Posts Tagged With: Sadafumi Uchiyama

Regional conferences aid landscape education

The North American Japanese Garden Association will hold two regional conferences in October 2015.

Fostering Mature Cultural Landscapes: The Japanese Gardens in New York will be held Thursday and Friday, October 1 and 2, featuring The Pocantico Center and the Japanese Garden at Kykuit, Brooklyn Botanic Garden, United Nations Peace Bell Garden, Innisfree Garden, and Hammond Museum and Japanese Stroll Garden. The opportunity to visit the Peace Bell garden is extraordinary as this garden is not normally open to the public.

Members of the Association of Professional Landscape Designers (APLD) may earn continuing education credits for participation in the conference and garden tours.

For further information, please look at the NAJGA web site: http://www.najga.org/New-York-2015

Sadafumi Uchiyama

Sadafumi Uchiyama is one of the specialists teaching proper techniques in the pruning workshops.

Branching out in the South: Pruning Small Trees and Shrubs in the Japanese Tradition is a two-day, intense, hands-on workshop scheduled for Thursday and Friday, October 22 and 23, at the Sarah P. Duke Gardens, Culbetson Asiatic Arboretum in Durham, North Carolina.

There are several special features of this gathering including a farm to fork dinner and a tour of a private residential garden.

Continuing education credits (CEUs) for the lectures and workshops have been granted by the Southern Chapter of the International Society of Arborists (ISA)Association of Professional Landscape Designers (APLD) and the North Carolina Landscape Contractors’ Licensing Board (NCLCLB).

For additional information, please refer to the NAJGA web site: http://www.najga.org/NORTH-CAROLINA-2015

There are more than 250 Japanese gardens in Canada and the United States. These gardens are havens of beauty and tranquility, cultural and historic landscapes and places for natural healing.  Since 2011, the North American Japanese Garden Association (NAJGA) has been promoting the welfare of these gardens and the people who love and care for them through education and advocacy.

A biennial conference is in the planning stage for March 7 and 8 at the Morikami Museum and Japanese Gardens in Delray Beach, Florida. The conference theme is Towards a Healthier World: Japanese Gardens as Places for Wellness and Transformation. For information on invitations for presentations, guidelines and theme, please refer to the NAJGA web site.

NAJGA logo

Categories: New York, North Carolina | Tags: , , , | Leave a comment

Sho-fu-en, the Garden of the Pine and Wind, in Denver makes great use of native plants

Denver Botanic Gardens

(photo by Bill F. Eger)

After obtaining his degree in horticulture in Japan and interning at the Chicago Botanic Garden, Akiyoshi (Ebi) Kondo joined Denver Botanic Gardens as a Horticulturist in April 2000 and was in charge of the display gardens and collections.

In 2003 Ebi was promoted to Senior Horticulturist and took responsibility of Sho-Fu-En, Denver Botanic Garden’s Japanese Garden. Originally designed by Koichi Kawana, construction on the two acre garden began in August 1978. Sho-fu-en, Garden of the Pines and Wind, was dedicated June 23, 1979.

“This was designed to be a provincial garden. Gifu-ken and Takayama-shi are next to the Nagano mountains, a very rugged area. Here we are amid the Rocky Mountains, also a rugged area,” Kondo said.

Shibui

A simple clean pond edge, a clear reflection, careful maintenance, the contributions of garden designers and gardeners since 1978 all add up to the shibui feeling of Sho-fu-en.
(photo by Bill F. Eger)

“This was one of Kawana-san’s last major gardens. It’s very shibui, very quiet.”

Koichi Kawana designed gardens in St. Louis, Missouri; Chicago, Illinois; Memphis Tennessee; Los Angeles and San Diego, California among others. The Hokkaido native who became a U.S. citizen in 1971 died in 1990 at the age of 60.

