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Cultural Landscape Master 1943, Mission Canyon with Blaksley Boulder in Foreground (Josef Muench) CULTURAL LANDSCAPE MASTER PLAN FOR THE SANTA BARBARA BOTANIC GARDEN: The More You Know, The More You See OCTOBER 10, 2012 DRAFT Presented to The Santa Barbara Botanic Garden 1212 Mission Canyon Road Santa Barbara, California 93105 Prepared by Van Atta Associates, Inc. Landscape Architecture + Planning 235 Palm Avenue Santa Barbara, California 93101 Charles Birnbaum, FASLA, FAAR The Cultural Landscape Foundation 1909 Que Street NW Second Floor Washington, D.C. 20009 VAI VanAtta Associates Inc. landscape architecture + planning SANTA BARBARA BOTANIC GARDEN CULTURAL LANDSCAPE MASTER PLAN Table of Contents I. OVERARCHING PRINCIPLES FOR THE SANTA 3 BARBARA BOTANIC GARDEN II. GARDENWIDE GUIDELINES TO IMPLEMENT 21 THE OVERARCHING PRINCIPLES III. SECTOR GUIDELINES AND TREATMENTS 1. GARDEN A. Arrival and Orientation Sector 50 B. Arroyo Sector 70 C. Manzanita Sector 74 D. Library Courtyard and Buildings Sector 76 E. Desert Sector 80 F. Meadow Oaks Sector 82 G. Meadow View Sector 87 2. CANYON 90 A. Woodland Trail Sector 91 B. Redwood Section Sector 92 C. Mission Dam Sector 94 D. Campbell Trail Sector 97 E. Rocky Trail Sector 99 F. Easton Trail Sector 100 G. Canyon Trail Sector 101 H. Pritchett Trail Sector 102 3. HILLSIDE 107 A. Olive Orchard Sector 108 B. Porter Trail Sector 110 C. Horticultural Services Sector 113 REFERENCE MATERIAL 114 Overarching Principles for the Santa Barbara Botanic Garden Charles A. Birnbaum, FASLA, FAAR Historic designed landscapes like the Santa Barbara Botanic Garden are composed of a collection of landscape features which are organized in space. They include small-scale features such as individual benches designed by Lockwood deForest as well as patterns of fields or large scale thematic plant groupings such as The Meadow or the Redwood Grove. When taken collectively, these organizing elements help to define the visual and spatial character of the historic designed landscape of the Santa Barbara Botanic Garden. Individual features – both built and natural -- in a consciously designed landscape composition such as the Garden, should never be viewed in isolation, but in relationship to the cultural landscape as a whole. As Beatrix Farrand stated in her Report to the Trustees of the Santa Barbara Botanic Garden (December 20, 1946), “All who work in a garden realize that in pictorial composition design is relegated by the painter, whereas in landscape art control lies in the natural formation of the ground itself into which the plan should be harmonized without apparent difficulty…” Although attractive, new features such as these wrought ornamental metal signs and railings detract from the naturalistic “pictorial composition” conceived by the original designers. (photo by Birnbaum 2011) Although it has been sixty five years since Farrand made this revealing statement, her quest, which is both a design and management challenge for present day designers and stewards provides a framework for the master plan task at hand – to put forth comprehensive overarching principles to guide and manage change at the Garden. Santa Barbara Botanic Garden Cultural Landscape Master Plan October 10, 2012 REVIEW DRAFT Guidelines and Treatment Page 3 of 114 These principles which follow recognize that situations may vary from Sector to Sector, and some features may often be more important than others. For example, at a large scale, an historic viewshed to open pastoral lands that historically contributed to the setting of the garden may no longer be advantageous if the former field and forest patterns have been replaced with residential housing construction, while at the small scale, solar controllers or security cameras that have been inserted into the landscape without screening, thus diminishing both the historic character and the visitor’s experience. In sum, it is the arrangement and the interrelationship of the Garden’s character-defining features -- as they existed during the established period of significance -- that is foundational to our understanding -- before critical planning and design recommendations can be put forth. As such, the Garden’s character-defining landscape features should always be assessed as they relate to the historic property as a whole. Thus, spatial organization, land patterns and their inherent visual and spatial relationships are presented first for both the overarching principles that follow and the individual treatment recommendations for each sector. Organizational Elements For a historic designed landscape such as the Santa Barbara Botanic Garden, its spatial organization (e.g. the visual and spatial relationship of the Meadow to the peak of La Cumbre) and land patterns (e.g. the “borrowed” scenery