarianism and optimism that were so important to all that was good about the 20th century.

The most distinguished and significant of these gardens and landscapes deserve to be understood, appreciated and protected as an important record of British life, just as much as the gardens and landscapes of earlier centuries. In many cases, they form part of a complete ensemble with significant post-1914 buildings, either because they were designed at the same time, in collaboration with the architect, or because they constitute an important context for that architecture.

The Twentieth Century Society campaigns to protect landscapes as well as buildings. This is easy to explain where buildings and their landscape form an ensemble. It is more challenging when the landscape is a subtle streetscape or park that we take for granted with benign indifference, yet is an important part of the designed landscape. Public landscapes do not have the protection of a wealthy owner with the long-term vision and resources to help them survive for the future. Townscapes are particularly subject to the relentless pressures of austerity Britain, from council maintenance cuts to commercial redevelopment or privatisation, which reduce the sense of communal ownership of landscapes designed for public good. Even when their significance is recognised, well-meaning incremental changes – intrusive safety rails, excessive signage, inappropriate sculpture or new planting – can erode the quality of the very design they were supposed to protect or enhance.

As land values rise, the speed of demolition increases, especially in the commercial sector when changing ownership, obsolete facilities or the need to expand exert powerful financial pressures. The RMC head office in Surrey with its ‘exceptionally accomplished and richly detailed landscape design combining courtyards and rooftop gardens’ was threatened with demolition just 25 years after its completion in 1990. Thankfully this has been saved, and in 2019 the Society was able to get not just one, but three listings for the Pearl Assurance headquarters outside Peterborough: the building at Grade II, the war memorial at Grade II*, and the 25 acres (10ha) of landscaped grounds registered at Grade II. The grounds were designed by Professor Arnold Weddle, whose highly creative re-working of a familiar formal language complements the post-modern design of the Pearl Centre. However, the listed Bird’s Eye offices in Walton-on-Thames, with landscaping by Phillip Hicks, was demolished in 2019. Despite our sustained objections, the beautifully executed essay in modernist landscape that was designed by architects Robert Matthew, Johnson-Marshall & Partners with planting by Sylvia Crowe for the Commonwealth Institute in London was delisted and demolished when the building was redeveloped in 2015–16 for the Design Museum. This shows how vulnerable even a registered landscape can be if the local authority and Historic England do not ensure that it has the robust protection it deserves.

Hauser & Wirth, Somerset

Rutland Water, Rutland

Sissinghurst Castle, Kent

Protecting significant private gardens can be equally difficult, dependent on sympathetic owners with the skills and resources to honour the original design and planting. Preben Jakobsen designed a rare private garden for No.5 Pipers Green Lane in Edgware, Middlesex, the blueprint for his influential Sculpture Garden at the 1982 Chelsea Flower Show. Now, sadly, only the pool remains from his original design. The Gardens Trust have been leading work to propose significant 20th-century gardens and designed landscapes for addition to the Register of Parks and Gardens before they are lost for good, and the Twentieth Century Society has supported this campaign.

Gardens present particular conservation challenges, as trees and plants are constantly changing and must be carefully managed and renewed. Even a well-maintained garden can lose its soul unless its guardians capture the spirit of the original gardener, as Penelope Hobhouse did so successfully with the garden created by Phyllis Reiss at Tintinhull. Gardeners tend to be conservative, with the influence of Gertrude Jekyll (1843–1932), whose book on Colour in the Flower Garden is still consulted, and William Robinson (1838–1935), advocate of cottage plants and wild gardens, extending through much of the 20th century. There were some pioneering modernist gardens, like that by Christopher Tunnard for St Ann’s Court, but it was not until the 1970s that the idea of the garden as an outdoor room, with a more formal design and low-maintenance, architectural planting became popular, thanks to John Brookes’s highly influential book The Room Outside (1969), which inspired many television garden makeover programmes.

Many of the country’s best-known 20th century gardens were designed around much older buildings. This book includes some of the most famous, such as Sissinghurst and Great Dixter, but our focus has been on gardens and landscapes that were created to complement buildings or developments of the same period.

Early in the century, public parks, like private gardens, were planted with extravagant and colourful bedding schemes, which served as symbols of civic pride and helped seaside resorts to compete for visitors. Yet the Venetian Waterways in Great Yarmouth also provided relief work for unemployed men during the depression in the 1920s, foreshadowing the way that festival gardens were commissioned to regenerate depressed areas like Liverpool and Sunderland in the 1980s. Annual bedding displays that were once taken for granted require what now seem like extravagant amounts of maintenance and watering: local authorities can no longer afford civic display and nor can the environment. The emphasis in recent parks has been on sustainable planting that can be maintained by the community, as at Dalston Eastern Curve garden, which incorporates vegetable beds, children’s activities and a café, making it a popular local hub.