Koichi Kawana

Garden designer Koichi Kawana
(photo from City of Los Angeles Department of Public Works)

In 1979, the tea house was constructed in Japan “very mountain style,” said Kondo. “Not an ostentatious display; very good size for demonstrating tea ceremony.”

tea house gate

Ebi Kondo holds open the gate to the 1979 tea house at Sho-fu-en.

Built by Kumo Construction Company in Nagano, the tea house was disassembled and shipped to Denver. Company president Mr. Toshitame Hirabayashi and eight co-workers reassembled the teahouse along with the bridge and entry gate in 14 days. The teahouse was donated by the Eleanore Mullen Weckbaugh Foundation.

tea house interior

tea house interior with chairs set up for demonstration audience to the right

When the garden started, more than 130 character pines were moved from nearby Estes Park by the Rocky Mountain Bonsai Club. Permits were obtained from the U.S. Forest Service to collect Ponderosa pines. “Japanese gardens encourage the use of native plants. We have about 50 percent natives in this garden,” Kondo said.

Kataoka and Kawahara select pines

Bob Kataoka and Kai Kawahara inspect pines near Denver for possible inclusion in the garden.
(photo from Rocky Mountain Bonsai Club history)

In 1977, Bob Kataoka, Kai Kawahara, Harold Sasaki, Floyd Sunshine, Bob Krueger, Keith Jepson, Larry Jackel and Malcolm Correll manned the first flatbed truck collecting eight or ten pines that trip. Kai Kawahara, was a gardener at Sho-fu-en from 1980 to 1993. He was one of eight founding members of the earlier Denver Bonsai Club that merged to form RMBC.

Kai Kawahara

Head gardener Kai Kawahara in Sho-fu-en in 1987
(Denver Post photo archive)

As sometimes happens in the history of Japanese gardens in America, there came a period of disinterest, low funding and lack of maintenance. By 2000, the garden was in disrepair. “A garden without maintenance for even one season may take ten seasons to reclaim,” Kondo said.

He undertook the initiative of the garden’s restoration reaching out to Mr. Seki the Consulate General of Japan in Denver and ultimately partnering with Mr. Sadafumi Uchiyama from Portland Japanese Garden.

Sadafumi Uchiyama

Sadafumi Uchiyama at a NAJGA regional meeting in Chicago, September 2011

Sadafumi Uchiyama created a master plan for the development of Sho-fu-en in 2003. Phase one included a minor repair of the Tea Ceremony House/garden path ways and phase two encompassed restoration/ renovation of the existing lake and was completed over the following years.

lantern

Some lanterns are designed for display near water.
(photo by Bill F. Eger)

In 2007 with help from the Hosokawa Grant, Kondo founded Denver Botanic Gardens tea ceremony guild Sho-Fu-Kai. The guild’s mission is to expose the public and garden patrons to Japanese Tea Ceremony and support the Sho-fu-en. A new machiai, rojimon (gate), obote senko design, uchi roji (inner path), and soto roji (outerpath), were added to the tea garden, opening to the public in mid-June this year.

new well

Sadafumi Uchiyama arranged for the new well at the tea garden to be shipped from Portland, Oregon.
(photo by Bill F. Eger)

new gate

humble gatetea garden gate

Now, Sho-fu-en is one of a few signature gardens at Denver Botanic Garden.”We work hard to keep our volunteers happy and enthusiastic,” Kondo said. “We have monthly cultural nights, and regularly scheduled nature hikes and movie nights.

“We need to continue developing and implementing a program, a vision for our garden,” Kondo said. “Otherwise, it is an ornament, not a garden.”

Future programs in development at Sho-fu-en include the Horticultural Therapy Program and Volunteer Docent Program.

Kondo and Uchiyama are among the leadership members of the North American Japanese Garden Association (NAJGA), an organization newly formed for the purpose of networking public Japanese Gardens in North America. Kondo also is a member of the Japan America Society of Denver.

