Chronological Development in Landscape Design

1. ARCH 405 - LANDSCAPE DESIGN
AR. ZEHRA WAZIR - 3(2-1)

2. LEARNING OUTCOMES
 What is Garden?
 Landscaping and Gardening
 Historical Timeline of Landscape Design (Pre- History to 21st Century)

3. A garden is a planned space, usually outdoors, set aside
for the display, cultivation, and enjoyment of plants and
other forms of nature. The garden can incorporate both
natural and man-made materials. The most common
form today is known as a residential garden, but the
term garden has traditionally been a more general one.
Zoos, which display wild animals in simulated natural
habitats, were formerly called zoological gardens.
Western gardens are almost universally based on plants,
with garden often signifying a shortened form of
botanical garden.
GARDEN
Garden of Versailles, France

4. REASONS FOR DEVELOPMENT OF GARDEN
Gardens for Aesthetical, recreational, functional and
religious purposes.
 Cooperation with Nature (Plant Cultivation &
Garden based Learning)
 Observation of Nature (reflect & ponder)
 Relaxation
 Growing useful produce
 Religious

5. GARDENING AND LANDSCAPING
Gardening is the practice of growing plants and can range from tending to a single plant
to an entire garden with a variety of plants. It involves growing and caring for plants either in pots or
in the ground.
Landscaping is a more professional way of gardening in its design and in the construction
of ponds, sculpture or topiaries. Landscape design is the art of organizing and enriching outdoor
space with plants and structures for aesthetic and/or practical purposes.
GARDENING LANDSCAPING
Definition The practice of growing
plants outdoors or indoors.
The design and construction of gardens and outdoor areas.
Practice
d
Can be done by anyone Mostly by professional and landscape architect
Purpose Hobby, interest. Designed to achieve a desired aesthetic – purposebuilt.

6. PRE HISTORY TO 6th CENTURY
 Early cultures attempted to re-create or
express in their built landscapes the sacred
meanings and spiritual significance of natural
sites and phenomena.
 The landscape started by impulse to dig and
to mound earthworks, raised stones, and marked
the ground leaving traces of basic shapes and
axial alignments. The purpose or function of
many of these spaces is still conjecture.

7. THE ERA?
 Around 8,000 years ago, complex social systems
began to emerge simultaneously in South and
Central America, in Egypt and the Middle East, and in
India and Asia.
 As cultures advanced and humans gained more
control over the natural world, we organized the
landscape for physical and spiritual comfort.
 The idea of the garden as a managed pleasure
ground evolved from the simple enclosed hunting
grounds of Europe and Asia.
 In ancient Greece and Rome, a new trust in
human logic resulted in the substitution of
anthropomorphic deities for nature spirits. Sacred
structures soon replaced sacred landscapes.
New Grange, Ireland

8. CHRONOLOGY:
• Cosmological Landscapes characterises prehistoric earthwork sand patterns.
• Ancient Gardens describes early parks and villas.
• Landscape and Architecture illustrates temple grounds, buildings, and important site plans.
• Genius Loci depicts sacred landscape Spaces.

9. 3200 BCE ,NEW GRANGE-IRELAND.
• The circular passage tomb at New Grange contains three recessed chambers.
• On the winter solstice, the sun rises through a clerestory above the entryway, illuminating the central chamber.
2950 BCE–1600 BCE , Stone henge –U.K .
• Built by different groups of people at different times.
• England evolved from an earthen embankment, to wooden structure, to the stone circles we recognize today.
• All the shapes open to the northeast, framing sunrise on the summer solstice.
2000 BCE , Wood henge –U.K.
• located about 2 miles from Stonehenge, was a timber circle of roughly the same diameter that marked a burial site dating from
the Neolithic era.
• Sunrise on the summer solstice aligned with its entryway.
COSMOLOGICAL LANDSCAPES

10. Video Resource:
Henges: Stonehenge, Woodhenge, Avebury & Stanton Drew
https://vimeo.com/21436545

11. SONGLINES, AUSTRALIA
Indigenous creation myths relate how ancestral beings
walked the continent singing the world into existence.
peoples were believed to have used these song lines as way finding Native
mechanisms.
Traditional paintings illustrate similar spiritual journeys.
200 BCE – 600 CE , NAZCA LINES-PERU .
An extensive series of straight lines, geometric shapes, and animal figures were inscribed on the dry lake bed by overturning gravel and
exposing the lighter-colored earth below.
Archeologists are not certain which culture produced these geoglyphs, nor whether their purpose was related to religion, ritual, water
sources, or astronomy
LEY LINES, ENGLAND
Some people believe that Great Britain and continental
Europe are marked with a network of straight lines that
connect geographic features and sacred sites through
underlying paths of energy within the earth.

