The composition of a grotto: Spatial relationships and typologies

Much can be revealed in analysing the different typologies of the grotto. I suggest that the grotto can be divided up into two types; landscape and architectural follies, and from there can be split into sub-categories. Miller similarly argues there are two different types of grottoes, "the rustic grotto in imitation of a cave and the architectural nymphaeum,"[1] however does not acknowledge any further variations. My research is primarily concerned with the architectural; the creation of artificial spaces that simulate natural caves. Regardless, each type of grotto is closely integrated with the natural world. 

Figure 1[2] maps the different types of grottoes.

The most common is perhaps the grotto as a meditative or spiritual space, however another popular type can be found in the classical Roman style, as well as in the Renaissance and beyond that takes the form of a highly theatrical and illusory space. Some grottoes can also appropriate a labyrinthine quality beyond their initial function, as evident in the grotto at the Quinta de la Regaleira.[3]

 

Within these grottoes there is a consistent language: there is the approach and journey to the grotto, a forecourt, an entrance, the passage, the primary space and perhaps a series of secondary or tertiary spaces, and a focus or altar, or in some instances foci. Alberti makes a more succinct observation claiming that such spaces comprise of two main parts- the 'portico' and the 'cella.'[4] Although not all grottoes employ each of these elements, they always incorporate at least one, with the more elaborate incorporating more if not all. Some even have a defined exit or terminus. Each of these elements gives the architect a power in shaping how you experience the space; the forecourt often being seamlessly integrated with the landscape and the passageways framing particular views that lead you to the grotto's focal point.

Figure 2[2] diagrams a potential grotto layout. 

The Stourhead grotto is perhaps one of the most famous examples of a British Arcadian grotto,[5] and was subtly incorporated into Stourhead’s picturesque grounds. The approach to the grotto slowly envelopes the guest in the built form of the grotto. Passing through the entrance into a narrow passage visitors are then directed into a larger circular chamber, wherein lies the main water features and a statue of a nymph.  A portal allows views out over the lake. Although this primary chamber appears to contain the focus of the grotto, upon moving through another passageway the “the river god, a personification of the Stour,” [6] is revealed and it seems that it is here, not in the primary chamber, that is the main focus of the grotto. The exit is reached after the visitor has acknowledged to river god.

Figure 3[7] Wiltshire, Stourhead Grotto, 1779

When compared to Figure 2, this grotto contains a sequence of carefully articulated spaces that direct the movement and experiences within the grotto. It seems to follow a set of rules pertaining to the arrangement of a grotto.

This grotto is clearly an architectural folli designed with an intention to create a space intrinsically linked to the surrounding grounds and in particular, the lake. Its corridors are not extensive enough to denote a labyrinthine quality, however the space does act as a stage in which to exhibit the statues of the nymph and river god. It is clearly intended as a spiritual place, although not a religious one. The space pays homage to the classical Greek grotto and seeks to showcase the owner's worldly knowledge and love of the arts.

In contrast to the more common forms of a grotto, Frederick Kiesler’s unbuilt ‘Grotto of Meditation for New Harmony,’ seems to be primarily concerned with the more metaphorical elements associated with the grotto. The grotto was to be a highly spiritual place, referencing Christ in the form of a dolphin, whilst also emphasising the connection between all living things and the natural world. The water was used to represent life and the concrete structure was designed to encourage a “[connection] with the universe.”[8] It is likely that had this grotto been built it would have been a far cry from a traditional grotto space, moving away from the traditional grotto formula suggested in Figure 2. In this way Kiesler’s grotto is much harder to map, and perhaps reveals a more abstract method in creating a grotto; one concerned primarily in the metaphor. This contemporary interpretation has inspired architects such as METALAB Architecture +Fabrication to create a similar grotto-like pavilion.

Figure 4[9]  ‘Grotto of Meditation for New Harmony,’ Frederick Kiesler, 1964.

In determining the spatial elements of a traditional grotto one could easily inject such elements into the compilation of a more contemporary grotto, or grotto-like design today. However this is not the only way of evoking the grotto, as evidenced through Kiesler’s rigorous layering of metaphors within his design. Although it is possible to systemise the grotto, and use these elements to influence design, it is also possible to reinterpret the form a grotto may take through focusing on a different aspect of the grotto - that of metaphor. It is likely the success of any future grottoes will be a mixture of these two processes.

In my upcoming entries I shall investigate the different materials associated with the grotto, and how my investigations are feeding into my studio work.

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[1] Miller, Naomi. Heavenly Caves: Reflections on the Garden Grotto. World Landscape Art & Architecture Series.  United States of America: George Braziller Inc., 1982. P 18.
[2] Figure 1&2 courtesy of Jessica Alderslade, 2014

[3]Anonymous. "Underground Grotto & Tunnels, Quinta Da Regaliera, Sintra."  https://www.youtube.com/watch?v=xIIjyvjYILk. Alberti, Leon Battista. 
[4]On the Art of Building in Ten Books.  USA: MIT Press, 1997. 7th. 1988 p.196.
[5] Pizzoni, Filippo. The Garden: A History in Landscape and Art. Translated by Judith Landry. 5th ed.  Great Britain: Aurum Press Ltd, 1997. 1999.

[6] Miller, Naomi. Heavenly Caves: Reflections on the Garden Grotto. World Landscape Art & Architecture Series.  United States of America: George Braziller Inc., 1982. P 86-87

[7] Miller, Naomi. Heavenly Caves: Reflections on the Garden Grotto. World Landscape Art & Architecture Series.  United States of America: George Braziller Inc., 1982. P 86

[8] Miller, Naomi. Heavenly Caves: Reflections on the Garden Grotto. World Landscape Art & Architecture Series.  United States of America: George Braziller Inc., 1982. P 123

[9] Anonymous. "Austrian Frederick and Lillian Kiesler Private Foundation."  http://www.kiesler.org/cms/index.php?lang=3&idcat=18.