PHOTOGRAPHIC DIARY Winter lights in the gardens of the Reggia di Venaria Text e photographs by Cristina Archinto W ent to the Reggia di Venaria to see the John Constable exhibition, I found myself with my nose pressed against a window entranced by the beauty of its winter gardens. The absence of sun due to a blanket of gray-white clouds increased its charm. I often repeat that I feel more like a photographer of light than of gardens but in front of so many geometries I confess that I found myself back in time, to my first great passion: architectural photography. Determined not to miss this opportunity, I find myself in the park, two months after having already done a photo shoot, this time accompanied only by the Leica camera but certainly sufficient for the occasion, and above all with no work obligations. Present at the situation only a very cold and no soul. Perfect. ​ Inaugurated in 2007, the Venaria Gardens are a good combination of a recovered geometric 17th-18th century past and an artistic present with works of art by Giuseppe Penone and Giovanni Anselmo harmoniously inserted into its landscape. The entire city complex of Venaria develops in length, and the garden follows its course with the very long Allea Centrale which goes from the fountain of Hercules to the temple of Diana creating a single axis as a whole. Along the side of the Citroniera and the Galleria Grande is the Grand Parterre with tones of grandeur given by the proportions, full of cylindrical yews, citrus pots and real rooms with walls, groves and vegetable vaults along the perimeter with many flowers, mostly of the year. In the eighteenth century it was a representative area, where strolling with an umbrella while gossiping was a must. Unfortunately, over time it has also been a place where nature has been replaced by soldiers from everywhere, during various wars. There are also various gardens, such as rose gardens, flower gardens and Potager Royal gardens with vegetables and orchards, but they are certainly not an attraction in this season. Photo notes In the Venaria gardens anyone who loves to observe is certainly fascinated by the beauty of the almost completely bare hornbeam avenues which, instead of hiding, only veil the Great Palace or the branched structures of the majestic trees along the avenues and next to the Peschiera pool which are reflected on the slightly frozen. Even the birches with their white branches and a very few brown leaves blend in the light of the landscape as if they were Japanese silks. The long perspective avenues cut the photographic frame in two, the pyramid box trees and the hedges trimmed in steps or semicircles impose themselves on the image as abstract art. Works too from the rigid forms of Pennone they underline the geometric aspect of the landscape. Perhaps at first glance it seems easy to photograph these gardens, mainly thanks to the geometries that easily tell the space, you have to be careful because the rigor of the axes must be absolute, even a slightly inclined photo would be a distraction for the eyes. Furthermore, using the central focal point there are no difficulties, otherwise if you want to vary it, you have to be careful of the balance of the shot which, if distorted, risks breaking the harmony of the photograph, making it unpleasant. The colors of winter and with light uniform tend to maintain similar and soft shades ranging from beige to green. In this case we wanted to give a strong contrast with red or yellow peaks due to the branches of the white cornelian salts present in the garden. The uniform light of the day is the reason for the total absence of shadows, fact that in more natural contexts would create a lot of discomfort, in this case it proves successful not only because it can easily be photographed from any side but also because the geometric shapes are not deformed by the dark of their shadows. Experimenting photographically with these gardens and in these conditions is magical, I recommend it to everyone, whether they are gardens or even a landscape in the plains, in winter or with a uniformly colored sky. A great master was Luigi Ghirri who, for those who by chance do not know yet, I strongly recommend going to Parma until February 26 to see his exhibitionVision labyrinths. Luigi Ghirri 1991 . Go there and find out. Or go to the Reggia di Venaria, you will certainly find very stimulating panoramic points in other seasons as well. The important thing is first of all to observe, observe and observe again, then elaborate the shot and finally take a picture that is truly yours. ​ GALLERY Photo ©CRISTINA ARCHINTO Link Palace of Venaria Other GARDENS and PARKS Giardini Botanici di Villa Taranto Giardini Botanici di Villa Taranto I giardini di Villa Melzi I giardini di Villa Melzi Parco giardini di Sicurtà Parco giardini di Sicurtà Gairdino di Villa Lante Villa Lante parco del Flauto Magico Parco Flauto Magico Bomarzo Parco Villa la Grange Labirinto della Masone

