Introduction

Essential Aspects
Design Principles
Basic rules in the design of Japanese gardens
Elements of Japanese Garden
Types of Japanese Gardens
Case study
Bibliography

The art of gardening is believed to be an

important part of Japanese culture for many
centuries.
The garden design in Japan is strongly connected
to the philosophy and religion of the country.
Shinto, Buddhism and Taoism were used in the
creation of different garden styles in order to
bring a spiritual sense to the gardens and make
them places where people could spend their time
in a peaceful way and meditate.

The line between garden

and its surrounding
landscape is not distinct.

Gardens incorporate natural

and artificial elements and
thus, fuse the elements of
nature and architecture.

In the Japanese garden, the

viewer should consider
nature as a picture frame
into which the garden, or the
man- made work of art, is
inserted.

Nature is the ideal that you must strive for. You can
idealize it, even symbolize it, but you must never
create something that nature itself cannot.

Balance, or sumi. The proportions and spaces are

an essential Design principle

The emptiness of portions of the garden. This

space, or ma, defines the elements around it,
and is also defined by the elements surrounding it. It
is the true spirit of yin and yang. Without nothing, you
cannot have something. It is a central tenet of
Japanese gardening.

Hill and pond and flat styles can be shin

(formal), gyo (intermediate) or so
(informal).
Formal styles were most often found at temples
or palaces,
the intermediate styles were appropriate for
most residences, and
the informal style was relegated to peasant huts
and mountain retreats. The tea garden is always
in the informal style.

The concept of wabi and sabi:

Wabi can denote something one-of-a-kind, or the spirit of
something. Sabi defines time or the ideal image of
something. While a cement lantern may be one of a
kind, it lacks that ideal image. A rock can be old and
covered with lichens, but if it is just a round boulder it
has no wabi. We must strive to find that balance
Both the concepts of ma and wabi/sabi deal with
time and space. Where the garden is our space, time
is ably presented by the changing seasons. Unlike the
western gardener the Japanese garden devotee
visits and appreciates the garden in all the
seasons.

In spring one revels in the bright green of new buds and

the blossoms of the azaleas.
In summer you appreciate the contrasts of the lush
foliage painted against the cool shadows and the splash
of koi in the pond.
Fall wrests the brilliant colors from dying leaves as they
slip into the deathly hush of winter, the garden buried
under a shroud of snow.
Winters is as much a garden season in Japan as spring.
The Japanese refer to snow piled on the branches of trees
as sekku, or snow blossoms, and there is a lantern
known as yukimi that is named the snow viewing
lantern.

The fence is a tool to enhance the concept of miegakure,

or hide and reveal.
Many of the fence styles offer only the merest of visual screens,
and will be supplemented with a screen planting, offering just
the ghostly hints of the garden behind. Sometimes a designer
will cut a small window in a solid wall to present the passerby
with a tantalizing glimpse of what lies beyond.
Even if we enter the house to view the garden we may well
encounter sode-gaki, or sleeve fences. This is a fence that
attaches to an architectural structure, be it a house or another
fence, to screen a specific view. To view the garden as a whole
one must enter it and become one with the garden. This is the
final step in the true appreciation of the garden, to lose oneself
in it until time and self have no meaning.

POND

WATERFALL

Rock an important feature

Natural: that should make the garden look as if it grew

by itself
Asymmetry: that creates the impression of it being
natural
Odd numbers: It supports the effect of the asymmetry
Simplicity: that follows the idea of 'less is more'
Triangle: that is the most common shape for
compositions made of stones, plants, etc.
Contrast: that creates tension between elements
Lines: that can create both tranquility and tension
Curves: that softens the effect
Openness: that indicates interaction between all
elements

a stone lantern representing four natural elements:

earth, water, fire and wind
statues of male and female lions, placed at the
entrance of the garden in order to protect the garden
from intruders, representing the two opposite forces:
yin and yang (fire and water, male and female).
water basin known as a deer chaser, which keep
deer away by making a special sound when filled up
the koi fish swimming in ponds, which has a
decorative meaning
typical Japanese bridge, called a moonbridge,
whose purpose is to reflect artistic feelings.

