Gardens

In the common public perception, contemporary gardening is understood as suburban, as leisure activity, as television makeover opportunity. Its originary narratives are seen as religious or spiritual (Garden of Eden), military (the clipped lawn, the ha-ha and defensive ditches), aristocratic or monarchical (the stately home, the Royal Horticultural Society).

Radical Gardening travels an alternative route, through history and across landscape, linking propagation with propaganda. For everyday garden life is not only patio, barbecue, white picket fence, topiary, herbaceous border.… From window box to veggie box, from political plot to flower power, this book uncovers and celebrates moments, movements, gestures, of a people’s approach to gardens and gardening. It weaves together garden history with the counterculture, stories of individual plants with discussion of government policy, the social history of campaign groups with the pleasure and dirt of hands in the earth.

Permakültür Bahçeleri, hayal gücünüzü harekete geçirerek, permakültürün en temel mesajını okurlara ulaştırıyor: Doğaya karşı değil onunla birlikte çalışırsak daha güzel, daha bereketli ve daha bağışlayıcı bahçeler yaratabiliriz. Toby Hemenway’in gösterdiği gibi işbirliği içinde çalışabilen ve;
Toprağın verimliliğini ve yapısını geliştirmek ve korumak,
Peyzajın içinde suyu yakalamak ve sudan tasarruf etmek,
Faydalı böcekler, hayvanlar ve insanlar için habitat sağlamak,
Mevsimsel meyveler, yemişler ve diğer gıdalar üreten yenebilir bir “orman” yaratmak
gibi çeşitli işlevler üstlenen bitkileri topluluklar şeklinde bir araya getirerek arka bahçenizde bir ekosistem yaratmak hem kolay hem de tatmin edici bir uğraştır.
Bu gözden geçirilmiş ve güncellenmiş baskıya, yetiştirme alanları çok kısıtlı olan kentte ya da banliyöde yaşayan insanlar için özel olarak tasarlanmış, kentsel permakültür üzerine yeni bir bölüm de eklenmiştir. Elinizdeki bahçe ya da tarla ne büyüklükte olursa olsun permakültürün temel ilkelerini uygulayarak orayı daha çeşitli, daha doğal, daha üretken ve daha güzel hale getirebilirsiniz.

“Permakültür Bahçeleri kesinlikle bugüne kadar yazılmış en iyi permakültür kitabı ve bugüne kadar yazılmış en iyi bahçıvanlık kitabı olmaya da aday. Herkesin kütüphanesinde bulunmalı.
Sharon Astyk
Depletion and Abundance: Life on the New Home Front’un yazarı

“Dünyaya geldiğimizde bize bir kullanma kılavuzu vermedikleri için arada bir bazı bilge kişilerin kılavuzlar yazması büyük bir hizmet.  Permakültür Bahçeleri  bunların en önemlilerinden biri ve geleceğin dünyası için kesinlikle ihtiyaç duyacağımız bir kitap.”
Bill McKibben
Deep Economy ve Hope, Human and Wild’ın yazarı

“Toby Hemenway’in Permakültür Bahçeleri adlı eseri uygulama ile vizyonerliği birleştiren, insanların rakibi değil parçası olduğu ekosistemleri güçlendirmek ve hayatta tutmak için Yeryüzü’nün simbiyotik topluluklarının doğal zekâsını kullanan bahçıvanlar ve peyzajcılar için tarihi bir dönüm noktası. Doğa ile uyum içinde nasıl yaşayabileceğimizi ve böyle yaşamak zorunda olduğumuzu gösteren muhteşem bir eser!”
Paul Stamets
Mycellium Running: How Mushrooms Can Help Save the World’ün yazarı

“Permakültür bahçeleri artık geleceğe dair hayaller değiller. Buradalar ve yaşıyorlar. Permakültür Bahçeleri  evlerinin bahçesini sağlıklı, sürüdürülebilir ve şifalı hale getirmek isteyen herkes için aydınlatıcı ve mutlaka okunması gereken bir kaynak.”
Robert Kourik
Designing and Maintaining Your Edible Lanscape—Naturally’nin yazarı