12. 1380 BCE ,TOMB OF NEBAMUN-THEBES.
• The gardens depicted on the walls of wealthy Egyptian officials are an important primary source of information about the
ancient Egyptian landscape.
• Shown here is an ordered arrangement of specify plants around a rectangular basin stocked with fish.
2500 BCE–612 BCE ,MESOPOTAMIAN HUNTING PARKS .
• Written accounts describe the large enclosed parks of the Sumerians, Babylonians, and Assyrians as being stocked with exotic
plants and animals—evidence of early management of the landscape.
• The Epic of Gilgamesh described the ancient Sumerian city of Uruk as being composed of equal parts city, garden, and field.
546 BCE , PASARGADAE-PERSIA .
• The imperial capital of Cyrus the Great was described by ancient Greeks and Romans as having a geometric division of space
defined by water and trees, an early example of the four-square pattern later associated with “paradise” gardens.
• Existing ruins show the close relationship of buildings and gardens and the decorative use of water. Gardens provided visual
and climatic comfort, not spaces for active use.
ANCIENT GARDENS

13. • The former Greek colony of Pompeii was a popular resort town for wealthy Romans.
• Forms of 1st-century architecture and landscape ,Vesuvius in 79 CE.
• A typical Roman town house contained a paved atrium and a garden court surrounded by a roofed colonnade, or peristyle. Garden
scenes painted on the walls of the peristyle garden visually extended the space.
100CE ,PLINY’S SEASIDE VILLA-ROME.
• Pliny the Younger (61–112 CE) recorded many aspects of his life and times, including detailed descriptions of his country houses and their
relationship to the landscape. He planned the rooms of his villa maritime according to their functional and climatic requirements, and to
take advantage of views.
• The architectural form of Pliny’s villa, as well as its function as a place of escape from urban responsibility, particularly inspired
Renaissance designers.
118 CE , HADRIAN’S VILLA-TIVOLI-ITALY .
• the complex of structures and decorative elements that comprise the imperial villa of Hadrian reflect the emperor’s fascination with
architecture and his love of Classical culture.

14. 1400 BCE , MORTUARY TEMPLE OF HATSHEPSUT-DEIR EL-BAHRI-EGYPT
•Sited at the base of a cliff on the west bank of the Nile River, Queen Hatshepsut’s tomb comprised a series of monumental terraces and colonnades
symmetrically organized around a processional axis.
•Tomb paintings show frankincense and myrrh trees imported from Somalia; archeological evidence confirms the presence of exotic vegetation on the
terraces.
460 BCE ,ACROPOLIS-ATHENS-GREECE.
•The Acropolis was once the location of a Mycenaean fortress.
•It remains symbolic of Classical Greek civilization and the architecture of democracy.
• The Parthenon dates from this era and represents the Doric
•order—a proportioning system based on the length and width of the column style.
• The Panathenaic Way marked the route from the city gates to the acropolis.
LANDSCAPE AND ARCHITECTURE

15. THE AIM:
 Trying to understand and/or honor the mysteries of nature.
 Cemeteries
 Some of them (In South America ) was built for unknown propose yet.
 Pleasure and for medicine, for food and for worship.

18. 6th to 15th Century
 The term “Middle Ages” loosely applies to a period
from the 6th to the 15th centuries, when cultural
advancement in western Europe was disrupted by
the decline of Roman imperialism. But while progress
in western Europe paused, other cultures continued
to thrive
 The great gardens of China, Japan, and Islamic
Spain. During these nine centuries, enclosed
gardens shut out the uncertain dangers of the
surrounding landscape. Medieval gardens can be
understood as metaphorical constructions,
representative of a culture’s changing perceptions
of nature.

