Christian Garden, Berlin-Marzahn Gardens of the world

Gardens are emblematic spaces with diverse connotations. Gardens are readable - and therefore also writable. The written garden deals with this relationship between the semiotic tradition of landscape architecture and the reception performance of the garden user.
The starting point for these considerations was the planning of a 'Christian Garden' in the context of the 'Gardens of the World', which refers to the Christian cultural sphere as a multi-layered source of garden understanding. In the concept, this topos is conceived as a form permeated by allegories, developed from the organizing principle of the cloister. This architectural motif is resolved into interlocking levels, a grove frame, an orthogonal path system and a walkway of shiny gold characters.
The walkway creates a space of language that lies indifferently between inside and outside, between light and shadow. In its construction, characters are the supporting element. The texts follow an order of content and time and outline the spectrum from creation to death and from the Old Testament to the present day.
The walkway encloses a garden courtyard, the compartments of which are planted with structuring evergreen woody strips and white-flowering ornamental shrubs, perennials and annuals. The intersection of the path axes is emphasized by a water stone.

AppreciationGerman Landscape Architecture Award 2013

Jury verdict: The idea of giving the "Christian garden" in the series of Marzahn "Gardens of the World" the form of a monastic cloister is obvious, since the cloister garden is the only form of garden with a Christian connotation that has been defined in terms of design typology. In this way, a well-known reminiscence is called up. Medicinal plants as well as symbolic roses and lilies etc. are taken from traditional monastery gardens. The fountain as a common element in cloister gardens is also cited, but in a rather casual way, not as a center at the intersection of the crossed paths, but incidentally, as a "water stone" in one of the quadrants.

More telling still is the semiotic artifice of forming an entire cloister out of letters, out of words, out of Christian texts. The ambulatory of Christian philosophy cast in ore creates a space of the mind, of language, of communication that engages visitors. It is reminiscent of monastic architecture and yet, on the other hand, interprets in an unusual way a genuinely garden design element, namely the pergola.

In terms of the interpretation of the content of the message conveyed, there is no need for an overly complex transfer, which is justified, however, since this is a garden that is heavily frequented by the public. In addition, there is the markedly aesthetic appearance of the plant, the exciting interplay of natural phenomena and artefacts, which visitors can enjoy in any case.