Ponds, waterfalls, wells,

bridges (real or
symbolic)

Stepping stones,
Garden paths

Stone water basins,

stone lanterns

Garden plants and

trees

Fences and walls

Stones

It represents the sea, lake, pond

or river in nature.
Non geometrical in appearance;
in order to preserve the natural
shapes, man- made ponds are
asymmetrical.
The bank of the pond is usually
bordered by stones
A fountain is sometimes found at
the bottom of a hill or hillside or
secluded forest.
Wells are sometimes found in a
Japanese garden.

Usually used in tea gardens.

flat stepping stones served

to preserve the grass as
well as orient the viewer to
a specific visual experience.

step- stones are found near

the veranda or entrance of
the house or tea room. The
visitor of the house or room
is expected to place his
shoes on the step- stone
before entering.

Two kinds of stone water

basinskazari- chozubachi, which is
kept near the verandah
tsukubai for tea garden
Stone lanterns are placed
besides prominent water
basins whose luminance
underscored the unfinished
beauty of the tea aesthetic.

Garden of the 10th to 12th centuries

contained cherry, plum trees, pines
and willows.

Influence of the Zen sect and

watercolor painting from Southern
China transformed the colorful
Japanese garden in the Middle Ages.

Flowers, flowering plants and shrubs

were regarded as signs of frivolity
and were replaced by evergreen
trees that symbolized eternity.

Japanese garden is predominately

green with its use of evergreen trees.

When flowering trees found in

Japanese garden are camelias,
specifically the tsubaki and sazanka.

Scientific Name: Abies Firma

Habitat: Evergreen
Texture: Coarse
Height: 40 to 70
Leaf: 1.5" dark green needles are
notched at base; sharp prickly point
Flower/Fruit: 3.5 to 5" brown
cones

Scientific Name: Acer

capillipes
Habit: Deciduous
Growth Rate: Moderate
Site Requirements: Sun
to partial shade; prefers
moist, well drained soil
Texture: Medium
Form: Round head; low
branches
Height: 30 to 35
Flower/Fruit: Greenish
white flowers on 2.5 to 4"
pendulous raceme;
attractive samara in fall

Scientific Name: Acer palmatum

Growth Rate: Slow to moderate
Site Requirements: Light dappled
shade; evenly moist, well drained
soil; protect from drying winds
Texture: Medium to fine
Form: Low; dense rounded top;
spreading branches; assumes a
layered look
Height: 15 to 25'
Flower/Fruit: Small red to purple
flowers; attractive if viewed closely
but insignificant from a distance

Scientific Name: Alnus

japonica
Site Requirements: Sun
to partial shade; range of
soil types including wet and
infertile soil
Form: Slender, narrow
upright habit
Height: 12 to 25
Leaf: Oval, narrow leaves
Flower/Fruit: Yellow brown
to red brown catkins (male
flowers); female flowers on
short purplish brown strobili
which persist until winter

Scientific Name: Aralia elata

Growth Rate: Rapid
Site Requirements: Sun to
partial shade; range of soil
types but prefers moist, well
drained soil
Texture: Medium
Form: Irregular to spreading;
often multi-stemmed
Height: 20 to 40
Leaf: 3 to 5.5" compound
leaves; yellow to reddish
purple fall color
Flower/Fruit: 12 to 18" white
flowers in August; purple fruit

Scientific Name
Betula grossa
Growth Rate: Moderate
Site Requirements: Sun; moist
well drained soil
Texture: Medium
Form: Pyramidal
Height: 20 to 25'
Leaf: 2 to 4" alternate, simple
leaves; yellow fall color
Flower/Fruit: Nonshowy flowers

Scientific Name:
Carpinus japonica
Growth Rate: Slow
Site Requirements: Sun
to light shade; moist well
drained soil but tolerates a
range of soil types
Texture: Medium
Form: Rounded; densely
branched; wide spreading
branches
Height: 20 to 30'
Leaf: 2 to 4.5" leaves;
yellow to nonshowy fall
color
Flower/Fruit: 2 to 2.5"
fruit