Savruk bir tüketici değil sürdürülebilir bir üretici olun. Bu muhteşem kitap size bunu nasıl yapcağınızı, harika arka bahçe ekosistemleri yaratmada ve geliştirmekte yardımcı olarak gösteriyor. Bu kitaptaki bilgileri uygulayın ve hem kendi topluluğunuzu hem de daha ötesini olumlu yönde değiştirecek bir örnek olmaya başlayın. En güzeli de bu kitapla bunu yapmanın çok kolay, ilginç ve eğlenceli olması.
Brad Lanchaster
Rainwater Harvesting  for Drylands and Beyond’un yazarı

Permakültür Bahçeleri’nde o kadar büyük bir bilgelik var ki hakkını vermek için bir düzine köşe yazısı yazmam gerek. Cesur, etkileyici, doğayı kucaklayan ve tamamen mantıklı bir gelecek vizyonu.
Justin Siskin
Los Angeles Daily News yazarı

Lessons for Australia from Spain, which retains Europe’s oldest public landscaped space (748AD) and oldest surviving garden (c1250AD) and is rich in garden history.  Waves of invasion, conversion to and mediation between cultures have fostered layered landscapes reflecting the adapting of old spaces and agri-/horticultural traditions, a place now unafraid of the new, yet fiercely proud of tradition.  Recent designers and management trends will be discussed in the context of environmental sustainability, population demographics and increasing engagement with the outside world.

This review offers a perspective on the role landscape and gardening play in urban settings from a socio-cultural, and ecological dimension. The practice of cultivating in gardens, parks and vacant lots, creates community spaces, and are increasingly becoming important to peoples’ experience of social and cultural wellbeing. In recent times, this has become a major focus of research in ecology, agriculture, urban design, landscape architecture, human geography, and sociology. Community gardening is one of the avenues toward revitalizing urban environments, and it provides a way of addressing multi-faceted urban problems ranging from limited food access to safety and community cohesion. That being said, it is necessary to continually evaluate the roles which society, ecology, and culture play in cities and landscape planning due to the dynamic nature of culture. This article aims to bring to the fore, the various factors of landscape and gardening practices in cities and the dynamics...

Les jardins collectifs sont des espaces multifonctionnels et profondément évolutifs qui s’inscrivent dans le quotidien des urbains et favorisent l’externalisation du sensible. Ces spécificités appellent une méthodologie particulière, mêlant plusieurs techniques d’enquêtes qualitatives que sont le récit de vie, le parcours commenté et l’observation. Au travers de deux terrains, les jardins franciliens et ceux de la région de Kazan (Russie), je souhaiterais réfléchir à la manière dont le géographe peut enquêter un espace relevant de la géographie des émotions et questionner ses relations au terrain.

The inter-related natural and cultural heritage of Rosa spinosissima and Scots Roses.
Peter D. A. Boyd
Independent Researcher and Holder of UK National Collection of Scots Roses (Plant Heritage)

Probably, no other plant has such a little-known multiplicity of associations with human culture as Rosa spinosissima (Scots Rose, Burnet Rose, Dune Rose, Prickly Rose).
It has a natural distribution from north-west China to north-western Europe.
It is featured in British and European myths (e.g. the Towton or Battle Rose in Yorkshire, the Dunwich Rose, Ardennes folk-tales, Norwegian Trolls).
The species was included in 16th century herbals of northern Europe, used in traditional Chinese medicine and, recently, in the development of new drugs; also a food, flavouring for traditional European beverages (e.g. Klit-rose Schnapps) and a dye.
Sometimes, it was emblem of the House of York and the Jacobite cause and symbol of Scottish Nationalism.
The shrub has been grown in gardens since at least the 16th century and the first variant with a coloured flower was discovered in Scotland in the late 17th century – after which most cultivars of Rosa spinosissima became known as Scots or Scotch Roses.
A small number of ‘single’ cultivars were available by the late 18th century but the discovery and breeding of ‘double’ cultivars caused an explosion of interest in nurserymen and gardeners in the early 19th century. Over five hundred cultivars were available by 1840. They became popular in Nordic countries.
Emigration from Britain and Scandinavia in the 19th century and international nursery trade led to the dispersion of Scots Roses to North America, Australia, New Zealand and elsewhere.
19th and early 20th century novels feature immigrants taking Scots Roses with them as iconic reminders of their old homes and they were often planted on ex-patriate graves.
Old cultivars and their progeny survive in old gardens and cemeteries in both hemispheres but they are a living heritage under threat.