NAJGA holds its Connections conference in Denver this weekend (October 2012) with a full slate of workshops at the Denver Botanic Gardens. Also on the program is the premiere of David Slawson’s new film “Evoking Native Landscape Using Japanese Garden Principles” at the Sheraton Downtown on Friday evening. For further information, contact NAJGA at http://www.najga.org

Please feel free to comment on your experience with Denver Botanic Gardens and Sho-fu-en in the comment box below.

Other exhibits at Denver Botanic Gardens:

In addition to the Japanese garden, there are displays in other parts of the botanic garden grounds.

bonsai show

The bonsai club continues to hold juried shows and sales at Denver Botanic Gardens. This one was held Father’s Day weekend 2012.

Kizuna — West Meets East, a series of site specific bamboo installations by Tetsunori Kawana from Japan and Stephen Talasnik from America, continues through November 4.

bamboo installation

bamboo wave

close up of work by Tetsunori Kawana

Also in mid-June 2012, a bonsai pavilion and courtyard opened as a memorial to the late news writer Bill Hosokawa. It was funding from the Alice and Bill Hosokawa Fellowship that helped Sho-fu-kai, the tea ceremony guild, form in 2008.

Hosokawa bonsai pavilion

the new bonsai pavilion shortly before it opened to the public June 2012

Hosokawa courtyard

The Bill Hosokawa Bonsai Courtyard after a rain storm, Saturday, Oct. 13, 2012.

To view a full size image of any photo, just click on it. Photographs not otherwise credited in this blog are by K.T. Cannon-Eger.

For more information on bonsai history and World War II internment camps, please see
http://www.magiminiland.org/BigPicture/Internment.html

For more information on Denver Botanic Gardens, please visit
http://www.botanicgardens.org/

[updated 8/6/2016 with new website for bonsai history and World War II internment camps]

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Categories: Colorado, Denver | Tags: , , , , , , , , | 2 Comments

1893 garden in Chicago continues to provide respite, tranquility and beauty

[NOTE: The following article was prepared in mid-2012. Since that time, this garden has a new name: “The Garden of the Phoenix.” To learn more about activities planned for the 120th anniversary celebration March 31, 2013 please go to the garden friends’ group’s web site: http://gardenofthephoenix.org/  ]

From the first “Great Exposition” of 1851 in London, more than 90 world’s fairs have been held — most of them in Europe, the United States, Canada and Japan.

Though the themes may have differed, the motives were strikingly similar: “to commemorate a historic event, to educate and entertain, to sell new products, to peer into the future, and, although it’s rare, to turn a profit for the sponsors,” as noted by Norman Bolotin and Christine Laing in their 2002 book The World’s Columbian Exposition: The Chicago World’s Fair of 1893 published by University of Illinois Press.

To this day, we can enjoy remnants of those fairs: The Japanese Tea Garden in San Francisco dates back to an 1854 fair; the Japanese Friendship Garden in San Diego at Balboa Park dates from a tea pavilion at a 1915 fair. The present Osaka Garden had its beginning as Wooded Island in the 1893 World’s Columbia Exposition with additions following the 1933 Chicago World’s Fair: A Century of Progress.

In looking at all the world’s fairs, Bolotin and Laing noted: “when it comes to pure scope, grandeur and far-reaching legacies, the World’s Columbian Exposition of 1893 outshines them all. Twenty-eight million visitors (in six months). Buildings stretching a third of a mile long. The world’s first Ferris Wheel — with cars the size of buses! The first amusement section ever at a fair. Replicas of a full-size battleship and Columbus’ three caravels. Architectural impact reaching into the new century.”

Wooded Island 1893

Looking southeast from the Illinois Building on the 1893 fair grounds, a bridge led to Wooded Island, a peaceful retreat for fairgoers amid 200 buildings constructed for the six-month fair. The present Osaka Garden site is in the wooded area to the left of the Ho-o-den buildings.
photo from The World’s Columbian Exposition: The Chicago World’s Fair of 1893, the White City Artfolio

Wooded Island was at the center and provided respite from the bustle of the fair. On the north end, three buildings were constructed representing Japanese architecture from the 12th, 16th and 18th centuries. They were connected to form the shape of Ho-o, a mythical bird like the phoenix. Some suggest the phoenix was used as an emblem for the City of Chicago, reborn from the great fire of 1871.