Alton Estate, Roehampton

The pressing need for more housing can make it hard to win the argument for conservation, particularly when councils are looking to increase the density of low-rise estates of social housing designed with striking landscape settings, like Cressingham Gardens or the Alton Estate in London. The gardens of Highpoint, Berthold Lubetkin’s two Grade I-listed blocks of private flats in Highgate, may not themselves be at immediate risk, but the highly desirable land around them is certainly under pressure for development. This could be hugely damaging to such an important site, described by John Allan as ‘the most complete realisation of a particular urban planning model – compact apartments in a recreational landscape offering an idealised vision of modern living’.

The threat to natural landscapes from changes required by the pressures of public access and health and safety requirements is widely acknowledged. Designed landscapes are just as vulnerable to these pressures, yet their fragility is not as widely discussed. In 2004 the Twentieth Century Society objected to plans to erect handrails at Portmeirion in Wales, which would have been totally counter to the picturesque aesthetic of an Italianate seaside village that Clough Williams-Ellis created with his holiday centre.

The last 100 years have seen both the emergence of landscape architecture as a distinct profession and the popularisation of garden design. The Institute of Landscape Architects (now the Landscape Institute) was founded in 1929 and brought to prominence specialist landscape designers such as Geoffrey Jellicoe, Brenda Colvin, Sylvia Crowe and Preben Jakobsen, whose work forms the backbone of this book. However, in the 21st century it seems that many developers are unwilling to invest in the skills of landscape professionals or in providing generous green space for new housing. The landscapes in this book make an eloquent case for the value of involving landscape architects in their conservation, and in new developments, just as they were central to the creation of the new towns and universities of the 1950s and 1960s. By combining the domestic, industrial, civic and commercial we hope this book will encourage people to see the designed landscapes around them with new eyes and value them, just as we treasure more traditional parks and gardens.

Susannah Charlton

Otley Hall

Location: Otley, Suffolk

Designed by: Francis Inigo Thomas, Sylvia Landsberg and Simon Nickson

Created: 1915–2009

New owner Mrs Sherston commissioned a garden plan for this 16th-century manor house from Inigo Thomas in 1915. The death of her husband in World War I meant that it was not implemented until the 1980s, when two stew ponds were joined by a canal to form an H shape. The spoil was used to create a viewing mound to the west.

In 1997 Sylvia Landsberg was commissioned by the next owner, Nicholas Hagger, to add Tudor features including a knot garden, herber and vine-and-rose tunnel. Later a small orchard of apple, pear and mulberry was planted and a flowery mead, designed by Simon Nickson. This combines formal avenues of yew surrounded by wildflowers and grasses. Nickson also created a mown grass labyrinth in 2009, based on that in the nave of Chartres Cathedral. The garden exemplifies the rediscovery of historic garden styles, beautifully complementing the house and its resident white peacock.

Susannah Charlton

Brookwood Cemetery

Location: Woking, Surrey

Designed by: Commonwealth War Graves Commission

Created: 1917

Registered: Grade I

Brookwood Cemetery is the largest cemetery in the UK, the vastness of which can be appreciated from the London–Basingstoke train line that runs along its northern edge. Established as the London Necropolis in 1852, its importance as a 20th-century landscape lies in Brookwood Military Cemetery that forms part of it. The largest site of the Commonwealth War Graves Commission, it holds 1,752 graves from both world wars in sections organised by the nationality of those lost, both from the Commonwealth countries and countries including France, Poland and Czechoslovakia. There is also a separate American cemetery by Egerton Swartwout that contains 468 graves. There are some fine individual buildings across the site and the landscaping and care of each area shows, in a smaller scale, the manner in which different nations designed for their war dead: Edward Maufe’s restrained Air Forces shelter building contrasting with the highly decorative Beaux-Arts chapel by Swartwout in the American Cemetery.

Jon Wright

Port Lympne

Location: Hythe, Kent

Designed by: Sir Philip Sassoon and Philip Tilden

Created: 1918

Registered: Grade II*

Peter Stansky’s lively biography of the Sassoon siblings offers a stream of adjectives for Philip Sassoon: ‘exotic’, ‘unstuffy’, ‘new world’, ‘idiosyncratic’, ‘one of the most exciting, tantalizing personalities of the age’. All this is true also of the garden he created at Port Lympne, where with the help of Philip Tilden, he turned his disappointing Herbert Baker villa into the dazzling centrepiece of the last word in extravagant inter-war landscapes.

The grounds, designed mostly by Tilden, assisted by Norah Lindsay, were divided into compartments for terraces, thematic planting of various kinds, a water garden, swimming pools-de-luxe and much more. Wide mixed borders, enclosed by tall clipped cypresses, were replanted by Russell Page around 1974. But its glory is the surviving 125-step Trojan Stair that cascades towards a breathtaking view of Romney Marsh and the English Channel. The Doric temples at its summit have gone: but what remains testifies to an extraordinary, vivid personality.

Timothy Brittain-Catlin

Papworth Village Settlement

Location: Ermine Street, Cambridgeshire

Designed by: Dr Pendrill Varrier-Jones

Created: 1919

Set in 50 acres (20.32ha) of spacious parkland at Papworth Hall, this pioneering village for tuberculosis sufferers had sanatorium wings for men and women, but also, to avoid the harm caused by idleness, included light industrial workshops, education and recreation facilities. It also had ‘living quarters for life’ for patients and their families. After initial medical treatment, patients moved first into open-air, 7ft (2.1m) square huts with pyramidal felt roofs in nearby meadows, surrounded by mature trees, and then into prettily gardened communal bungalows.