ÖZET İç mekânın sahip olabileceği bir ölçeğe ve yoğunluğa sahip olan kapalı bahçeler hızla büyüyen ve kalabalıklaşan kentlerde insan ve gökyüzü arasında kurduğu doğrudan ilişki açısından kent mimarisinde giderek daha fazla önem kazanmaktadır. Paris'in tarihi kentsel dokusu içinde kendine hatırı sayılır bir yer bulan mimar Jean Nouvel'in Cartier Binası bu çalışmada mimarî, peyzaj ve bahçe tasarımının birlikte var ettiği mikrokosme'yi deşifre etmeyi olanaklı kılmıştır. Cam cephenin arkasında kalan bahçesi ve bulvar sınırından içeriye çekilmiş şeffaf çelik yapısı ile yoğun ve sürekli yapılı çevreye peyzajdaki açıklığı getiren, maddesel gerçekliği ve aynı zamanda şeffaflığı barındıran, strüktürel estetiği ile kendini sergileyen, cephesinde hayatı ve içerdeki bahçeyi ve yanılsamalarını okuyabildiğimiz çok katmanlı bir mimari örnektir. Maddesel form, mekânsal form, görsel yapı ve niyetin iç içe geçtiği ve birbirinden beslendiği çok katmanlı mimarînin inşası kentin mimarlığı, peyzajı ve yaşamı için çok önemli bulunmaktadır.

Dumbarton Oaks Research Library and Collection, in Washington, DC, is an institute of Harvard University dedicated to supporting scholarship internationally in Byzantine, Pre-Columbian, and Garden and Landscape Studies through fellowships, meetings, exhibitions, and publications. Located in Georgetown and bequeathed by Robert Woods Bliss and Mildred Barnes Bliss, Dumbarton Oaks welcomes scholars to consult its books, images, and objects, and the public to visit its garden, museum, and historic house for lectures and concerts.

Since the advent of modern methods and new constructional approaches in architecture and landscape architecture, traditional architecture techniques which were based on utilizing natural energies have been completely set aside. In this case, the art of Iranian gardening has a great deal of valuable achievements and experiences which need to be reconsidered. Owing to its special geographic situation, the city of Shiraz includes a number of globally well-known gardens such as Eram, Jahannama, and Delgosha garden. As long as Persian gardens are considered as important parts of open and green spaces and urban landscapes in cities, the main purpose of this paper is the study of their structural features along with the role they play in improving environmental quality and comfort conditions. From this point of view in Landscape architecture, a quantitative-qualitative study was performed for the first time based on two distinct samples of Persian garden, Jahannama and Delgosha, to evaluat...

La imagen final de un proyecto oculta, en ocasiones, el proceso de creación del mismo. Un proceso donde las ideas evolucionan, se transforman y se reconstruyen, perdiéndose por el camino aspectos interesantes que no terminan de reflejarse una vez concluida la ejecución. Para entender cuáles son las claves de esos cambios, es necesario revisar los documentos que fueron quedando por el camino, tanto en la fase de concepción como en la de obra. Este aspecto es más relevante cuando el proyecto depende de un conjunto amplio de profesionales donde la toma de decisiones resulta compleja. El artículo pretende mostrar la vivencia proyectual de Gilles Clément, uno de los paisajistas más paradigmáticos de las últimas décadas, en el transcurso del proyecto del Parque André-Citroën a través de sus cuadernos de croquis y de documentos poco conocidos, pertenecientes a su archivo personal. De los primeros bocetos a la propuesta del concurso, el proceso de definición del proyecto y las dificultades en la realización de la obra. Todo ello con la idea de intentar comprender la experiencia vivida por el autor en su primer gran proyecto de espacio público, que se ha convertido en uno de los parques más emblemáticos de París.