Scientific Name
Cornus officinalis
Growth Rate: Moderate
Site Requirements: Sun to
partial shade; range of soil types
Texture: Medium
Form: Picturesque; multistemmed ; low branches; oval to
round habit
Height: 15 to 25'
Leaf: 4" opposite, simple leaves;
purple fall color
Flower/Fruit: Cluster of short
stalked yellow flowers with
drooping bracts on naked stems
in early spring; .5" shiny red fruit
in clusters in fall

Scientific Name: Cryptomeria

japonica
Habit: Evergeen
Growth Rate: Moderate
Site Requirements: Sun to light,
high shade; rich deep, well drained
soil but will thrive in a range of soil
types
Texture: Fine to medium
Form: Pyramidal; semiformal
Height: 50 to 60'
Leaf: Awl shaped, bright to bluegreen foliage; smooth to the touch;
bronze tones in winter, especially if
exposed to wind.
Flower/Fruit: Small terminal cones

There are three types of fences:

the short fence which extends

from the house into the garden

an inner fence and an outer

fence.

Short fences or sodegaki are

They are about 6 or 7 feet high.

screens that hide unwanted

views or objects.

Add color and texture to the

garden.

Materials used are bamboo,

wood and twigs of bamboo or
tree.

For the garden to be a true retreat, we must first seal it

away from the outside world. Once it is enclosed, we must
create a method (and a mindset) to enter and leave our
microcosm. Fences and gates are as important to the
Japanese garden as lanterns and maples.

As with most things associated with the garden the fence

and gates have deep symbolic meaning as well as specific
function. We are encouraged to view the garden as a
separate world in which we have no worries or concerns.
The fence insulates us from the outside world and the gate
is the threshold where we both discard our worldly cares
and then prepare ourselves to once again face the world.

Courtyards include a modern

alfresco (sheltered outdoor living)
area with a lush backdrop of
plants.

Stones are fundamental

elements of Japanese gardens.

Stones used are not quarried

by the hand of man, but of
stones shaped by nature only

Used to construct the garden's

paths, bridges, and walkways.

Represent a geological
presence where actual
mountains are not viewable or
present. They are placed in
odd numbers and a majority of
the groupings reflect triangular
shapes

They are artificial

mountains usually,
built in gardens.
Generally between
one and five of the
hills are built.
They are made up of
ceramics, dried wood
or strangely-shaped
stones.

Refers to a relatively small cave

or hollow set underneath the
ground near a washbasin in the
garden.
The hollow produces a harp-like
echoing sound effect as water
drips into the hollow. Thus, it
provides a mysterious sound for
people strolling through the
garden.
They are generally located the at
gates of the garden.
The excess water running over
the edge of the tsukubai drops
down onto polished pebbles
below.
Below the ground is another
large basin, often a ceramic
vase.

The art of Bonsai involves the training

of everyday shrubs such as pine,
cypress, holly, cedar, cherry, maple, and
beech to look like old, large trees in
miniature form.
The trees are usually less than one
meter high and kept small by pruning,
re-potting, growth pinching, and wiring
the branches.
Bonseki is the art of developing
miniature landscapes which may
include smallest of rock pieces to
represent mountains.

The Japanese garden can include three possible methods

for scenery:
The first is the reduced scale scenery method. The
reduced scale method takes actual natural elements and
reproduces them on a smaller scale.
The second technique called symbolization and it
involves generalization and abstraction; this could be
accomplished by using white sand to simulate the ocean.
Borrowed views is a technique that refers to artistic use
of elements that imply scenes other than those actually
portrayed. An example of this would be a painting of a
house in the city with a seaside dock in the middle of the
street to imply a seascape scene.

ROCKS AND BOULDERS

REPRESENTING
MOUNTAINS

POOL REPRESENT
LAKES.

RAKED SAND
REPRESENT OCEAN.

NON RECTILINEAR SHAPED WATER BODY

1.Karesansui Gardens or dry gardens

2.Tsukiyama Gardens or hill garden
3.Chaniwa Gardens or tea gardens

Also known as rock gardens

and waterless stream gardens.

Influenced by Zen Buddhism

and can be found at Zen
temples of meditation

Found in the front or rear

gardens at the residences.