PALM TREES IN LIGURIA The approximately 2,800 varieties of palm trees that make up the family of the Arecaceae first appeared over 70 million years ago and rapidly spread across all continents. Their preferred habitats are the tropical or subtropical environments, but easily adapt to cooler climates. In Italy the Chamaerops humilis , or dwarf palm, and the rustic Phoenix dactylifera are considered endemic species, spreading rapidly across the Italian seaside towns such as Bordighera, thanks to their innate ability to contrast strong winds and withstand salt and sand. According to legend, Ampelio, the patron saint of Bordighera, was the first to import these precious dates. The craft of weaving palm leaves for religious festivals, along with rituals of fertility and rebirth, links the vast symbolism associated with palm trees and is no stranger to ancestral practices for their domestication aimed at ensuring the bearing of fruits. According to some philologists, the word palm derives from “Pan”. In Sanskrit, it means hand and can also be identified by the typical shape of its leaves. In Latin it became “Palm”, used for both the flat of the hand, and as a unit of measurement. Hence the expressions "palm of victory" or "in the palm of your hand", to indicate the honour paid to the victorious. For others, it originates from the Semitic root “Pal”, thus the toponym Palmyra, the legendary Syrian city and stopping place for caravan trade routes. Likewise it can be an echo of the Phoenician term used by the Ancient Greeks to refer to both the tree and the colour purple, but also to the phoenix bird, rising from its ashes. Lastly, it is associated to the Phoenicians, the people whom the Ancient Egyptians placed along the shores of the Persian Gulf. It is here that we find the oases where the palm trees and dates originated. Palm leaves welcomed the triumphal entrance of Jesus in Jerusalem, symbolizing triumph, justice and peace. In liturgical ceremonies, the palm leaves blend and are replace by olive branches, in a way similar to the customs and traditions of peasant farmers on opposite shores of the Mediterranean Sea, which also merged and hybridized. Alessandra Valentinelli Palm trees in Liguria Photo ©CRISTINA ARCHINTO MORE ENVIRONMENT AND BOTANY Vie cave opuntia fiorita Opuntia Alberi Caño Cristales Palmeti Palmeti Caldara di Manziana Terra scoscesa Tevere

LIGURIA The Magic Flute Park in Santa Margherita Ligure by Carla De Agostini The Magic Flute Park in Santa Margherita Ligure is a playground for children inside Villa Carmagnola. It was conceived and realized in 1998 from the imagination of Emanuele Luzzati, in collaboration with the students of the scenography workshop of the Teatro Della Tosse, on the notes of The Magic Flute, the last theatrical composition by Mozart. The paths, the equipment and the objects allow the children to become part of the adventures of Tamino, the brave and somewhat "harlequin-like" prince, the protagonist of the opera who, helped by the faithful Papageno, fights the forces of evil to free the beloved princess Pamina, daughter of the Queen of the Night in ancient Egypt. On the one hand, the work of the Magic Flute can be retraced on the 23-meter-long surrounding wall, which, with paintings on ceramic tiles, tells the story to everyone. On the other amazing silhouettes and sculptures of the characters, now restored, help the children's creativity to invent their own adventures, jumping from one side to the other, immersed in the green and in their own dreams. Closed for a long time, the Park has reopened in 2021, to the happiness of young and old, thanks to the valuable teamwork between different realities, from the municipal administration to the various local cultural associations and not for years recognize the historical, public and social value. Emanuele Luzzati was born in Genoa in 1921 and died there in 2007. Capable of an essential and never predictable style, Luzzati will speak of himself as a capable craftsman, fascinated by all applied arts that comes to their realization in an eclectic and often self-taught way. In the interviews he will tell with simplicity that his way of understanding the work is a work under the sign of a lightness free from aesthetic codes. She spent her childhood in Genoa, but with the racial laws of 1938 she fled to Switzerland, where she came into contact with a reality that she would define as "truer", that of the Jewish world of Eastern Europe of which she would often remember the fruitful cultural exchange between people of very different origins, and in Lausanne he graduated from the Ecole des Beaux Arts. In his career he has created more than four hundred sets