The final appearance of a project may occasionally conceal aspects of its creative process. A process along which ideas develop, evolve and are transformed by discarding interesting features which do not show on the final execution of the work. In order to discover the key elements that drove that evolution, it is necessary to examine the documents that were dispensed with, both while the project was being developed and during its execution. This practice is even more significant when a broad team of professionals, which makes decision-making more complex, undertakes the project. This paper intends to give some light to the process Gilles Clément, one of the most paradigmatic landscape architects in the last decades, went through while developing his project for André-Citroën Park, and it will do so through his sketchbooks and some scarcely known documents from his own personal archive. From the first sketches to the final proposal, the process to establish the main lines and the difficulty in the realization of the work, everything will be studied in order to understand how the designer experienced the creative process of his first important project of a public space, which has become one of the most emblematic parks in Paris.

In October 2020, the European Route of Historic Gardens was certified by the Council of Europe. This was not only a great honour, but also an im-portant step in recognising the historic, artistic, social and natural values of historic green spaces. Admission to the Cultural Route of the Council of Eu-rope has also opened up opportunities to participate in various projects pro-moting culture and tourism at the international level. What could be the role of the European Route of Historic Gardens in this regard? How can it be in-volved in the implementation of the European Union’s cultural policy? This paper seeks to find answers to these questions.

This book brings together a collection of chapters reflecting the scholarship of Tom Beaumont James, Emeritus Professor at the University of Winchester, in advancing the study of medieval and early modern artefacts, buildings, gardens, and towns. The seventeen essays represent substantive contributions on specific topics and many of the authors started out as Tom’s students. Some focus on buildings, others on people, some on documentary evidence and some on material culture. The chapters range chronologically from early medieval Southampton through sixteenth-century Winchester to an analysis of that city’s nineteenth-century censuses. Although the work coheres around central Southern England there are also papers on Edward I’s Tower of London, the medieval and early modern gardens of two Oxford colleges, and the English occupation of Normandy in the fifteenth century.

Dallo studio delle relazioni che intercorrono fra i Gonzaga duchi di Mantova e la casata degli Asburgo attraverso la consultazione del carteggio fra le due corti, si individuano alcune lettere di inizio Seicento nelle quali l’imperatore Rodolfo II chiede con insistenza a Vincenzo I Gonzaga l’invio del disegno del giardino “posto sopra le volte”. Perché mai questo giardino - identificabile probabilmente con il giardino pensile di Palazzo Ducale - risulta di tale interesse per l’imperatore? L’indagine mossa a partire dai documenti contenuti nelle Banche dati Gonzaga digitali mette a fuoco le caratteristiche e le vicende del giardino pensile, spostandosi poi a Praga: qui il fruttuoso confronto con studiosi austriaci e cechi approfondisce il quadro delle opere che, in quel momento, si stanno portando avanti sul castello imperiale, chiarendo le ragioni dell’interesse di Rodolfo II nei confronti dell’architettura gonzaghesca, identificata come modello di riferimento.