No water presents in gardens.

raked gravel or sand that
simulates the feeling of water.

The rocks/gravel used are

chosen for their artistic shapes,
and mosses as well as small
shrubs.
Plants are much less important
(and sometimes nonexistent)

Rocks and moss are used to

represent ponds, islands, boats,
seas, rivers, and mountains in
an abstract way.
Gardens were meant to be
viewed from a single, seated
perspective.
Rocks in karesansui are often
associated with Chinese
mountains such as Mt. Penglai
or Mt. Lu. Karesansui.
Stones are usually off-white or
grey though the occasional red
or black stone were added later.

They strive to make a

smaller garden appear
more spacious.
Shrubs are utilized to
block views of
surrounding buildings.
The gardens main focus
is on nearby mountains
in the distance.
The garden has the
mountains as part of its
grounds.
Ponds, streams, hills,
stones, trees, flowers,
bridges, and paths are
also used frequently in
this style as opposed to a
flat garden.

They are built for tea

ceremonies.
Tea house is where the
ceremonies occur, and
the styles of both the hut
and garden are based off
the simple concepts of
the sado.
There are stepping stones
leading to the tea house,
stone lanterns, and stone
basins where guests
purify themselves before
a ceremony.
The teahouse is screened
by hedges to create a
sense of remoteness

Courtyard gardens are small gardens.

One tsubo is a Japanese measurement equaling 3.3
square meters
The origin of the tsubo niwa lies in the 15th century
when Japan's economy was thriving. A lot of merchants
had large house with several storage buildings around
it. The first courtyard gardens were made in the open
spaces between the house and the storage buildings.
The elements of a courtyard garden are similar to the
elements of a tea garden, however more shade tolerant
plants are used. The design principles of traditional
Japanese courtyard gardens, are very suited for create
contemporary small spaces on roofs or terraces

 These

are large landscape gardens.

Often existing landscapes are
reproduced on a smaller scale, or an
imaginary landscape is created.

 These

are pleasure gardens, mostly

built during the Edo-period. Most of
these gardens are now public parks

Ryoan-ji (or The Temple of the Peaceful Dragon) is a

Zen temple located in northwest Kyoto, Japan.
Belonging to the Myoshin-ji school of the Rinzai branch
of Zen Buddhism, the temple is one of the Historic
Monuments of Ancient Kyoto, a UNESCO World Heritage
Site.

An object of interest near the rear of the monks

quarters is the carved stone receptacle into which
water for ritual purification continuously flows. This is
the Ryoan-ji tsukubai, which translates literally as
"crouch;" and the lower elevation of the basin requires
the user to bend a little bit to reach the water, which
suggests supplication and reverence.

To many, the temple's name is synonymous with the

temple's famous karesansui (dry landscape) rock
garden, thought to have been built in the late 1400s.

The garden consists of raked gravel and fifteen mosscovered boulders, which are placed so that, when
looking at the garden from any angle only fourteen of
the boulders are visible at one time.

It is traditionally said that only through attaining

enlightenment would one be able to view the fifteenth
boulder.

The researchers propose that the implicit structure of the

garden is designed to appeal to the viewers unconscious
visual sensitivity to axial-symmetry skeletons of stimulus
shapes. In support of their findings, they found that imposing
a random perturbation of the locations of individual rock
features destroyed the special characteristics.

Lake of 1.25 hectares was dug, hills

and islands were formed, beaches
made, pavilions built and planting
undertaken.
Has 16 bridges connecting the lake.
Lake used for boating parties and
the surrounding land as a stroll
garden, in effect a tea garden on an
enormous scale.
The 'Katsura Tree' (Cercidiphyllum
japonicum) was associated with the
God of the Moon and the garden
has a platform to view its rising.
There are 23 stone lanterns to light
the stroll path after dark.
Stone basins were used for handwashing before a tea ceremony.
Garden designed not only for
meditation (Zen) but also for
ceremonious courtly pleasures.

 Japanese

Gardens by Gunter

Nitschke
Slawson, David A. Secret Teachings
in the Art of Japanese Gardens
Yagi, Koji A Japanese Touch for Your
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