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As a landscaper, architect or gardener, I consider the plan as a set of initial instructions to something that will grow to become its own self… Then after, the plan can be discarded, as the garden will acquire its own essence and becomes a direct dialogue. Not even The plan will be kept as an archive,since the next garden will be totally different, as each garden is a very particular issue were every situation is new and unique.


Sculpture Awards



    Building Facade of the Association of the Press, Madrid.

Garden Awards

    City of Lausanne.
    First Prize.
    Site: Sebeillon.
    Project: “Le Jardín de Robert”.
    Colaboration: Ana Mendes.

    City of Strasbourg.
    Building of a temporary garden on theme “Water”.
    Project: “Oasis”.
    Colaboration: Patricia Hernández.

    Sponsored by ASPROGA.
    First Prize.
    Project: “Piel de Brezo”.
    Colaboration: Celia Carvalho.

    Sponsored by City Strasbourg.
    Jardín des Deux Rives, Strasbourg, France.
    Project: “Le Jeu de la Fleur”.
    Colaboration: Celia Carvalho.

    Atlantic Botanic Garden, Gijon, Spain.
    First prize.
    Project: “Mondrian”.
    Colaboration: Julia Mendes.

    Building of a temporary garden.
    Theme: “Colour in the garden”.
    Project: “Half-light: Rothko in the Garden”.
    Colaboration: Patricia Díaz.
Collaborators (1998 - present)

Blanca de la Fuente Aznárez. Architect
Helga Cascos Izquierdo. Landscape Architect
Ana Mendes de Andes. Architect
Patricia Hernández Lamas. Architect
Celia Carvalho. Architect and Landscape Architect
Patricia Diaz Agrela. Agricultural Engineer
Sergio Lobato García. Agricultural Engineer and Landscape Architect
Aurora Garcia. Architect
Ana Pérez Fernández. Architect and Landscape Architect
Alejandro López Visedo. Agricultural Engineer
Brianda Campoamor Pinilla. Architect and Landscape Architect 
Andres Santa Fernández. Architecture Student
Itziar Martin Valle. Landscape Architecture Student

Garden Concept

A space that surrounds us encloses us and presents before us, the sky and firmament as a ceiling and the earth as a ground. An outdoor room.

An enclosure for man that expresses and talks about its way of looking and its connection with life in a twofold way: in its relation with the immediate physical environment and in an ample sense with the background of human culture and its changing relationship with nature.

The garden is Art and Nature at once.

A painting, a sculpture, poetry or a partiture can be representations of space, while Architecture, Dance and the art of the Garden, develop their composition in real space or making use of it. In this “real” space, that is shared with our own body, a dialogue is produced in the case of the art of the garden, between man (natura naturans) as subject and nature (natura naturata) as living object. This dialogue creates a “symbolic place” that alters the quality of the space. In a way we could say it has become a stage set or an “arena” where action takes place.

If art in general is the manifestation of the search of that “unknown” that we carry within ourselves, the garden is a seed left on the ground and in a way abandoned to its own chance, as it is larger than us and surpasses a human generation. As opposed to Architecture, that was defined by Goethe as “frozen music”, the garden is “live music” as the rhythm of nature and the seasons acts on it, together with the life of the elements incorporated , plus their maintenance by man.

We could also make an analogy with an “expanded sculpture” that grows and invades space, to create within it positive and negative forms. If traditionally in sculpture space dominates over mass, modelling it and fixing it in the concrete and fixed limits of the object, the garden would be like a sculpture where the masses and the spaces are in a relationship of equalness and mutual relationship. Again, man can enter and wander through this composition, by means of an itinerary, creating with its movement, different visual relationships with the horizon line, as if they were paintings or vistas. It becomes then an experience both Physical and Spiritual, as opposed to spaces represented in paintings that are always something external to us and unmoveable, except by suggestion.

A garden is a bench where we look at time passing.
About Álvaro de la Rosa Maura

As a sculptor trained at the School of Fine Arts of San Fernando in Madrid, I received an education based on classical statuary, which I consider to be the basis and the grammar for any design professional. Later I had a hands on experience at the Jhonson Atelier, Technical Institute of Sculpture, in the US where a completed my formation with the more grounded part of the making of a sculpture.

There quickly mi interest became focused on the relationship of the sculpture as an object with architecture as a space that contains it. This subject matter had already been of my interest in Madrid at the theory courses at the art school.
This took me to study a Masters degree in Architecture at Yale University, within the school of Art and Architecture where I was able to follow my own curriculum, always centered around the topics of art and architecture.

As a consecuence of my first interventions in exterior space I understood the tremendous potential that the botanical world has, not as an infill, but as a very active part of the character of a space. From then on this has been my field of intervention.

At the same time the world of contemporary sculpture is witnessing a disintegration of the object and a treatment of space as an object, which is totally compatible with my interests.
The fact that there were no formal studies in Spain of Landscape architecture at the time, made me realize that basically what I was doing was accumulate the different scattered fragments of the many disciplines that come into the making of a complete exterior space.

I understand a garden as a work of art and as a space of transition between two opposites, the interior space, framed by the architecture, and the exterior space, the endless space of the landscape. Garden art and architecture resumes my approach to the different scales a project may have (patios, terraces, private gardens, temporary gardens, public squares), integrating the built and the natural.

I place special emphasis on the sculptural and visual aspects of the project, in a dialogue between the architecture and the immediate ground that surrounds it , understood as an active topography : “Topos”, therefore an element of great potential for being modeled in a sculptural way.

I am also very interested in the biological or living elements of the project, as they are the ones that contribute the timely dimensión (color, season, fragance, light) to the previous more static layer.

The garden and its relationship with its surroundings is therefore the result of a process and not of a preconceived idea imposed on the place. The endless possibilities of materials, being either botanical, mineral or constructed, are the means for this act of grounding ideas and searching in the realization of a garden the physical manifestation of those ideas we have latent about any space.

A garden is a set of aesthetic and visual intentions: plants are for the landscape artist, not just a “plant”, but a distinctive living being , an unusual material , but also a colour, a shape, a volume.

Would you like to discuss your next garden project? We will study its unique location without any pre-established formulas. To achieve this, vegetation, idea and space have to find their own particular equilibrium. That is our challenge.

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