19.  During the Middle Ages, nature was largely uncontrollable, and political order was
unstable. Whether for protection or defense, to mitigate forces of nature, or to create
a more perfect representation of nature, medieval gardens were enclosed. The act of
enclosing space creates a realm distinct, its surroundings locus amoenus that in the
Middle ages often symbolized an idea of paradise.
;
SCALE APPROPRIATIONUTILITY CONTRAST BALANCE
The Moorish courtyard is an
outdoor living room—human-
scaled open space defined
by architecture. The transition
between inside and outside is
mediated by architectural
elements; porticos and
loggias provide secondary
thresholds.
Shakkei is the
principle of “borrowed”
scenery. The landscape
beyond a garden’s borders
is appropriated to
become a visual com-
ponent of Japanese gardens.
The medieval cloister
is an embodiment of
utilitarian geometry. A
simple square
bounded by an
arcade becomes an
ambulatory to
facilitate prayer. A
square, subdivided
by raised planting
beds, becomes a
living encyclopedia
of herbs and flowers.
The Chinese garden
is a microcosm of nature where
inherent forces are balanced
visually, symbolically, and
experientially. An intuitive
equilibrium is created between
rock and water, solid and void,
word and image.
A small plot pleasure
amid a landscape of
labor—the carefully
Tended pleasure is
set in opposition to
its untamed
surroundings.

20. WallsFountains Fences
Rocks and WaterRunnels Courtyards
ELEMENTS

21. EUROPE
ALHAMBRA- MOOR
CHINESE
JAPANESE

22. 15th Century
15th century was an age of exploration—a period
of expansion and cultural advancement that
proceeded at a different pace, however, across the
world. New discoveries and new lands reshaped
medieval worldviews.
Europe emerged as a world power with Italy as the
center of renaissance thought.
Merchants challenged aristocratic rule and church
authority.
Garden Prototype reached its epitome:
 Zen Garden in Japan
 Charbagh in Persia
 Italian Villa as philosophical ideal

23. Intellectual horizons expanded along with political territories in the 15th century. The
landscape became manageable as horticultural practices improvedand designers better
comprehended site planning principles. Landscape spaces were ordered in service to human
desires: as aids to medication, place of repose and as signifiers of idealized agrarian model.
REDUCTION ABSTRACTION HIERARCHY SYMMETRY PROPORTION
Tray
landscapes
elimi- nate
unessential
create a
powerful
minimalist
aesthetic.
Kare sansui
gardens express
the charac-
teristics of rivers
and streams
using a selec-
tive language of
stone and sand.
Nested
geometries
concentrate power
at the center, as
illus- trated by the
plan of the
Forbidden City.
Perpendicular
axes subdivide
space in a
chahar-bagh,
or four- square
garden.
According to Alberti,
the parts must equal the
whole—nothing can be
added or taken away
without destroy- ing the
integrity of the design.

24. Rock Garden at Komyoji Temple, Jodo Sect, in Kamakura Karesansui
Type
Forbidden city, china
Raised beds called parterres in French garden

25. 16th Century
Cumulative changes in the 16th century marked the
gradual transition to the modern era. Political power was consolidated
across many parts of the globe as individual countries formed distinct national
identities.
 Definitive monarchies emerged in Europe and England;
 Japan was unified during the reigns of three successive generals;
 and the Mughal empire spread across parts of Central Asia and India. The
Reformation and Counter- Reformation marked a period of commitment
to ideals in western Europe.
 Individual creative pursuits were valued by society; artists gained prestige.
All these factors influenced the design of the built landscapes.

26. In the 16th century people began to call into question the many assumptions they had made about
the way the world worked. Creative forms flourished. Renaissance design principles became manifest
in Italian art, architecture, and gardens. Other cultures claimed the landscape in significant ways
through similar uses of geometry, water and idealization of nature.
TRANSITION HARMONYBOUNDARYOCCUPYING SPACEAXIAL SYMMETRY
The sequence
and
Palladio’s work
dem- onstrates
how all parts
correspond to
each other
through harmonic
ratios.
French gardens
were edged by
moats, canals,
and galleried
walkways,
defining ordered
ground planes
within an
untamed
landscape.
Timurid and
Mughal gardens
provided spaces
for passive
Italian Renais-
sance gardens
were organized
along central lines
of sight, creating a
geometric
ordering of space.
progression
space in a
of
Japanese tea
garden
represents a
psychological
as well as
physical
transi- tion.
enjoyment
landscape,
on Persian or
on flat,
of the
either
carpets
elevated
platforms called
chabutras.