To get an idea of where this park is located, take a look at Google maps:

Osaka Garden

The red pin marks an approximate location for Osaka Garden on Wooded Island in Jackson Park on the south side of the Museum of Science and Industry. It is easily reached by bus or car.
(Google Maps)

In a history for the Hyde Park-Kenwood Community Conference Parks Committee, Gary Ossewaarde wrote:

“The 1893 Ho-o-Den consisted of three structures joined by covered walkway to form the shape of the phoenix bird, which it did resemble from ground level). The beams and joinery were part of the beauty and ornament. Inside were artifacts and treasures from three periods of Japanese history-scrolls, vases, decorative screens, writing materials, and musical instruments. A major feature was the lanterns– both the elaborate stone ones and the paper lanterns at ceiling level. The elements and art were designed and crafted in Japan and brought over by steamer and train, along with carpenters, stone workers and gardeners. The construction itself was an activity that drew many visitors. A reporter wrote, ‘They move about serenely as if it were a pleasure to work’.

entry bridge

Another view of the Ho-o-den on Wooded Island at the 1893 Chicago World’s Fair.
(Dream City: A Portfolio of Photographic Views of the World’s Columbian Exposition)

“The Japanese exhibit and pavilion also helped introduce Americans to Japanese culture, religion, arts, and architecture at a time (post-Meiji Restoration) when Japan was especially anxious to show the world its power, modernization, and accomplishments. Frank Lloyd Wright was but one of several architects and artists influenced by the Phoenix Pavilion, but the impact on him was arguably transformational leading not only to prairie houses but large structures such as the Imperial Hotel in Tokyo, and it influenced his decorative arts. It’s not only the exterior look and visible (“unmasked”) structure with form following function, and combination of fine craftsmanship with simple, everyday materials, but also the interconnecting corridors and holistic flow of the “rooms” that influenced Wright and others.”

north end of Osaka Garden

The Palace of Fine Arts for the 1893 World’s Columbian Exposition is now the Museum of Science and Industry.
(photo by Bill F. Eger)

It remains a place of tranquility between the University of Chicago to the west and the Lake Michigan shore to the east, a baseball field, marina and golf course to the south and the Museum of Science and Industry to the north. The Museum of Science and Industry is the last remaining structure on the site of the 1893 fair. Built as the Palace of Fine Arts, it was of more substantial, fire-proof construction to protect the art.

The Ho-o-den was donated by the Japanese government at the close of the 1893 fair with the intention that it remain as a lasting memento. In 1933, for the Century of Progress World’s Fair, Chicago and the government of Japan constructed a traditional tea house on Chicago’s near/mid-south lakefront and also created a garden on Wooded Island’s northeast side and refurbished the Ho-o-den. The garden was designed by issei Taro Otsuka, a garden builder based in the Midwest. After that fair closed, a torii gate, the Nippon Tea House and lanterns from the Century of Progress were moved to Wooded Island in 1935.

The Noh Stage style pavilion will serve as a gathering spot for cultural displays and presentations. It is located on the same spot as the 1933 tea house. The waterfall offers several points from which to view cascading water. A flat rock crossing below the waterfall offers an even closer view.
(photo by Bill F. Eger)

More work on the Japanese garden was done by George Shimoda and built with assistance from Japan. As it does today, the garden consisted of a double pond with islands, a cascading waterfall, stone walkway, flowering cherry trees, iris, lilies, a moon bridge, rock formations and stone lanterns.

The garden and buildings fell prey to public fears during World War II and several fires destroyed the buildings from 1941 to 1946. Gradually, the site became neglected and overgrown.