of the former olive orchards north east of Mission Canyon Road) collectively serve to define the overall visual experience. The spatial organization of the Garden, as it existed during its period of significance is defined by the landscape’s cultural and natural features, and it is the recommendation of this master plan that every effort should be made to preserve, protect and restore those seminal visual and spatial relationships that convey the Garden’s unique character during that time. Santa Barbara Botanic Garden Cultural Landscape Master Plan October 10, 2012 REVIEW DRAFT Guidelines and Treatment Page 4 of 114 The “borrowed scenery” from the framed view in the Kiosk designed by Lockwood de Forest still exists, yet other alterations to the kiosk should be eliminated to maintain integrity. (Joseph Muench, 1943) Recognizing that when taken individually many of these character-defining features establish critical visual links both within and outside of the Garden’s property – from Lockwood deForest’s Kiosk which provides framed views to the Canyon beyond, to his Pritchett Bench which provides sweeping panoramic views of the Oak Woodlands, Santa Ynez Mountains and the Pacific Ocean – every effort should be made to preserve and restore these seminal visual relationships. For example, when the Kiosk was built, the garden committee (Helen Thorne, Lockwood deForest and Frederick Kellam) noted Santa Barbara Botanic Garden Cultural Landscape Master Plan October 10, 2012 REVIEW DRAFT Guidelines and Treatment Page 5 of 114 in March 1937 that “it is far enough away from the group of office and nursery buildings to make the Kiosk entirely independent of that group, as the Committee believes it should be.” Today, this historic design intent has been diminished with the introduction of the ticket booth Entrance Kiosk, as well as other site embellishments in the Pond and Kiosk Sector which are constructed of highly ornamental wrought metals not found elsewhere in the Garden. In toto, managing the garden’s visual and spatial relationships as they existed during the period of significance may include reinforcing character-defining visual linkages and connections (e.g. seminal axial relationships such as the Blaksley Bounder to its surrounds); accommodating barriers (e.g. fences that run along the Canyon’s crestline should not diminish the visual quality of the long view and should by design recede). In moving forward to achieve this goal, when articulating overarching principles for the Garden’s visual and spatial relationships we are fortunate that its historic design intent is clearly established in the writings of Farrand herself. In her November 1946 Garden Notes, she states: “The conditions at the Santa Barbara Garden are interesting perhaps because of their very variation and complexity in a small area. There are 4 main factors which must be considered. (1) The view of the mountain, implying a fine foreground; (2) Views of the sea and Islands to be achieved in vistas; (3) The canyons and its adjoining slopes; (4) The highroad (Mission Canyon) which runs through one part of the grounds and bounds (Tunnel Road) others. Under these conditions the design must be so integrated that the whole appears to be easily and naturally placed.” This statement succinctly illustrates how the placement and arrangement of any proposed landscape feature was intended to define and contribute to the articulation and creation of the Garden’s overall spatial organization – not only of value for evaluating the design intent during the period of significance, but this clear and concise approach provides a critical framework for us to move forward today. Another way of summarizing the “conditions” put forward by Farrand more than 65 years ago, one may view the Garden’s organizational framework today to include those contributing passages of scenery which are by design closely tied to those scenic advantages found both within the Garden as well as its greater setting. Hence, this would include functional and visual relationships from individual landscape features (e.g. Lutah Maria Riggs and Farrand’s intended view from the Blaksley Library to La Cumbre and Cathedral Peaks) and scenographic landscape passages (e.g. deForest’s intended panoramic viewing opportunities along both the Pritchett and Campbell trails). Finally, in terms of stewardship implications for managing historic visual and spatial relationships today, it is important to recognize that changes over time are often due to a variety of factors, including: environmental impacts (e.g. drought, fire), plant growth and succession, and changes in land use. Therefore, it is recommended that all long term preservation, restoration, and rehabilitation treatments in regard to the Garden’s visual and spatial
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