for prose, opera and dance in major Italian and foreign theaters, and has been defined as a painter, decorator, illustrator, set designer, ceramist, costume designer, film director and designer. In 1963 for The Magic Flute Luzzati will have a flash of genius that will revolutionize the concept of set design for opera and will consecrate him to the international world: the periatti, large rotating prisms consisting of painted panels with inside a person who moves them in time to the music, which create a fairy-tale atmosphere with dynamic background. In 1966 with the director Giancarlo Giannini receive the first Oscar nomination for the category of animated short film La Gazza ladra (1964), a second nomination will come with Pulcinella. The municipality of Genoa, with the Accademia Artigiana della Fantasia, celebrates him by opening at Palazzo Ducale Casa Luzzati, a place of exhibitions entirely dedicated to his figure, opening in March 2022 with "Luzzati. Posters and Editorial Graphics 1947 - 2007". In addition, the Lele Luzzati Foundation is born, welcoming the donation of works by the Luzzati Family of Israel. GALLERY Photo ©CRISTINA ARCHINTO LINK S TREE WATCHING Web more gardens and parks Giardino di Valeria Villa Ortensia Etna Botanic garden Parco del Paterno del Toscano Labirinto della Masone Villa d'Este Giardino di Kenroku-en Giardino dell'impossibile

SICILY Victoria amazonica Victoria Marvel of Nature and source of constant discovery. Photographs of Cristina Archinto Text by Cristina Archinto and Carla De Agostini T he Victoria is one of those plants that has always fascinated mankind since its discovery in the western world in the early 1800s; these enormous leaves float despite their size and weight. This is due to a special latticework that traps air in the lower face of the leaf, creating cushions that allow the leaf to support not only its own weight but also that of a child, as evidenced by the first photograph, of a long series, taken in 1932 in Kew Gardens. The photo taken in 1932 in Kew Gardens Victoria is a Nymphaeaceae and it has only recently been discovered that there are not just two but three species; Victoria Amazonica , V. Cruziana and the latest addition the V. Boliviana . At one time it was thought that the latter was just a variety but thanks to the work of Kew Gardens botanist and researcher Carlos Magdalena , it has been discovered that the latter is a true new species. The main differences are a different distribution of spines, seeds and it only lives in the wild in one of the largest wetlands in the world, the Llanos de Moxos in the Beni province of Bolivia. Carlos Magdalena always had the suspicion, so back in 2016 he asked the Botanical Garden of Santa Cruz in Bolivia to send him seeds and after years of studies, comparisons and genetic analysis he came to these conclusions. This discovery was also endorsed by the work of illustrator Lucy Smith , a Kew Gardens collaborator, who was commissioned to make scientific drawings of the alleged new species and then compare them with those in the Kew Gardens archives by artist Walter Hood Fitch , who in 1845 illustrated a specimen whose seed arrived from Bolivia. The whole thing was then revealed to the world with the publication in July this year, 2022, in the Journal Frontiers in Plant Science . A direct comparison like this has never been done before because the specimens come from three different parts of the world and it is very rare to be able to keep the three different Victoria species in the same botanical garden because the space they occupy is so large. Victoria cruziana , Meise Botanical Garden in Belgium The history of the 'discovery' of the Victoria is full of protagonists around the world and began in 1801 when the Bohemian botanist and naturalist Tadeáš Haenke , sent to Bolivia by the Spanish government to study the local flora, is said to have first seen the Victoria on the Mamore' River, one of the tributaries of the Amazon, but unfortunately died without being able to record his discovery. Then it was the turn of Aime Bonpland who saw the plant in Argentina in 1819 and in 1825 sent the seeds and a full description to France. Victoria amazonica in the 'Victoria haus' greenhouse in Berlin In 1832 it was the turn of Eduard Poeppig who found it in the Amazon but assuming that it belonged to the same genus as the Asiatic Euryale ferox gave it the name Euryale amazonica . Alcide d'Orbigny saw the plant at Corrientes in Argentina and the German botanist Robert Schomburgk found Victoria on the Berbice River in British Guiana and sent specimens and figures to Europe in 1836. It was from these specimens that the English botanist and horticulturist John Lindley established the genus Victoria in 1837 and described the species regia in honour of Queen Victoria. Victoria boliviana