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The Vegetation As a Constant in the Mediterranean Cultural Landscape

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The Vegetation As a Constant in the Mediterranean Cultural Landscape Francisco Pérez Gallego THE VEGETATION AS A CONSTANT IN THE MEDITERRANEAN CULTURAL LANDSCAPE Abstract main values. developed on its banks outlined one of the L inked to the disciplines of B iology and Under this premise, vegetation was exercising pioneering landscape ma nifestations in the E cology, vegetation is a fundamental ingredient different thematic roles. In its beginnings it was environment of the Mediterranean, from the of the built cultural heritage. It contributes to inclined to the satisfaction of primary cultivation of cereals on its flooded banks. The the formation of spaces, enriching their necessities by means of the alimentary, textile homogeneous and austere character of these aesthetic and environmental values, as well as and medicinal supply, so much to domestic as incipient landscapes was enriched by the guaranteeing the comfort of use, through an territori al scale, but progressively it constituted insertion of gardens in the temples, palaces and efficient performance of fu nctions, mitigating in symbolic ingredient, religious, spiritual and imperial re sidences located in the vicinity of the the impact of solar reflection and regulating of delight or fruition, becoming in all the cases canals. high temperatures and humidity levels. in active modelling factor of the landscape. At first, they were conceived as vegetable and However, from the cultural point of view, it also In other times, it assumed a significant function fruit tree orchards for food and ceremonial manifests an incalculable value, since, by in the thermal, li ght and hygrometric regulation consumption, then oriented, along with cultural collaborating in the construction of spaces, it of urban and architectural spaces, contributing progress, towards the hedonistic, playful and becomes th e authentic builder of their image. to mitigate extreme climatic conditions and ornamental function. These gardens adopted The dialogue between the green and the built is acting as an oxygen regenerating factor and as a rigid geometric and symmetrical schemes, a constant search since the origins of the moderator of air quality. arranged by means of sectored enclosures by civilizations that have made life in the In all times he played an aesthetic, artistic or prismatic parterres around one or several Mediterranean. Various categories of its landscap e role, contributing to enrich the ponds, type water mirror, decorated with cultural heritage made up of ensembles, sites, visuals and create formal sensory effects, aquatic species such as the lotus and the historic urban landscapes, cultural landscapes chromatic, tactile, auditory, olfactory and papyrus, which fulfilled symbolic - religious and cultural routes owe part of their existence gustatory, associated with space. In many cases, functions. The ponds that acted as a centre to vegetation. The object of this paper focuses all the roles come together, demonstrating the assumed rectangular or T - shaped forms on demonstrating the permanence of this relevance that vegetation exerts and h as connected to the canals [2]. symbiosis through time, starting from a exerted in the construction of the They were linked forming networks by means historical - critical retrospectiv e, with a view to Mediterranean landscape through time, in of axial walks with rows of tree species, aligned pointing out, on the one hand, the importance coexistence with man. with the axes integrated by sculptural and of its conservation and restoration, when it has been compromised by environmental and anthropic physical degradation and, on the other, its valorization as an inherent part of the cultural en vironment, where it has coexisted with what has been built, in order to balance sustainability and development. Keywords : V egetation, Mediterranean landscape, U rban landscape, P eri - urban landscape , Territory. Introduction The presence of green in the Mediterranean landscape dates to the origins of its territorial occupation. The cultures that have settled in its territory since classical antiquity have developed an architecture in permanent dialogue with vegetation, to whic h they attribute provisional, symbolic, medical, recreational and aesthetic properties. The flora is manifested in the 3 types of cultural landscape proposed by UNESCO in the 2011 version of the Operational Guide for the Implementation of the World Heritag e Fig.1 . Gardens of the Karnak Temple architectural elements of pylons, colonnades Convention [1] . That is to say that green and sphinxes, which besides producing shade integrates both clearly defined Landscapes, and regulating extreme temperatures, 1 . The Egyptian Culture linked to historical gardens, evolutionary conjugated colors and smells exaltin g the The oldest contribution to the Mediterranean Landscapes and associative Landscapes, which sensorial. To this end, they harmonized edible landscape corresponds to Egyptian culture. Its drew