27. Chabutras in Mughal gardenSymmetry and order in Italian renaissance
Edges in Italian renaissance Progression and sequence in Japanese garden

28. 17th Century (1600’s)
From a European perspective, the 17th century is often described as the
beginning of the Age of Reason, a period when advances in scientific
knowledge challenged beliefs in religious doctrine and Renaissance order.
Nature was shaped according to human will, and typically by royal privilege.
The idea of extension applied not only to geopolitical influence:
gardens merged into the landscape with vistas to endless horizons.
Large-scale views were part of the drama and idea of mobility that
characterized Baroque styles. The earth was no longer the static
center of the universe but part of a system in motion around the
sun. Politically and culturally, emphasis shifted to France, where
the garden became a venue for spectacle, employed as a symbol of
the absolutism of the Sun King.

29. Straight lines! In the 17th century, the landscape was ordered by geometries that expressed the
power and authority of humans over nature. Whether through monumental axes or lines of sight as
charbagh or with borrowed scenery, gardens extended into the landscape literally and figuratively.
SHAKKEI
SUBDIVISION EXTENSIONHIDE AND
REVEAL
ILLUSION
Distant landscapes
are “borrowed” and
incorporated into
the pictorial
composition of
Japanese stroll
gardens. Views are
framed by
vegetation, and
garden elements
strategically placed
in the foreground
help place the viewer
in the scene.
Mughal gardens
are characterized
by the four-square
paradise form. The
recursive
subdivision of the
four-square
geometry creates
interesting
patterns and
French
gardens of the
17th century
were projected
into the
landscape
through
monumental
axes. Vistas
merged with
the horizon.
Perspective wasSpace unfolds
incre- mentally as
various focal
points capture
the viewer’s
atten- tion and
manipulated in
Italian Baroque
gardens to create
theatrical effect
and a sense of
mystery.imagination
the Japanese
in
modula- tions
space.
of
stroll garden.

30. Gardens of Isola Bella, Italian baroqueBorrowed Scenery, mystery in Japanese Gardens

31. The Baroque Gardens at
Blenheim Palace,
Oxfordshire

32. Garden of Versailles, France
The vast formal gardens of France were epitomised by the spectacle of
Versailles. The Sun King’s ambitious creation, the brainchild of designer
André Le Nôtre, was a Gallic spin on the Italian gardens of the
Renaissance – but supersized. The enormous avenues, gargantuan
terraces, eye-popping parterres and gilded water features were all meant
to portray Louis XIV as a king with utter dominance over nature.

33. Design details
The standout development in these formal gardens
was their enormous scale. Most had a unity of
design that came from the residence and gardens
being built together, with matching architecture
and ornamentation. The building was often
centrally positioned on a huge flat tract of land, on
a large central axis, with avenues radiating out. The
space was laid out in a geometric, symmetrical
design, and often played on perspective.
Broad avenues were the primary element of the
style. At first, they were designed to lead to garden
features; then, to woodland, countryside or
features outside of the garden; and later on they
began radiating out in all directions (known as
patte d’oie or goosefoot) to glorify the reach of
the garden’s owner.

34. The word ‘paradise’ comes from the ancient
Persian word pairidaeza – the Persians
being one of the earliest peoples to cultivate
gardens, parks and hunting grounds. Petri
means around and deaza means wall, thus
the word suggests an area isolated from its
surroundings, enclosed by walls. From
early on in the Jewish and Christian
traditions “paradise” became associated
with the Garden of Eden. Thus by the time
of the Prophet Muhammad the Gardens of
Paradise promised to the righteous were
not a new concept. Indeed the pre-Islamic
Arabs considered the slightest indication of
nature’s greenness to be sacred. Since they
were completely dependent on the oases for
their survival it was natural that they
should love and revere nature’s vegetation,
both for its physical benefits and as a sign
of the mysterious power that guided the
universe.

35. 18th Century (1700’s)
The great advances in science and technology that defined the Enlightenment changed the way people
viewed their place in the world. The spirit of inquiry extended to the contestation of firmly held beliefs in
social structures and political systems. Scientific progress shed new light on social relations.
The rise of the middle class as an economic and political force brought about the collapse of the ancient
régime. Philosophers like Rousseau and Voltaire laid the intellectual ground for change. The Scientific
Revolution coincided with the American Revolution, the French Revolution, and the so-called revolution
of taste in England.