at Kew Gardens @E. Johnston As far as cultivation was concerned, it was Robert Schomburgk who first attempted to cultivate Victoria , trying to transplant it from lakes and streams in Georgetown, British Guiana, but the plants died. In 1846 it was Thomas Bridges who sent seeds packed in a jar of moist clay to England. Of the 25 received at Kew Gardens, three germinated and grew well as seedlings until winter, when unfortunately they too died. Eventually, after further attempts, it was two English doctors, Rodie and Luckie , who sent seeds in a fresh water bottle to Kew in February 1849. The first plant flowered on 8 November 1849 in a specially constructed greenhouse on the Duke of Devonshire's estate in Chatsworth and it was then that one of the first flowers was cut and given to Queen Victoria. The profile of an Victoria Amazonica At that time the Duke of Devonshire's head gardener was Joseph Paxton and it was the morphology of this unique water lily that inspired him to create the Crystal Palace greenhouse at Kew in London to host the first World's Fair in 1851, made of iron and glass. The idea starts from the strength of the leaf, whose ribs on the lower face, organised like a system of buttresses, can support up to 45 kg of weight when evenly distributed. The rigid radially symmetrical centric leaves covered with strong thorns underneath, so as not to be eaten by fish, are reinforced by several concentric and flexible ribs distributed in opposite directions, a morphological feature that recurs in the construction solution of the Crystal Palace. For this and other achievements, Paxton received a knighthood from His Majesty. Crystal Palace of 1851 made of iron and glass But the fascination of the Victorias does not stop there; their enormous flowers can reach up to 30 cm in diameter, and they only bloom for one day and two nights. On the first evening, at dusk, a large, thorn-covered bud opens and a white flower appears which, thanks to a thermodynamic reaction, raises its internal temperature 11 degrees above the ambient temperature. This released heat and a pineapple-like scent attract beetles, which at dawn, when the flower closes, become trapped in it. But as the Victoria is not a carnivorous plant, they do not die, but rather spend the day there feeding on the starch-rich floral appendages. On the second night the flower changes colour, taking on shades of pink or red, and at dusk releases the insects, which, soaked in pollen, go on to fertilise another flower. At dawn on the second day, the flower withers, closes and dips, and it is there that the fruit ripens. Flowers of a Victoria amazonica and Victoria cruziana In Kew Gardens today, pollination is done manually in the summer and the harvesting of the seeds in the autumn. A constant temperature of 15° prevents seed death or premature germination. Today, a process called nicking the seeds is used to help them germinate earlier, which happens after ten days. The sprouted seeds are initially placed in a small pot in water, and gradually moved to larger pots and finally placed in a large one with clay soil as a substrate. Seedlings need a temperature of no less than around 31° while adult plants grow between 26° and 31°. As the plant needs light, auxiliary horticultural bulbs are used for about 12 hours in winter, which is why in nature the giant water lily dies in autumn due to the lack of light. Euphorbia tirucalli The Victoria in its natural habitat has a very special tenant the Trotter lily or Jacana , a bird with very long legs, fingers and claws that runs from Victoria to Victoria and feeds on the insects on and under the leaves, which it deftly turns over with its, also, long beak. It also nests on the leaf, laying eggs as shiny as the waxy layer that covers it, camouflaging them perfectly. Today, although the plant is not threatened with extinction, ongoing climate change in the Amazon basin and the relentless destruction of the Amazon rainforest may pose a future threat to this wonder of nature, a source of continuous new discoveries. Victoria 'Trickeri' variety of Victoria Cruiziana at the Chicago Botanical Garden GALLERY Photo ©CRISTINA ARCHINTO More botanic gardens and nurseries Papaveri e api Vie cave Alberi Caño Cristales Palmeti Palmeti Caldara di Manziana Terra scoscesa Tevere