the image of the Mediterranean, species of vegetables and fruit trees with floral, location in the fertile valley of the Nile river and representing a capital resource and one of its aromatic and medicinal specimens, highlighting the network of dikes and irrigation channels 018 Focus among others the sycamore (sacred tree of life, (4th century B.C.), in honor of Apollo, seat of "horti" of the patios of the domus and urban in honor of the goddess Hathor and Isis), the fig the Pithic Games. Both ensembles articulate villas, distinguished by their open and tree, t he taraye or tamarisc, the willow, the temples, scattered cas uistically in dialogue with uncovered character, connector function, acacia, the date palm and the dum palm, the vegetation. Also, in the colonies it was formal heterogeneity and the classic language accompanied by herbaceous plants and vine manifested, being memorable in Italy the case of their equipment, articulating spaces as gratings arranged in pergolas that sought to of the ancient Poseidonia - Paestum - (6th diverse as the stibadii, the euripi, the tholus and recreate the ideal of the oasis in the desert. century BC - VII BC ca.) . the cubicula. They were organized according to Relevant examples of the dialogue between solar orientation, topograp hy, views, water l andscape and green in Egyptian culture can be currents and soil composition, favoring not only found in the ensembles formed around the the visual pleasure but also the development of temples of Karnak (2200 and 360 B.C.) ( f ig 01 ), forest, floral and fruit species [ 6 , p. 76]. Luxor (1400 and 1000 B.C.) and Philé or Fhilae (690 B.C. - 117 A.D.), in their original site. Fig. 3 . Acr o polis of Atenas Of the productive character, which in the long run also had a sacred orientation, there are references in the mythological Gardens of fig04. Palestra of Pompe i Alcinoo, the Hesperides, Calypso, Laertes, the Only in Rome were significant, the gardens of king Midas and the Academo [ 6 , pp. 67 - 69 ] . the villas of Pompey, Acilio, Domicia Lucilla, F ig . 2 - Ruins of Babylon According to Homer, the first was "a wide space Valerio Asiático, Cesar, Pallante, Agripina, full of aligned plants , framed in a barrier and Domicia, Luculo, Salustio, Mecenas and Maiano, 2. The Mesopotamian Culture divided into three parts: first an orchard where Spei Veteris, as well as those of the Domus Also, the cultures developed from the valleys pears, pomegranates, apples, figs and olives are Aurea [ 6, p. 74]. Meritoriou s examples in the crossed by the Tigris and the Euphrates to the collected. Then a vineyard, and finally, at the province are the Villa Jovis (27dC. - 37dC.), in Mediterranean discovered from the beginning other end, some squares of legumes" [ 6 , p.67]. Capri and the Villa del Casale (285 - 305), in the benefits of vegetation and its integral We must add that the Greeks sublimely Sicily, as well as the urban complexes of incorporation into architecture as a resource captured their cult for flora in architecture. The Herculaneum (VIII B.C.) and Pompeii (IX B.C.) builder of spaces and regulat or of extreme Corinthian order arises from the representation ( f ig 0 4). environmental conditions. of the folios of acanthus; the striations of the columns of the vegetal trunks; the temple is The weight of this symbiosis was so great that 5. The Medieval Culture the Hanging Gardens (605 B.C. - 562 B.C.)of inspired in the primitive hut forged by the During the Middle Ages the gardened landscape crossing of the tops of trees while the metopes Babylon( f ig 02 ) , built during the reign of changed scale due to the paradigms propagated and triglyphs schematize in stone the fixing Nebuchadnezzar II became part of the 7 by Christianity, linked to the exaltation of the wonders of the Classical World. between the beams and pairs of the roof of the spiritual and transcendental ideal in mentioned primitive huts. Although th ere were doubts about their replacement of the earthly and mundane that existence, recent investigations locate them in dominated the classical civilizat ions. 4. The Roman Culture Nineveh, present - day Mosul, Iraq [ 3 ] . The Greek Nevertheless, its main profile was the The Romans inherited and enriched the Greek geographer E s trabo n described them in the provisioning. and etruscan heritage of the cult of vegetation. first century Ac. as "vaulted terraces raised one At the urban level, the fear of danger and the It was worked in dialogue with the artistic above the other, resting on cubic pillars. These supernatural that embodied the forest and the expressions from the territorial and urban are hollowed out and filled with soil to allow vast territories, induced to confine the city. This scales up to the domestic one [ 7 , pp. 59 - 69 ] . Its the planting of large trees. The pillars, vaults, attitude is replicated in monasteries where life greatest contribution is manifested in domestic and terraces are built with fired bric k and is reduced to contemplation, prayer and work, architecture, especially in the domus and villas asphalt" [ 4 ] .Filón de Bizancio (280 B.C.
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