36. Curves, realized as sweeping lawns, serpentine lakes, and billowing trees, defined the “line
of beauty”in the 18th-century English garden. Here, “landscape” became an adjective descriptive of an
enlightened vision of uncorrupted nature—the garden. Thetradi- tion of the pastoral aesthetic as embodied in
the English landscape garden influenced early American gardens.
FRAMING ALLUSION NARRATIVE VARIETY OBSERVATION
Garden scenes
were viewed
through intricate
latticework windows
and screens in
Chinese gardens.
Trees framed views
of fields and hills in
English gardens.
Both English
and Chinese
gardens
The heroic or
patriotic
Picturesque
gardens
contained
contrasting
forms,
Plants,
landscapes,
scenery—all of
nature was
scrutinized and
classified during
the Enlightenment.
theme of
English ancontained
references
literary
visual
to garden was
made ex- plicit
through statuary
and built form.
textures,
lines.
and
passages. Naming
and inscribing
scenes assured
common
interpretations.

37. ALLUSION
Both English
and Chinese
gardens
contained
references
literary
visual
to
passages. Naming
and inscribing
scenes assured
common
interpretations.

38. • Lakes
• Sweeping
lawns
• Recreation of
classical
temples,
gothic ruins,
bridges and
picturesque
architecture
• Centered on
country house

39. European Romanticism.
Broadly, the inherited view of Nature as a hostile entity, against which humanity had to struggle for survival, and as something ultimately to be
constrained and controlled, gradually gave way to an opposite perception: that of nature as benign living presence, a source of guidance
and inspiration. This sea-change was at first a very gradual affair, beginning as early as the fifteenth century when a new empathy toward the
suffering of animals began to appear in isolated instances, but by the eighteenth century this new sensibility had become widespread, and
even fashionable, with ardent spokesmen in all the arts.

40. A ha-ha is a recessed landscape
design element that creates a vertical
barrier while preserving an
uninterrupted view of the landscape
beyond.
Grills of iron are very necessary
ornaments in the lines of walks, to
extend the view, and to show the
country to advantage. At present we
frequently make thorough views,
called Ah, Ah, which are openings in
the walls, without grills, to the very
level of the walks, with a large and
deep ditch at the foot of them, lined
on both sides to sustain the earth, and
prevent the getting over; which
surprises the eye upon coming near it,
and makes one laugh, Ha! Ha! from
where it takes its name. This sort of
opening is haha, on some occasions,
to be preferred, for that it does not at
all interrupt the prospect, as the bars
of a grill do.

43. FRAMING
Garden scenes
were viewed
through intricate
latticework windows
and screens in
Chinese gardens.
Trees framed views
of fields and hills in
English gardens.

44. VIDEO RESOURCE:
Key Elements of Traditional Chinese Scholar's Garden
https://www.youtube.com/watch?v=Ttb2UtMUbIU

45. 19th Century (1800’s)
The Enlightenment left in its wake a new concept of
time and space. The Industrial Revolution eroded
agrarian society. People moved into cities to supply
the labor force required by factories. Urban
population swelled, causing concern for public
welfare.
The unquestioned belief in technology prompted a
backlash: Romanticism became the antidote to the ills
of mechanized society. For the middle class, emotion
triumphed over reason, imagination was prized more
than cultivated scholar- ship, and nature was elevated
as the source of inspiration. Society believed sensitivity
to natural phenomena and appreciation of natural
beauty to be morally and spiritually uplifting.
The 19th-century landscape was urban, public, and
Romantic.

46. The Industrial Revolution brought widespread change to the landscape and to society.
The shift from an agricultural to an indus- trial economy created a new class of low-wage
workers in European and American cities. Social reformers lobbied to improve the living
conditions of the urban poor by providing public parks. The aesthetic language of the
English landscape garden was adopted as a model for the parks, and persists in the
Western imagination as an icon of nature. The physical and social structures that have
come to define city life took shape in the 19th century.
IDENTITY
ACCESSIBILITY OBSERVATIONTRANSFORMATION COLLABORATION
Space becomes
An awareness of
social factors is criti-
cal to a successful
design. The first
public parks opened
in the 19th century.
Urban environments
create opportunities for
social exchange.
Parisian boulevards
Landscapes, both
built and natural,
Design is a collab-
orative and iterative
process. A multi-
disciplinary team of
experts assembled to
design the Chicago
World’s Fair.
place when
has iden-
tifiable
character.
it are
capable of altering
emotional states.
Transcendental philos-
ophers helped create a
wilderness myth about
the American West.
accommodated
vari- ety of
interactions.
a
Alphand’s design
vocabulary
defined Second
Empire Paris