BOTANY POPPIES AND BEES Why don't bees pollinate red flowers except poppies? By CARLA DE AGOSTINI T he history of evolution is a history of relationships between species, as well as between species and the environment. When we smell a flower, for example, we actually hear a message addressed to the insects, a call to warn them that there is nectar waiting for them in exchange for transporting pollen. And the same goes for the choice of colours. Flowers as we know them are relatively recent. Angiosperms, i.e. plants that have flowers and fruit from seed, appeared between 135 and 140 million years ago and were not so colourful to begin with: fossils suggest that they were simple, dull-looking structures without much pigment, pale yellow or green at most. Today, with the exception of ferns, conifers, cycads and mosses, the majority of plant communities belong to the Angiosperms. Slowly, with the appearance of flowers, we also see the emergence of today's bright colours, an increasingly sophisticated mechanism to encourage pollination not only by wind or water but also by attracting insects. Many flowers have thus evolved to adapt to the needs and abilities of bees. Bees are responsible for 80% of pollination, without which there would be no apples, blueberries, cherries, avocados, cucumbers, almonds, onions, grapefruits, oranges, pumpkins and more. And it is to attract bees that the bright colour of the petals has become an important adaptation variable. The poppy has developed some of the most fascinating and unexpected strategies because bees don't perceive the bright red colour visible to the human eye but are attracted to the ultraviolet. Humans perceive colour through the pigment of the object and the part of the light it reflects. In bees, on the other hand, the field of vision is a mosaic of cones that enable them to recognise a different range of colours, help the insect to stay balanced during flight and identify each flower around it precisely, even at high speeds. The red hue is not perceptible to the bee's eye, and research has shown that it only distinguishes four colours: yellow (orange, yellowish green), bluish green, blue and ultraviolet. Therefore, flowers that are bright red to our eyes, such as the red violet or Chinese carnations, are not fertilised by bees, but by daytime butterflies. On the other hand, flowers such as heather, rhododendron, cyclamen or clover have a purple hue that bees perceive as a blue colour, or a white colour perceived as bluish green. The poppy, however, is one of the few red flowers that most attracts bees. This is because the pigmented cells in its petals are arranged in such a way as to create air-filled spaces where the light is dispersed, allowing UV rays to be reflected and the ultraviolet range to be perceived by the bee, which then settles on it and fertilises it. And it is from the Sicilian, and in part Sardinian, shovels that the prickly pear arrives and invades Eritrea, planted both by 19th century Italian missionaries and by migrants of the first Italian colonization. Here, the beles, the name in Eritrean, are not only the fruit but also the nickname jokingly given by peers from the Horn of Africa to second-generation Eritreans living in Italy, because they arrive with the same punctuality as the fruit: in the summer rainy season, and then leave again. Today, Opuntia ficus-indica is used for a wide variety of products, both for its high nutritional value, rich in minerals, especially calcium, phosphorus and vitamin C, and for its mucilage, the substance that allows the plant to have water reserves. Thanks to this, the prickly pear has become a major player in eco-sustainable innovations. For example, a Mexican professor of chemical engineering, Sandra Pascoe Ortiz, has patented a plastic and biodegradable material: by mixing prickly pear juice with glycerin, proteins and natural waxes, she has obtained a liquid which, after being laminated and dried, becomes a completely non-toxic, biodegradable and edible bioplastic. In Italy, too, alternative uses of prickly pears are proliferating. For example, a glue for fresco restoration work has been experimented with using mucilage, and a textile industry has obtained cruelty-free eco-leather from its waste. But that's not all, there are also sunglasses made from their fibers, furniture and sculptural lamps made from the waste from shovels that are entirely biodegradable at the end of their life! GALLERY Photo ©CRISTINA ARCHINTO MORE ENVIRONMENT AND BOTANY Vie cave opuntia fiorita Opuntia Tree Caño Cristales Palmeti Palm trees Caldara di Manziana Steep land Tiber

GENEVA THE PACE GARDEN Photo © CRISTINA ARCHINTO S trolling around Geneva, in the Petit Saconnex area, you may come across the Jardin de la Paix a small garden but definitely living up to its name. Opened to the public in 2003, it is dedicated to the victims of the attack in August of that year that shook the UN in Baghdad, including Sergio Vieira de Mello, a Brazilian UN international official. In the centre is a small lawn and bordered on both the north and south sides by neat flowerbeds with different varieties of flowers such as Kniphofia, Hemerocallis, Crocosmias, Rudbeckia, Impatiens , roses and graminaceous plants. To the east side, on the other hand, there is a vine pergola reminiscent of the awnings of yesteryear