DOI Heft:
No. 276 (March 1916)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21261#0143
Studio- Talk
ENTRANCE TO THE JAPANESE GOVERNMENT PAVILION AT THE PANAMA-PACIFIC EXPOSITION
that you have called my attention to them. But
I think that is a great compliment to the artist, for
I have lived among the mountains so long and
been inured to the beautiful way in which Nature
works in her garden that I would have noticed
them if they had not been in harmony with the
charm of the place.” Years of experience and
a close observation of nature have taught our land-
scape architects the secret of art.
It is always the aim of our gardeners to make
the best use of the piece of ground placed at their
disposal. They lay out their gardens in such a way
that from the house the effect will be one of
limitless expanse. If, on the one hand, there are
undesirable objects in the neighbourhood, they are
hidden from sight by the placing of tall trees in the
garden. And if, on the other hand, there is a
beautiful view, it is incorporated in the vista of the
garden. Herein lies the greatness of the Japanese
art of landscape gardening. The position of each
rock and tree is studied in its relation to the beauty
and harmony of the whole. Each object in the
138
garden has its part to perform, and should con-
tribute to the rhythm of the whole landscape.
But in laying out the garden at the Exposition
considerable difficulty was encountered. There
were so many unsightly structures all around. It
was a bare and open place to begin with, and all
the trees and shrubs had to be planted. Nearly
1300 trees, consisting of 36 species, nearly 4400
smaller plants, representing 21 different kinds, and
some 25,000 square feet of Korean turf, were trans-
planted here from Japan. It was thought neces-
sary to bring over even the turf, for coarser kinds
of grass do not give the required harmony with the
dwarfed trees planted in the garden. In spite of
this difficulty, the garden has been beautifully laid
out. Standing in the lower part of the garden,
one can see the calm reflection of the pavilion,
artistic trees and stone lanterns, in the pond, hear
the water flowing down the waterfall from among
the foliage, and see the tiled roof of the Japanese
tea-house beyond, giving the effect of the garden
being extended’ to the distant Presidio Hills.
ENTRANCE TO THE JAPANESE GOVERNMENT PAVILION AT THE PANAMA-PACIFIC EXPOSITION
that you have called my attention to them. But
I think that is a great compliment to the artist, for
I have lived among the mountains so long and
been inured to the beautiful way in which Nature
works in her garden that I would have noticed
them if they had not been in harmony with the
charm of the place.” Years of experience and
a close observation of nature have taught our land-
scape architects the secret of art.
It is always the aim of our gardeners to make
the best use of the piece of ground placed at their
disposal. They lay out their gardens in such a way
that from the house the effect will be one of
limitless expanse. If, on the one hand, there are
undesirable objects in the neighbourhood, they are
hidden from sight by the placing of tall trees in the
garden. And if, on the other hand, there is a
beautiful view, it is incorporated in the vista of the
garden. Herein lies the greatness of the Japanese
art of landscape gardening. The position of each
rock and tree is studied in its relation to the beauty
and harmony of the whole. Each object in the
138
garden has its part to perform, and should con-
tribute to the rhythm of the whole landscape.
But in laying out the garden at the Exposition
considerable difficulty was encountered. There
were so many unsightly structures all around. It
was a bare and open place to begin with, and all
the trees and shrubs had to be planted. Nearly
1300 trees, consisting of 36 species, nearly 4400
smaller plants, representing 21 different kinds, and
some 25,000 square feet of Korean turf, were trans-
planted here from Japan. It was thought neces-
sary to bring over even the turf, for coarser kinds
of grass do not give the required harmony with the
dwarfed trees planted in the garden. In spite of
this difficulty, the garden has been beautifully laid
out. Standing in the lower part of the garden,
one can see the calm reflection of the pavilion,
artistic trees and stone lanterns, in the pond, hear
the water flowing down the waterfall from among
the foliage, and see the tiled roof of the Japanese
tea-house beyond, giving the effect of the garden
being extended’ to the distant Presidio Hills.