Makary Górzyński, University of Warsaw

THE NINETEENTH-CENTURY PUBLIC PARK IN KALISZ:
A GARDEN OF CIVILIZATION


The aim of this book is to provide a detailed historical reconstruction of the comprehensive, late nineteenth-century renovation, expansion and restoration of the Kalisz’s famous public garden, opened for the public in 1798. Kalisz had been one of the Polish Kingdom’s (est. 1815) provincial capitals, and later became a governorate city (1867-1914), a modest town in the Russia-ruled Polish provinces. Despite it’s provincial size (ca. 25 000 inhabitants in the 1880s) Kalisz was perceived as a crucial borderland seat of the imperial administration, located close to the western outskirts of the Russian Empire. It was also a multiethnic trade, commerce and cultural centre for the Polish, Jewish, German and Russian communities. It’s picturesque public gardens, located on the banks of Prosna river, by the 1900s became one of the most elaborate town parks among Polish cities, famous for its statues, buildings, grottos or for a variety of charming vistas. In this book I try to examine not only the process of the complete renovation and enlargement of the garden from the 1870s to the 1910s, but also to describe the main ways of its functionalization in the local public sphere, cultural and social life. I perceive the Kalisz’s Belle Epoque park as one of the most elaborated Polish public spaces of a culture-based, human invention of the “Nature”, serving various actors of the urban population for entertainment, public hygiene or to articulate the political or the moral discourses of the local middle class and elites, being patrons of the garden. I will try to connect the garden architecture and sculptures from around the 1900s with the Kalisz’s contemporary public sphere and visual culture. Architectural structures and gardening style-patterns shaped crucial spaces of the modern recreation and commerce in this industrial city. At the same time, the Kalisz’s public garden may serve as a perfect example for studies of the spatial manifestations and interactions of the narratives of history, Russian government politics or private, sensual desires. All of these phenomena in the public park – a “garden of civilization” – were unfolding class-, national- or gender-based divisions and imperial politics in this Russia-ruled provincial Polish town, offering a fascinating field for contemporary urban and cultural studies.

The Steenbreek program is a private Dutch program which aims to involve citizens, municipalities and other stakeholders in replacing pavement with vegetation in private gardens. The Dutch approach is characterized by minimal governmental incentives or policy, which leaves a niche for private initiatives like Steenbreek, that mainly work on behavioural change. The aim of this paper is to build a model based on theory that can be used to improve and better evaluate depaving actions that are based on behavioural change. We tested this garden greening behaviour model in the Steenbreek program. The main result is that the model provides an understanding of the ‘how and why’ of the Steenbreek initiatives. Based on this we are able to provide recommendations for the improvement of future initiatives. Steenbreek covers a wide range of projects that together, in very different ways, take into account elements of the theoretical framework; either more on information factors, or on supporting ...

The third trip of Le Corbusier to Chandigarh, a year after his first contact with India, is closely bound to the definition of the Capitol as an active platform, capable of pulling together the institutional palaces of which it forms a part and as a reality isolated from the city and uniquely linked to the experience of the vast dimensions of the country, to the plain that supports it, to its ceiling of sky and to the mountains that end the horizontal land. During the twenty-five days he stayed there, Le Corbusier defined the Capitol as an area and determined its limits. He introduced the physics of the combined reflections, intensified the topography as an architectural theme that animates the platform of the Capitol and drew the gardens that lead to the Governor's palace, as a synthesis of all the presented themes. The results would give rise, on his return, to the plan with the studio number of chand lc 4445 capitol. Later, as the palaces came to be defined, the Capitol would be modified to achieve a new position of balance with respect to them, but always in relation to what happened during those days of 1952.

El tercer viaje de Le Corbusier a Chandigarh, un año después de su primer contacto con la India, está íntimamente ligado a la definición del Capitolio en tanto que plataforma activa, capaz de poner en tensión los palacios institucionales de la que forman parte, y en tanto que realidad aislada de la ciudad y únicamente vinculada a la experiencia de las vastas dimensiones del país, al llano que la sustenta, a su techo de cielo y a las montañas que ponen fin al terreno horizontal. Durante los veinticinco días que permanece en el lugar, Le Corbusier define el Capitolio como recinto y determina sus límites, introduce la física de los reflejos combinados, intensifica la topografía como tema arquitectónico que anima la plataforma del Capitolio y dibuja los jardines que preceden al palacio del Gobernador, como síntesis de todos los temas expuestos. Los resultados darán lugar, a su vuelta, al plano con número de atelier chand lc 4445 capitol. Más adelante, a medida que se definen los palacios, el Capitolio irá modificándose para alcanzar una nueva situación de equilibrio respecto a ellos, pero siempre en relación a aquello que sucedió durante esos días de 1952.