and housing a few benches that allow one to take advantage of the coolness, especially in this season. On the opposite side one can enjoy a small stretch of water, often frequented by frogs, fish and herons and covered with water lilies. The reflections in the water, the little bridge and the flora are as impressionist-inspired as the colours of the various flowers, which fade from cooler near the water area to warmer as you approach the sunny walls opposite. The small greenhouse is pretty, with some succulent plants at the entrance and more tropical plants in the central part. Needless to say, the garden is well maintained and is a little gem where calm and beauty reign. Photo ©CRISTINA ARCHINTO Other GARDENS and PARKS Villa Pergola Villa Pergola Villa Melzi Villa Melzi Parco Sigurtà Parco Sigurtà Parco Flauto Magico Parco Flauto Magico Villa Lante Villa Lante Bomarzo Parco Villa la Grange Labirinto della Masone

Shop on line Libreria Oolp Terrimago edition BOOK ON SALE EUROPEAN BOTANICAL GARDEN A Journey through History, Science and Nature by Cristina Archinto Born from the modern need to classify, to understand and expand the knowledge of nature, the first botanical gardens were cultivated by Italian universities: first came Padua in 1545, then Florence, Pisa and Bologna followed suit in 1568 with a prime interest to study and the growth of medicinal plants. With the discovery of the New World, these botanical gardens became half “Horto dei semplici” and half “wonders of the world” gardens; places where one could observe, study and acclimatize all the new species that had been collected and discovered. Since the 1600s all the Royal Houses sought the prestige of having their own private collections, and whilst on the streets of London, Paris or Madrid, botanists and explorers converged and conversed, it was Amsterdam that in 1638 sealed the deal of “The Golden Age” trading with the most distant lands of the Far East. From that moment on, all the botanical gardens were enriched with marvellous greenhouses, particular water gardens and hanging terraces. Now monumental historical plants celebrate together the journey of past discoveries, and of modern scientific speculations in magnificent sites. If today Kew Gardens concentrates the largest collection, with 95% of known Genera, each botanical garden has its masterpieces, and works towards the conservation of our botanical heritage: seeds or specimens, that allow one to experiment with the most diverse latitudes, with specific temperature and light conditions, and also to examine the characteristic flowering and resting periods, and to protect rare or endangered species, which is of fundamental interest for biodiversity. This book is a visual and inspirational journey through the most relevant and fascinating Botanical Gardens in Europe. Each chapter will include a short introduction and the many photographs will guide the reader where botanical beauty intertwines with history and science to create magical and enchanting places. ​ INTRODUCTION Anyone venturing into a botanical garden is amazed by the countless colours, scents, shapes and forms of the plant kingdom. This book tells the story of a passion that drove men towards uncharted lands, exploring the frontiers of knowledge. It tells of how science was developed by understanding the laws of nature, and the methods used to share its discoveries. Cristina Archinto, through her work as a photographer, takes us on a journey through different European Gardens in search of the deep bond that unites people to Earth, and makes the environment a heritage to be preserved and looked after. How were vegetable gardens born? Who were the real protagonists? And what events marked their progress? Renaissance herbalists, who were also known as the "Semplici" collected medicinal herbs. Explorers hunted for plants in the New World and enlightened naturalists studied herbs in the surrounding meadows. Botany has seen many alternating schools of thought and clashing rivalries. And yet, botanical gardens were the keepers of a knowledge that broadened horizons and promoted free exchange; enriched by contributions from vast communities in which we are now able to investigate the ecosystems. It is because of the Gardens, that we have the tools to reproduce and preserve, the methods to classify, compare and disseminate knowledge. These gardens built structures to house exotic species, and devised biotopes to protect endemic and threatened species. ​ Table of contents Introduction The Botanical Garden of Padua - Gardens: The Beginning Hortus Botanicus of Amsterdam - The Golden Age of Exotic Species Jardin des Plantes - The Botanical Revolution Royal Botanical Garden of Madrid - Discovering the New World Botanical Gardens of Rome - The Beauty of a Spontaneous Flora Kew Gardens - The Masterpiece of English Greenhouses Botanic Garden and Botanical Museum Berlin - The Legacy of Linnaeus The Hanbury Gardens - The Grand Tour Gardens Brussels - Meise Botanic Garden - Vegetable Gardens and Nurseries Botanical Garden of Dublin - The Green Road, Nature Between Past and Future ​ Title: EUROPEA BOTANICAL GARDENS A Journey through History, Science and Nature Autor: Cristina Archinto Text: Alessandra Valentinelli Photographs: Cristina Archinto Transalation: Stefania Bellingardi Beale Text: Italian and English Size 24 x 23 cm 110 photographs 144 pages Soft cover Cost 26.00€ Isbn: 979-12-200-6912-0 ​ ​ Shop on line: Libreria Oolp Terrimago edition ​ REVIEWS Giardini in viaggio Viride blog