One rebirth began in 1973 with the formalizing of a Sister City relationship with Osaka, a relationship that went back to the 1950s. Also in 1973, Douglas C. Anderson began leading bird walks “in part to reclaim them for birders and the communities of Hyde Park, Woodlawn and South Shore. Gradually, thanks in good measure to Doug and to picnics/People in the Park events held by the Hyde Park-Kenwood Community Conference and Open Lands, citizens and birders returned, rediscovered Osaka Garden and demanded its restoration,” Ossewaarde wrote.

“Also, by 1974 Jackson Park had been placed on the National Register of Historic Places. During that decade, the Park District added new landscaping, stabilized the shoreline and either restored or reconstructed most of the original features.”

Osaka Garden pond

Pine, bridge and stones — all carefully placed — are reflected in the surface of the pond below the waterfall (behind and to the right of this point of view).

Another rebirth occurred in the 1980s when designer Kaneji Domoto was brought in. He was known for his work designing Japanese gardens at the 1939 world fairs at both Treasure Island in California and in New York. Nissei Domoto (1913-2002) worked at his parents’ Northern California nursery and later was interned at the Granada War Relocation Center during WWII. He studied at Berkeley and with Frank Lloyd Wright at Taliesin and had a 50+ year career as an architect and landscape designer. In 1974, he authored Bonasi and the Japanese garden. In 1983, Domoto received the Frederick Law Olmsted Award for his redesign of the Japanese garden at Jackson Park. George Cooley, formerly a JPAC officer and Hyde Park-Kenwood Community Conference officer, shepherded planning and secured grants including federal funds for the Garden restoration.

The designs of the 1970s and 1980s followed the original paths designed in 1893 to provide a stroll through the wooded area.

Osaka Garden gate

Text of the sign reads: “The Osaka Japanese Garden is a culturally authentic site, designed to create a feeling of peace and tranquility. Please stay on the paths and refrain from activities that will disrupt the special experience for other patrons. Your pets are welcome if they remain leashed and you pick up after them. Thank you for your cooperation.”
(photo by Bill F. Eger)

The next phase was in 1992 and 1993 when the 20th anniversary of the Sister City relationship was celebrated and the Garden was renamed Osaka Japanese Garden (1993). In 1994-95  a new traditional formal gate and fence, were dedicated, funded by the City of Osaka and constructed entirely without nails and by hand using tongue and groove methods. A major historical study and report were produced in 1992.

Yet another rebirth began in 2000 with the direction of Sadafumi Uchiyama in creating a master plan for the garden. Uchiyama is a third generation Japanese gardener from southern Japan, His family’s involvement in the business dates back to the Meiji era (1909). He served as secretary of the International Association of Japanese Gardens from 1996 to 2000 and currently is garden curator of the Portland Japanese Garden and a member of the board of directors of the North American Japanese Garden Association (NAJGA). Uchiyama received his Bachelor’s and Master’s degrees in landscape architecture from the University of Illinois and is licensed in Oregon and California.

Initial work was completed in 2001 with steel retaining walls that line the banks of the pond, 100 tons of new boulders to shore up the edges of the pond and lagoon, and resetting of 120 tons of rock. Uchiyama picked jagged stones to redesign the “behavior of the water” in the waterfall. It flows into the pond at 600 gallons per minute.

Osaka Garden pond detail

Stone from Wisconsin was chosen to augment stone already in the garden.

“In 2008, after a hiatus in reestablishing a maintenance contract, and some less than satisfactory catch up pruning, parties including the City of Osaka Chicago Office, new contractors Clauss Brothers, expert pruning supervisor Bill Koons, CPD supervisor Karen Szyka and Department of Planning and Development took action. Main improvements included repair and cleaning of the torii gate, numerous cherries, replacement of a burr oak blown down in a storm, and most important replacement of the waterfall pump,” Ossewaarde wrote.

“Rededication on October 18, 2008 — the 35th anniversary of the Sister City partnership — included dedication by the Vice Mayor of Osaka and performances of a traditional sit down comedy–Kaishi and two Rakugo.”