Finally, their families came to live with them in the cottages, where patients slept outside on verandahs and tended their own gardens. Its success inspired other such colonies. In 1936 Walter Gropius and Maxwell Fry were commissioned to design a new school but sadly it was never built. By 1947, on the eve of TB’s eradication, Papworth could accommodate 350 patients and 200 ex-patients and their families; it is now the Royal Papworth Hospital.

Imogen Magnus

Snowshill Manor Garden

Location: Near Broadway, Worcestershire

Designed by: Charles Paget Wade and Mackay Hugh Baillie Scott

Created: 1919

Registered: Grade II

In 1919 architect and antique collector Charles Paget Wade bought near-derelict 16th-century Snowshill Manor and 14 acres (5.67ha) of land, restoring the manor to house his collections. Both house and garden design were attributed to Wade, but in 1980 Country Life reported that a letter and garden plan among Wade’s papers ‘proved conclusively’ that Arts and Crafts architect Baillie Scott had designed the garden.

An immense flight of steps leading down from the house, bordered by a yew colonnade, forms the backbone of the garden. It was constructed as a series of terraces enclosed by walls to create garden rooms, often centred on a decorative element, such as a wellhead or sundial, while existing ponds and streams allowed the creation of small water features. Photographs by Wade show the garden rooms simply planted with lawns, narrow flower borders and climbing plants. In 1951, five years before his death, Wade presented Snowshill Manor to the National Trust.

Barbara Simms

Welwyn Garden City

Location: Hertfordshire

Designed by: Louis de Soissons

Created: 1920

Founded by Ebenezer Howard in 1919, Welwyn epitomises his concept of a ‘marriage of town and country’. De Soissons masterminded the overall plan and landscaping in 1920, retaining existing trees and selecting over 100 new species.

The formal Beaux-Arts town centre has two wide roads with central planting, including double avenues of lime trees separating people from traffic: Parkway has lawns and rose beds underplanted with lavender, catmint and geraniums, while Howardsgate has double herbaceous borders. An elegant coronation fountain was added in 1953. To the north, the campus comprises 4.5 acres (1.82ha) of trees and lawns. The scheme gives views on a grand scale, with Lombardy poplars, not buildings, providing height.

In contrast, much of the housing is laid out in intimate closes with narrow roads, open front gardens, hedges and distinctive trees, giving a countryside feel. One, for example, was planted with purple leaf plum, golden maple and mountain ash, another with silver birch and red maple.

Angela Eserin

Clacton Seafront Gardens

Location: Clacton, Essex

Designed by: Daniel Bowe

Created: 1921, altered 1924

Registered: Grade II

Post-war guidebooks sold Clacton as the ‘Town of a Thousand Gardens.’ The most quintessentially seaside ones were laid out by county surveyor Daniel Bowe to beautify the cliff-top strip between road and promenade. With inter-war resorts in competition for longest sunshine hours and best outdoor attractions, these gardens represented an intensification of the Victorian habit of tidying up the coastal edge with manicured lawns and formal bedding.

Clacton’s seafront gardens were restored in the late 1990s but survive largely as they were created. The bedding patterns around Charles Hartwell’s 1924 war memorial are contemporary with it, as are the structural cordylines that give height among the annuals.

Westwards from the pier the 1921 sunken rose and flower gardens lead to two level compartments with crazy paving, now planted with Mediterranean and sensory themes. Between them, three pavilions of different, yet pleasingly similar, design provide sheltered seats to enjoy the garden and sea views.

Kathryn Ferry

The Hill (Inverforth House)

Location: Hampstead, London

Designed by: Thomas H. Mawson & Sons

Created: 1922

Registered: Grade II*

Mawson designed an extraordinary garden at The Hill with a demanding brief and a difficult site. He had worked on previous projects for his client, the industrialist William Lever, 1st Viscount Leverhulme, who had bought the property in 1904. In a little over 3 acres (1.21ha) on steeply sloping ground, Mawson had to conceive a way of hiding the garden from people on Hampstead Heath, while keeping the sweeping outward views open. He juxtaposed spaces for lavish entertaining with a gardeners’ working area. Using soil excavated from digging the Northern Underground line and building high retaining walls, Mawson designed a formal garden of terraces, lily pond and lawns around the house, and an elevated pergola walk built in three phases between 1906 and 1922. The garden suffered badly in the 1987 storm, which led to a magnificent restoration of the garden and pergola when the gardens were reunited in the ownership of the City of London.

Camilla Beresford

Highfields and University of Nottingham

Location: University Boulevard, Nottingham

Designed by: Percy Morley Horder (Highfields) and Geoffrey Jellicoe (University of Nottingham masterplan)

Created: 1922–55

Registered: Grade II (Highfields)