SWITZERLAND ZURICH BOTANICAL GARDEN AND THE MADAGASCAR'S GREENHOUSE By CARLA DE AGOSTINI Zurich's botanical areas are divided into two parts: on the one hand, the botanical garden and, on the other, the vast Madagascan greenhouse at the zoo. The former is situated on a hillock not far from the city centre and does not lose its charm even in winter. Established in the 1970s and initially private, the Zurich Botanical Garden is now part of the Department of Natural Sciences at the University of Zurich. The garden has three glasshouses that can be visited in half spheres with different climatic zones: the tropical mountain forest, the tropical dry wind area with a showcase dedicated to carnivorous plants and the tropical lowland rainforest, where the humidity is 90% and the temperature is around 26 °C in both summer and winter. The greenhouses, designed by Hans and Annemarie Hubacher, Peter Issler and Hansulrich Maurer, were completed in 1976 but have been renovated several times in Plexiglas because, over time, they had lost much of their transparency, creating harmful effects on plant growth. The main entrance is from Zollikerstrasse, and as you climb the stairs you can already admire the attention and care characteristic of the Mixed Border: a style developed in England at the end of the 19th century, which allows plants to be enhanced during every season. Annual flowers, perennials and small shrubs are selected so that something is always in bloom. In spring the geophytes stand out, and in winter there are grasses with faded inflorescences, which get covered in frost and are a very special attraction. The aim is a didactic one and the interest is to highlight planting as a harmonious and natural process. At Zurich Zoo , around 4,000 animals of 380 different species, with the oldest inhabitant being a giant Galapagos tortoise over 70 years old, are joined by more than 5.5 hectares of greenery with over a million species of plants from all over the world. The Madagascan greenhouse is 30 metres high and is made of EFTE "bladders" mounted on a metal structure, a material that simulates sunlight, insulates and allows the over 11,000 square metres of surface area to be covered in a light manner. Thanks to these cutting-edge, light-sensitive, highly insulating materials, since June 2003 it has been possible to immerse oneself in a dense tropical forest, populated by more than 20,000 plants and 45 species of tropical vertebrates, including animals left in the wild, such as lemurs. Here you can experience the Masoala forest, with temperatures ranging from 20° to 30° C and its very high humidity, with an average rainfall of 6 mm per day. This tropical rainfall is achieved through an interesting system of reusing rainwater, which allows an equivalent irrigation of 80,000 litres of water per day. The coexistence of fauna and flora is designed to help preserve the biodiversity of Madagascar's ecosystems. Through the Masoala project, the Zurich Zoo has decided to support the Malagasy government in the conservation and protection of one of the world's most endangered areas. Despite the fact that Madagascar represents only 1% of the earth's surface, it is one of the richest areas in terms of biodiversity, home to around 3% of the planet's animal and plant species. Unfortunately, at least 70% of the primary plant cover has been lost. Flora and fauna can also be appreciated from above, where aquatic plants, ferns, lianas, bamboo and animals can be admired. This focus is in line with one of the main tasks assumed by the garden for the 21st century: to promote and strengthen the relationship between vegetation and mankind, seeking to convey and enhance the increasingly evident interconnection between plants, the environment and health. GALLERY Photo ©CRISTINA ARCHINTO Info: Official website more botanical gardens and nurseries Giardino Botanico Nuova Gussonea Orto Botanico di Catania Orto Botanico di Ginevra Centro Botanico Moutan Orto Botanico di Palermo Roseto di Roma Chicago Batanical Garden Parco Botanico Villa Rocca

