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Lisboa sob o horizonte dos jardins domésticos oitocentistas. Uma cartografia crítica
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Centrados nos jardins domésticos da Lisboa oitocentista, construímos uma cartografia crítica distanciada de uma historiografia que pouco tem problematizado este objecto. A exploração quantitativa da cartografia científica conduziu-nos a questionar conceitos que têm consagrado apenas alguns jardins, os elegíveis para uma história progressiva, afinada por um tempo linear e homogéneo. Numa primeira parte, detivemo-nos nas exposições e no mobiliário de jardim, no pressuposto da apropriação urbana oitocentista do mundo natural. Procurámos montar um cenário que se articulasse com os desenhos em planta, no propósito de ficcionar conexões entre objectos vários: a casa, as exposições, e com estas, as estufas, e o mobiliário. Numa segunda parte, recenseados 972 jardins domésticos, propusemos novos conceitos, desfiliados de pertenças geográficas e estilísticas: jardim regular, jardim irregular e jardim misto, trazidos da arquitectura, da tratadística e da jardinagem; jardim simples, jardim quincôncio, jardim elaborado e jardim muito elaborado, outra ordem de conceitos que traduz o grau de complexidade dos seus projectos, dos seus desenhos em planta, e que potenciou o cruzamento com variáveis de análise das três tipologias arquitectónicas que elegemos: palacianas, unifamiliares e prédios de rendimento. A cartografia abriu campo a questionar a tese do bucolismo essencialista, do putativo jardim português, que elege a quinta de recreio como a sua pièce de résistance. É clara, em planta, a continuidade da casa com o jardim, espaço de lazer, de deleite, percepção que vigora também na tratadística, no vocabulário comum, nas práticas de jardinar, e que forma com a casa um todo, o «estojo» benjaminiano, onde casa e jardim se fecham numa relação de dois sentidos: a casa que se naturaliza, o jardim que se domestica. Perspectivámos os jardins no quadro do romantismo como visão do mundo, como crítica da modernidade, sustentada por Michael Löwy e Robert Sayre, tornando se o jardim irregular e o jardim misto expressão de um «romantismo revolucionário», transformador, crítico dessa modernidade ao propor uma nova relação com a natureza. E esta proposta, no contexto dos jardins domésticos, surge pujante em Lisboa, na década de 1840, tornando a abertura do Passeio Público da Estrela, em 1852 contrariando a cronologia canónica , não um ponto de partida, mas de chegada no amadurecimento do programa irregular e misto. Na cartografia crítica dos jardins domésticos oitocentistas, o quincôncio surgiu como a maior ruptura no discurso historiográfico; este programa cinco elementos, regra geral, quatro canteiros equivalentes, e um quinto a marcar o centro em 48% do total de jardins cartografados, inviabiliza filiações estilísticas e narrativas cronológicas. A sua permanência nas práticas de jardinar e a forma quadripartida conduziram-nos a considerá-lo uma heterotopia, seguindo a proposta de Michel Foucault, para quem o jardim terá sido o seu exemplo mais antigo: um espaço-lugar originário onde o tempo se suspende, apto a representar as quatro partes do mundo. O quincôncio, com quatro canteiros-chave, não podia tornar mais explícita esta dimensão heterotópica do lugar. Ganha força esta capacidade de acumulação do tempo ad infinitum, quando verificamos a sua vigência até ao presente, numa ampla transnacionalidade. Pensar o quincôncio é eliminar fronteiras.