Osaka Garden lantern

This lantern may date back to the 1893 fair.
(photo by Bill F. Eger)

“Everyone is aware that some shoring up will still be needed, and such gardens need permanent funding to make the intensive maintenance sustainable– and high level of security. Any permanent oversight group will have to look at which garden template is to be the goal, bearing in mind that a Japanese garden is meant to be changing and evanescent through the seasons and years– a never-ending work of art.

“The Garden’s theme, from 1893 to the present, is peace–between humans and nature, within people, with the spiritual realm, and between peoples. These themes are dear to the people of Osaka, Chicago, and the park’s neighboring communities. Long may this garden continue. As the Osaka Garden Committee of Sister Cities International wrote, ‘A garden develops over time….it is lasting. The same is true of the relationships between people, nations and cultures. Every gardener knows that quiet observation and attention to nature facilitate the success of a garden. Likewise, peace and understanding facilitate our future’.”

Osaka Garden sign

A waterproof box under a sign pointing the way to the entry bridge holds a history of Wooded Island and a guide to trees planted along the entire island’s paths.

On a personal note: This area of Chicago holds many memories for both my husband and me. Bill attended the University of Chicago in the mid-1950s. For me as a youngster living in Michigan, a trip to the Museum of Science and Industry was a really big deal. On this trip we spent the afternoon at the Museum until closing then were met by Osaka Garden docent Sonia Cooke.

It was a true delight to be in her presence wandering from the museum to the bridge leading to the garden and all through every part of this lovely jewel. Her lifetime knowledge of architecture and her current enthusiasm for the garden made our visit most enjoyable. Thank you Sonia. And thank you Robert Karr and William Florida of the Friends of the Japanese Garden for putting us together.

Thank you Gary Ossewaarde for permission to quote from your extensive history. For those who wish more information, please look at http://www.hydepark.org/parks/osaka2.htm#history

Osaka Garden bridge

On the list for repair is this traditional arched bridge.
(photo by Bill F. Eger)

Photos not otherwise credited in this blog are by K.T. Cannon-Eger. To see a full size image, click on any photo. Comments on this and other articles are welcome.

Frank Lloyd Wright and the Chicago World’s Columbian Exposition of 1893

from Frank Lloyd Wright: A Biography by Meryle Secrest, published by The University of Chicago Press in 1992, pages 185-187

“Most writers agree that Wright’s interest in Japanese art probably began with the Chicago World’s Columbian Exposition of 1893, if not before — one recalls that, as a member of [Louis] Sullivan’s office, he would have had detailed knowledge of the advance planning — and, in particular, with one of the most popular exhibits, “The Ho-o-den,” a wooden temple of the Fujiwara Period, which the Japanese government erected on a small plot of ground set in an artificial lake. It was the first real introduction of Japanese art and architecture to the Middle West. In terms of the enormous interest in all things Japanese that had followed Commodore Matthew C. Perry’s trip to Japan in 1845, this discovery must be considered rather late. Bronzes,  lacquers, fans, ceramics, and above all, prints had been flooding to Europe for twenty or thirty years, and artists as disparate as Redon and Steinlen had drawn new inspiration from these exotic and unfamiliar objects, seizing on the lessons they had to teach as a way to revitalize their imagery.

“Architects were just as susceptible and, after the Philadelphia Centennial Exposition of 1876, where Japanese pavilions had been built, and especially after publication of the first English-language book on Japanese architecture in 1886, they focused their attention on this aspect of Japanese culture. For Americans oriented toward the Arts and Crafts Movement, Japan offered ‘the example of an indigenous culture that embodied the organic quality they found in the middle ages,’ as Richard Guy Wilson wrote. He added, ‘Japanese motifs from curved gable ends to nearly wholesale replication of pagodas and torii gates, appeared in Arts and Crafts houses and bungalows from coast to coast.’ One believes Wright’s new interest to have been at least partly connected with the exhaustion White had noticed and remarked upon just before his employer left for Japan [in 1905]. It began the year before, White wrote, when Wright seemed very ‘petered out.’ However, in the last three months it had been impossible to get Wright to give his office any attention at all. In fact, Wright had been confined to bed for several weeks that winter with a case of tonsillitis that had made its way around the family. He returned from Japan in May sounding more like his old self. … His interest was entirely genuine and his visit would have a lasting influence.