Culture has been recognized as the fourth pillar of sustainable development, and culture is often viewed as a system of symbols that arises from human interpretations of the world. The cultural codes of symbols and symbolism are imperative to be reexamined for any reinterpretation of a traditional culture. This article explores the origin and meaning of the Yin Yang symbol in Chinese culture, and its subsequent numerological and color applications in classical Chinese architecture, such as Sanqing (Three Pure Ones), Wuxing (Five Natural Elements), Bagua (Eight Trigrams) in courtyard house design, and Jiugongtu (Nine Constellations Magic Square Matrix) and Jingtianzhi (Nine Squares land ownership system) in imperial Chinese city planning. The examples cited are Beijing siheyuan (courtyard houses), the Forbidden City, the Temple of Heaven, and Ningbo's Tianyi Ge library. The paper aims to inspire younger generations to continue Chinese architectural heritage, and respect traditional principles when planning and designing architectural projects. It finally proposes the Yin Yang Yuan symbol to expand traditional Yin Yang symbol, to solve the dilemma of binary thinking and to avoid extremities.

Among the myriad of writings on Takemitsu, the theme of the Japanese garden, conceptualized here as the “Musical Garden”, is not infrequent, but is seldom examined as an aesthetic end in Takemitsu’s works. This essay’s goal will be to provide and conclude on a comprehensive synthesis of previous analysis on the subject, in order to understand the concept of the Musical Garden and how it sheds light on Takemitsu’s music, especially in regards to the listener’s experience. Unlike other publications on Takemitsu which deal with advanced analysis of musical notation, this essay will be focusing mainly on the aesthetic principles which frame both his music and the Japanese garden and give meaning to our encounters and exposure to these artforms. In this study, and in a concern of aesthetic heritage, cultural Japanese specificities will be written in kanji characters. Ultimately, this subject is abstract and metaphorical, and one must not expect a rigorously scientific or demonstrative approach, but rather a free, hypothetical yet strongly supported one.

We are used to having public park areas and ‘green spots’ in today’s cities. Due to the fact that traces of ancient plants are hard to detect, if any are found at all, the question of whether such public ‘green spaces’ existed in antiquity has hardly been studied. This article is concerned with the function of and accessibility to ‘green areas’ in ancient Greek cities. It has been shown that public parks, which have been assumed to exist in Rhodes, cannot be substantiated. Rather, ancient green areas were used as sacred groves in sanctuaries, or comprised of common land within and outside of city walls, used for pasture. Another example of open spaces containing cultivated trees can be found in early gymnasia. There is also evidence of intentional plantings of trees alongside streets and in ancient market places in the fifth century BC. In Hellenistic times, planted peristyl courtyards can be found in Greek domestic architecture as well as associated with buildings in use by ethnic and religious associations. In Rome, enclosed gardens with geometrical plantings, fountains and statues were opened to the public. At the same time, there is a decline of undeveloped areas used as common land in the cities. The design of nature becomes a task for
landscape architects to cultivate, and would then be donated by rich citizens to the public.

This article examines how images of carnations in the page borders and calendar miniatures of the late medieval devotional books locally produced for Netherlandish civic elites provide an opportunity to examine identity formation and concepts of urban magnificence and splendor. It also considers the role of carnations in discussions and depictions of gardens in a popular medieval Italian estate creation and management book, Piero Crescenzi’s Ruralium Commodorum, that, especially in French translation in Netherlandish illuminated manuscript copies, was a how-to- do- it manual for those seeking to build manor and town houses with gardens befitting their status. Thus, both depictions of the potted plant in art and scenes of the carnation in a garden setting were intended to project the owners’ flower connoisseurship and their splendor and civic magnificence. Further, the makers (in most cases artisan fellow townsmen of the commissioners) of these miniatures and borders projected luxury and consumption fantasies on which to model their lives for the books’ patrons, and to help them distinguish themselves culturally from the long established landed aristocracy.

Şehir permakültürü şehirde bahçecilik yapmaktan fazlasıdır. Şehir permakültürü bahçede öğrendiklerimizi alır ve bunu çok daha geniş bir insan deneyimine uygular. Bu sayede yalnızca bitki bahçeciliği değil; insan, mahalle ve hatta kültür bahçeciliği de yaparız.

Bu kitabın amacı da okuyucularına permakültür tasarımcısı gibi düşünmeyi öğretmek, onların şehirlerde yaşarken çözümler bulmak için bütünsel sistem yaklaşımında uzmanlaşmalarını sağlamaktır.

