Each year, London's Serpentine Gallery has a temporary pavilion designed by a well-known architect. This year's version is by Pritzker prize winner Peter Zumthor, with a garden by Piet Oudolf—the first time horticulture has joined architecture in the 11 years of the pavilion's history.
Botanic motifs flourished in Victorian design, and typography was no exception. Ornate filigree details and calligraphic embellishments were often designed as stylized flowers, leaves, and even trees, around the alphabet characters. We look at the story behind several typefaces inspired by the natural world.
An exhibit of contemporary topiary pieces is on display at this year's International Horticulture Expo, in Xi’an, China. The menagerie of living sculptures includes the country's national bird, a giant panda, and a cow.
Has London one-upped Paris when it comes to vertical gardens on museum walls? The National Gallery in London unveiled a vertical garden that is a living reproduction of Van Gogh's "A Wheatfield, with Cypresses," using 8,000 living plants of more than 26 varieties.
A physician by trade, botanic enthusiast, and accidental inventor, Nathaniel Bagshaw Ward devised the first terrarium in 1829, and thereby launched a new age of horticultural possibilities—where ferns and mosses would grow indoors, and tropical exotics would travel the world.
At the University of Stuttgart, Germany, a new architectural discipline is evolving, with leaves, branches, and roots. The research group is called Baubotanik (Botanic Architecture), and it is where the architects are gardeners, and the plants are architects.