Terrimago edition ​ Terrimago edition creates detailed and refined photographic books, translated into multiple languages and enhanced by the work of expert typographers. Their aim is to highlight the different aspects of the botanical universe and enhance the most typical characteristics of natural environments. Terrimago edition also delivers its publications to specialized bookstores and organizes book presentations during botanical-related events. Furthermore, Terrimago edition develops co-production publications. After choosing interesting titles and themes, Terrimago edition reaches out to some of the most fascinating botanical environments, selected for their distinct qualities, and offers them the opportunity to collaborate in the creation of a specific publication. Terrimago edition takes care of all the necessary processes for the complete realization of a photographic book, starting from the attention and care given to the photographic shoots and throughout the editing, the printing and the distribution phases. Promotion is essential to the enhancement of a natural setting and to let each environment grow outside its natural borders. It is with this knowledge that Terrimago edition creates co-producted publications. They represent a unique opportunity for everyone to promote their gardens and botanical environments in the most advantageous way possible. ​ Last works of Terrimago edition

USA CHICAGO BOTANIC GARDEN Strolling through the Chicago Botanic Garden opens the gate to a brief Zen experience. This is so not only because of its dreamy and renowned Japanese garden to which I will refer hereafter, but because it is kept in a truly flawless state, to the point where one has to wonder if he is experiencing a new planet. No crumpled leaf, loose branch or arid flower is present to ruin the experience of the million visitors who wander through the garden undisturbed. Even in the vegetable area known for its propensity to untameness reigns the most geometrical order. The credit has to be undoubtedly appointed to the multitude of gardeners who commit to it every day, but the true capability behind the Chicago Botanic Garden lies in the 1300 volunteer. Equipped of gloves and small utensils these garden volunteers take care of the plants, earth or garden. You may see them in diverse arrays, employed in a multitude of tasks to which they commit with devotion and affection for the garden’s sake. If one cares to look attentively, one may notice that they are there not only for the wellbeing of the garden but primarily for their own creating a view that prompts oneself to kneel down and steal their job. I wonder why here we are not capable of organizing such a thing, many could gain from it. The garden itself can be praised for incomparable data, opened to the public only forty years ago it actively possesses 13.989 trees, 879.087 bulbs, 1.428.719 everlasting plants, 28.032 aquatic plants and 65.987 shrubs in nearly 156 hectares which are themselves subdivided in 27 different gardens and 4 raw areas. It also occupies 32 hectares of water channels between lakes and canals that encircle 9 islands and 255 species between sighted birds.Certainly one of the gardens most astounding areas is the Japanese garden, uncomparable in its varsity, it extends over almost 7 hectares of land. The latter is subdivided in three islands of which only one open to the public. The third, located in the center of the lake, is inaccessible and symbolizes a visible paradise which can never be reached. Meandering in this area one is submerged by irises, rododendrs and plumb trees but the presence of pine-bonsai can also be strongly perceived. These trees, symbolic for longevity in Japanese culture, are trimmed and cared for with uncomparable capability and are uncommonly planted in raw earth. However even the in-vase bonsai collection accommodates more than 200 samples exhibited illustriously in the Regenstein Center courtyard.The Chicago Botanic Garden has more than 50.000 members; individuals of all ages, interests and abilities who participate to programs of all sorts, taking lessons or walking through the park for free the whole year round. Furthermore the garden’s ‘Library of Lenhardt’ holds 110.000 volumes, of which one of the best national collections of rare botanical volumes. In conclusion this botanical garden is truly worth the while, not only for the botanical and scientific research areas, but mainly for its sociological approach to the experience. Its immaculate organization succeeds, capably engaging a vast sphere of diverse individuals, in creating a beautiful reality. Photo ©CRISTINA ARCHINTO Info: www.chicagobotanic.org more botanical gardens and nurseries Orto Botanico di Ginevra Orto Botanico di Ginevra Centro Botanico Moutan Orto Botanico di Palermo Giardino Esotico Pallanca Parco Botanico Villa Rocca Water Nursery Giardino Botanico di Hanbury