Şehirler kaldıraç noktasıdır. Sürdürülemez şehirler, toplumun kalanını da beraberlerinde aşağı çekeceklerdir çünkü insan üretiminin ve tüketiminin çoğunluğu şehirlerde gerçekleşiyor ve tüm ürünlerin büyük çoğunluğu şehirler üzerinden hareket ediyor. Dahası, çoğu fikir ve kültürel eğilimler şehirlerden geliyor. Eğer yenilenebilir şehir kültürleri oluşturamazsak, başka bir yerde ne olduğunun pek de önemi kalmaz.

Permakültür tasarımcılarının sistemin tamamını düşünerek, besin üretimini ve habitat onarımını uygulayarak öğrendikleri şeyler, kentsel çevredeki insan ekolojisi üzerinde temel ve birincil uygulamaya sahiptir. Bu yüzden bu kitap yalnızca bahçecilik ile ilgili olamaz; aslında, yalnızca çeyrek kadar bir kısmı bununla ilgilidir.

Permakültür, apartman balkonlarında küçük saksı bahçeleri, hobi bahçelerinde alçakgönüllü fakat ilham verici parseller, dar şehir arka bahçelerinde mikrobesin ormanları, parklarda besin üreten vahşi yaşam bahçeleri ve kenar mahallelerde verimli çiftlikler tasarlamak için kullanılabilir.

Bu kitap, permakültür tasarımcıları ve uygulayanlarının yaklaşımlarında ve düşüncelerinde yeni bir derinlik, çok yönlülük ve çeşitliliği belgeliyor. İçinde şehirlerimiz için umut hikayeleri ve örnekleri var. Buralarda yaşayanlar ve onlardan ağır şekilde etkilenmiş olan vahşi ve evcilleştirilmiş doğa var. Permakültür şehirde tüm bu deneyimi şehir hayatının bütün işlevlerine uygulamamız için önce deneyimlendi sonra yazıldı.

Toby Hemenway’in Türkiye’de ilk kitabı Permakültür Bahçeleri büyük ilgi gördü. Permakültür Şehirde de aynı etkiyi yaratacak güçte bir kitap.

How to Make a Garden | Catalogue to an exhibition organised at Phytorio, Visual Artists Cyprus, Nicosia | February 2012. Participating artists: Haris Epaminonda, Phanos Kyriacou, Maria Loizidou, Panayiotis Michael, Alexandros Pissourios, Polis Peslikas, Efi Savvides, Socratis Socratous.

The social nature of architectural design covers behavioural and societal concepts relative to the Persian garden and structure. It is important to have an understanding of how society influences design in order to be able to view the inherent influences in the design solution for the ancient Persians the symbol of eternal life was a tree with a stream at its roots. The sacred miracle tree contained the seeds of all within itself. Tree planting was a sacred occupation and this reverence was deeply seated in the souls of the Persians. Historical accounts tell us about gardens named Paradise filled with all things fair and good that the earth can bring forth. Sense of privacy and Social interaction which are perceived to have a relation in the theories of architecture and garden design were well respected in traditional garden design in Iran. Persian gardens influenced garden design around the world and became the foundation of Islamic and later European garden traditions, an example of which can be seen in the Mughal gardens of India. This conservatism led artists to attach religious meaning or symbolism to their works. Forms, shapes, objects, scenes and even letters and numbers of Islamic art are symbolic. All art has hidden significance.

BOOK: Niyogi Books, New Delhi, 2018. The monsoon is the season of pouring rain and intense emotions: love and longing, hope and fear, pleasure and pain, devotion and joyous excess. Through a series of evocative essays exploring rain-drenched worlds of poetry, songs, paintings, architecture, films, gardens, festivals, music, and medicine, this lavishly illustrated collection examines the history of monsoon feelings in South Asia from the twelfth century to the present. Each essay is written by a specialist in the field of South Asian arts and culture, and investigates emotions as reflections and agents of social, cultural, and political change across borders of language and religion and between different arts and cultural practices. The history of emotions in the rain is as rich, surprising, beautiful, and devastating as the thundering monsoon clouds, and will delight general and scholarly audiences alike.