“Several writers claim to see a more or less direct connection between the Japanese temple that Wright saw at the World’s Columbian Exposition of 1893 and some of his own buildings. Vincent Scully demonstrated that the treatment of exteriors in the Willits house resembled those of the Ho-o-den, and Wright’s use of light-colored stucco panels edged with bands of darker wood seemed to suggest Japanese models as well.  Scully published copies of the two floor plans to support his assertion that the house Wright designed for Willits was modeled almost exactly on that of the Japanese shrine. Another authority on Wright believed he had been most influenced by the Japanese print, and he had certainly begun to collect ukiyo-e (pictures of the floating world) sometime before his first visit to Japan, because photographs of his interiors showed such prints prominently displayed. He returned from Japan with over two hundred woodcuts by Hiroshige, considered the artist to have had the greatest influence on the West, and lent them to the Art Institute of Chicago a year later for the first ukiyo-e exhibition to be held in that museum. He bought them as investments, making no bones about being a dealer, and was so successful that he had a sizable collection of Japanese prints on hand all his life, to be cashed in when necessary, and some famous collectors as clients. But he was also passionately interested in the subject, almost obsessed, and would talk endlessly about the exquisite qualities of these prints, their serenity, simplicity, sense of the natural world and reduction to essentials. While on that first trip he wore native robes and took extended trips into the interior to collect his prints and porcelains. All of this indicates that the feelings aroused by Japanese art were wholehearted, yet there is a suggestion that, at some level, Wright was made acutely uncomfortable by that most conformist, ordered and rigidly circumscribed culture that he apparently admired for its spirituality.”

Wright returned to Japan for many months during the years 1916 to 1922 building not only the Imperial Hotel in Tokyo but also residences such as that for Aisaku Hayashi in 1917.

Categories: Chicago, Illinois | Tags: , , , , , , , , | 2 Comments

Another glimpse of things to come…

While computers are getting back to normal, we continue our journey on the west coast in the San Francisco Bay area — our last stop before heading home to Hawaii.

Recently we posted a photo from each of several places as yet unaccompanied by a longer article. Those places included San Antonio, Austin, Fort Worth and Dallas in Texas, and St. Louis in Missouri.

Here a few more images — a glimpse of things to come — from Rockford, Glencoe and Chicago, Illinois.

Images from Denver and Grand Junction, Colorado, and Berkeley, Oakland and San Francisco, California, remain for another post.

Unless otherwise credited, photographs in this blog are by K.T. Cannon-Eger. You may see a full size image by clicking on any one of the photos.

a detail from one of my favorite pathways — this one is outside the guesthouse at the Anderson Japanese garden in Rockford, Illinois

Designed by Hoichi Kurisu, the garden at Rosecrance in Rockford, IL, offers adolescents in recovery many places to connect with their natural surroundings, to meditate, to write in their journals and to reconnect to the lives that await them beyond the garden.

a classic design ornaments a water basin outside the retreat house (shoin) at Sansho-en in the Elizabeth Hubert Malott Japanese Garden at Chicago Botanic Garden in Glencoe, IL

Osaka Garden on the Wooded Island in Jackson Park, Chicago, IL, has a long history reaching back to the Japanese exhibit at the World’s Columbian Exposition (The Chicago World’s Fair of 1893). The garden was recently refurbished under the direction of Sadafumi Uchiyama.

More than 20 years ago, the Hotel Nikko opened along the river in Chicago, IL, with a Japanese garden designed by David Engle. The garden has been totally redone under Westin management. A few suggestions of a Japanese garden remain, but it is not what it once was.

Categories: Chicago, Glencoe, Illinois, Rockford | Tags: , , | Leave a comment

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