47. Birkenhead in Liverpool,
by Sir Joseph Paxton
“Coincidentally, it was around that time
that actual literature on gardening and
landscaping began to crop up
everywhere. This was telling of the
garden’s dissemination into popular
culture as not just a thing for the rich,
but for the people. It’s also around then
that editor of The Brooklyn Eagle, Walt
Whitman proclaimed “We need parks!”
(Or something along those lines…) A
major reason for this growing public
outcry was because it was becoming
increasingly considered “unclean” for
people to picnic in cemeteries, which is
what they had been doing when
needing a bit of picturesque green”.

48. As most (NYC) people know,
the designer for that patch of
green ended up
being Frederick Law Olmsted,
who entered his idea, entitled
“Greensward” into the Central
Park public call for entries. The
rules were that the designs had
to include 2 resevoirs and 4
transverse roads. The idea for
sunken roads is what won it for
Olmsted – apparently the
judges agreed that nature
should be as uninterrupted as
possible

49. ACCESSIBILITY
An awareness of
social factors is criti-
cal to a successful
design. The first
public parks opened
in the 19th century.
New York Central Park

50. With the emergence of
public parks designed
by professionals came
housing developments
designed by city
planners. The Garden
City Movement was
the taking of those
meandering paths of
the park, and turning
them into the roads of
suburbia, with the
interconnected lawns
representing a
park…that you live in.

52. IDENTITY
Space becomes
place when
has iden-
tifiable
character.
Alphand’s design
vocabulary
defined Second
Empire Paris
OBSERVATION
Urban environments
create opportunities for
social exchange.
Parisian boulevards
accommodated
vari- ety of
interactions.
a

53. Parisian Boulevard – Urban, & public

54. Parc des
buttes
Chaumont,
Paris

55. Parc des
buttes
Chaumont,
Paris

56. Parc des
buttes
Chaumont,
Paris

57. 20th Century (1900’s)
 Western culture reached new heights of
complexity in the 20th century. Influences on the
built landscape were tremendously diverse.
 No single style or approach represents the age.
The development of the profession of landscape
architecture accelerated in the early 20th
century, particularly in America.
 Significant movements that affected American
landscape design include the Country Place Era,
the City Beautiful Movement, Modernism, Land
Art, Environmentalism, Postmodernism and
Ecological Design.

58. New resources, technologies, modes of transportation, and communication systemstransformed the way.
people interacted with each other and with the natural world in the 20th century. The ideals expressed
the landscape reflected these changing values.
Landscape design in the 20th century was subject to a variety of influences. Space became very
architectonic. Trends in the art world were interpreted by landscape architects. Analyses of site conditions
and user needs determined the form and function of the modernist landscape. Postmodernist designers
searched to rebuild a traditional sense of community .The so called green revolution focused the profession
on ecological design.
CORRESPONDENCE INTEGRITYTRUTHUTILITY ORIGINALITY
A design is
complete in itself
when it acknowl-
edges the moral com-
ponent of beauty.
Honest
design
Form
determine d by
functional ity
makes users’
needs a
priority.
Innovation
results from rejecting
preconceived ideas and
being open to all
possibilities.
expresses the
inherent
quality of
material
a site.

59. Philip Johnson glass house

60. Famous Landscape Architecture Park Güell
The Park Güell is a public park system composed of gardens and
architectonic elements located on Carmel Hill, in Barcelona,
Spain. Carmel Hill belongs to the mountain range of Collserola —
the Parc del Carmel is located on the northern face. Park Güell is
located in La Salut, a neighborhood in the Gràcia district of
Barcelona. With urbanization in mind, Eusebi Güell assigned the
design of the park to Antoni Gaudí, a renowned architect and
the face of Catalan modernism. The park was built between 1900
and 1914 and was officially opened as a public park in 1926. In
1984, UNESCO declared the park a World Heritage Site under
“Works of Antoni Gau