Focusing on the domestic gardens of 19th-century Lisbon, we constructed a critical cartography that stands apart from a historiography that scarcely contemplates this subject. The quantitative exploration of scientific cartography led us to question concepts that highlight only some gardens, those that can be classified as having a progressive history, refined by a linear and homogeneous timespan. In the first part, we concentrated on exhibitions and garden furniture, on the assumption of the 19th-century urban appropriation of the natural world. We tried to set a scene that linked to the plan drawings, with the intention of creating connections between various objects: the house, exhibitions, and with these, glasshouses, furniture. In the second part, taking an inventory of 972 domestic gardens, we proposed new concepts, free of geographic or stylistic allegiances: regular garden, irregular garden and mixed garden, based on architecture, treatise and gardening; simple gardens, quincunx gardens, elaborate and very elaborate gardens, a whole new order of concepts that conveys the level of complexity of each of these projects and plan drawings, and which enabled the cross-referencing of the variables of analysis of the three architectural typologies we selected: palatial, single-family and income-generating buildings. The cartography allowed us to question the thesis of the essentialist bucolicism of the putative portuguese garden, which takes the quinta de recreio as its pièce de résistance. The plans clearly point to the continuance of the house into the garden, considered a leisure and recreation space, a perception that is also present in treatises étui -way relationship: the house is naturalised, the garden is domesticated. We approached these gardens in the context of romanticism as a vision of the world, a criticism of modernity, as espoused by Michael Löwy and Robert Sayre, making the irregular garden and the mixed garden an expression of a transformational relationship with nature. And this proposal, in the context of domestic gardens, emerged vigorously in Lisbon during the 1840s, making the opening of the Passeio Público da Estrela, in 1852 opposing the chronological canon not so much a starting point as a destination in the maturation of the irregular and mixed programme. In the critical cartography of 19th-century domestic gardens, the quincunx appears as the greatest rupture in the historiographic discourse; this programme five elements, as a rule, four equal planting beds with a fifth marking the centre in 48% of the total gardens mapped, makes stylistic affiliations and chronological narratives impracticable. Its permanence in gardening practices and the quadripartite shape led us to regard it as a heterotopia, as proposed by Michel Foucault, for whom the garden was his earliest example: an original space-place where time is suspended, perfectly suited to representing the four corners of the world. The quincunx, with four main beds, could not be a more explicit expression of the heterotopian dimension of the place. This capacity to accumulate time ad infinitum becomes stronger when we see that its validity has endured until the present day, in a far-reaching transnationality. To plan a quincunx is to eliminate borders.
Focusing on the domestic gardens of 19th-century Lisbon, we constructed a critical cartography that stands apart from a historiography that scarcely contemplates this subject. The quantitative exploration of scientific cartography led us to question concepts that highlight only some gardens, those that can be classified as having a progressive history, refined by a linear and homogeneous timespan. In the first part, we concentrated on exhibitions and garden furniture, on the assumption of the 19th-century urban appropriation of the natural world. We tried to set a scene that linked to the plan drawings, with the intention of creating connections between various objects: the house, exhibitions, and with these, glasshouses, furniture. In the second part, taking an inventory of 972 domestic gardens, we proposed new concepts, free of geographic or stylistic allegiances: regular garden, irregular garden and mixed garden, based on architecture, treatise and gardening; simple gardens, quincunx gardens, elaborate and very elaborate gardens, a whole new order of concepts that conveys the level of complexity of each of these projects and plan drawings, and which enabled the cross-referencing of the variables of analysis of the three architectural typologies we selected: palatial, single-family and income-generating buildings. The cartography allowed us to question the thesis of the essentialist bucolicism of the putative portuguese garden, which takes the quinta de recreio as its pièce de résistance. The plans clearly point to the continuance of the house into the garden, considered a leisure and recreation space, a perception that is also present in treatises étui -way relationship: the house is naturalised, the garden is domesticated. We approached these gardens in the context of romanticism as a vision of the world, a criticism of modernity, as espoused by Michael Löwy and Robert Sayre, making the irregular garden and the mixed garden an expression of a transformational relationship with nature. And this proposal, in the context of domestic gardens, emerged vigorously in Lisbon during the 1840s, making the opening of the Passeio Público da Estrela, in 1852 opposing the chronological canon not so much a starting point as a destination in the maturation of the irregular and mixed programme. In the critical cartography of 19th-century domestic gardens, the quincunx appears as the greatest rupture in the historiographic discourse; this programme five elements, as a rule, four equal planting beds with a fifth marking the centre in 48% of the total gardens mapped, makes stylistic affiliations and chronological narratives impracticable. Its permanence in gardening practices and the quadripartite shape led us to regard it as a heterotopia, as proposed by Michel Foucault, for whom the garden was his earliest example: an original space-place where time is suspended, perfectly suited to representing the four corners of the world. The quincunx, with four main beds, could not be a more explicit expression of the heterotopian dimension of the place. This capacity to accumulate time ad infinitum becomes stronger when we see that its validity has endured until the present day, in a far-reaching transnationality. To plan a quincunx is to eliminate borders.
Descrição
Palavras-chave
Lisboa Arte Jardins domésticos Cartografia Quincôncio Jardins mistos Lisbon Domestic gardens Cartography Quincunx Mixted gardens