EDOUARD ANDRÉ CREATIVE PRINCIPLES IN 
LITHUANIAN PARKS
 
Elena Brundzaite-Baltrus
Fragments of the Palanga Botanical park. Photos by Danute Mukiene, 2003 
A weighty contribution to the parks projecting in Europe was made by French landscape architect E. André. In this fundamental creative work “L'Art des jardins”, 1879, he put down a set of new principles of parks projecting developing in them an eclectical tendency that prevailed at that time in architecture.
E. André formulated his projective suggestions taking into consideration man's physiological needs, thinking that the basic in park art is to find a unity of variousness, a unity in the general build-up of an ensemble, and variousness in separate details.
He put great emphasis on pictorial accents, unity of peculiar landscape with architectural elements, as well as searched the basic principles of spatial composition and worked out the laws of plan and function. They are a relationship between separate elements, distances and viewing angles of separate zones, including as well establishment of optimal seals and principles of arranging water-bodies, relief and green plants.
All these principles are applied in the Lithuanian parks, the projects of which had been worked out by E. André.
The botanical park in the town of Palanga, where is observed a relationship between the park itself and environment.
Uzutrakis park serving as a place for relaxation for numerous tourists, singles out by its dynamic of thematic space.
Traku Voke and Lentvaris, where the beauty of landscape with elements of architecture are united.
Use of historical parks for new purposes makes us responsible not only to preserve and adapt these parks giving rise to the problems of new principles of their regeneration, bur also to find proper solutions of adapting them to nowadays needs of our society.
Prepared by: Brundzaite-Baltrus E. Edouard André creative principles in Lithuanian parks // Lietuvos zeldynu ateitis /sud. Regimantas Pilkauskas. - Vilnius: Publishing Office of Vilnius Academy of Fine Arts, 2001. P. 69-70
  

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