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Since the first purposeful cultivation of plants, humankind has struggled to improve growing conditions by altering the environment. For the plant to thrive, is it too cold? Too dark? Too rainy? Too arid? Too windy? How can the plant's living arrangements be improved to give it maximum light, water, air circulation and fertility? How can we improve on Mother Nature?

Mitchell Park Horticultural Conservatory "The Domes": Experience a desert oasis, a tropical jungle and special floral gardens all in one afternoon! The incredible diversity of plantlife you will encounter reminds us all of the Earth's unique diversity of plant and animal species so very vital to our own survival. Come to the deserts of Africa, Madagascar, South America and North America in the Arid Dome where one of the world's finest collections of cacti, succulents, shrubs and arid-land bulbs grow. An Oasis of Pampas Grass and desert palms beckons as paths lead you past many plant oddities with intriguing geometric forms, subtle coloration and unique adaptations to hot, dry habitats.

Many of the vegetables available today in St. Petersburg, Russia, for example, are grown under glass in acres of greenhouses that rim the city, a necessity for the climate. The St. Petersburg greenhouses date from shortly after the founding of the city of Peter the Great at the dawn of the eighteenth century. By the middle of the 19th century, the popularity of greenhouses had grown exponentially. What's more, materials became less expensive and more readily available, so greenhouses and growing plants under glass were no longer a pastime only of the wealthy. Small greenhouses and conservatories of many designs were added to middle class Victorian houses. There was also competition by cities and countries to build conservatories as part of grand public parks. These housed exotic, non-native plants as well as common varieties, and remain popular today. One of the most famous glass buildings in the world was the Great Exhibition's Crystal Palace, built in London in 1850-51 for the Great Exhibition. Chief architect was Joseph Paxton (1803-65), former gardener to the sixth Duke of Devonshire (the Bachelor Duke). It contained all kinds of exhibits, not only plants. Nonetheless, the design of the Crystal Palace influenced decades worth of greenhouses and conservatories. Paxton was influenced by the achievements of Knight and Loudon in creating more efficient greenhouses.

Thomas Albert Knight (1759-1838) published a paper in 1812, laying out his theories on the most efficient structure of glasshouses. Rather than designing them based on the style of existing orangeries, Knight proposed different arrangements with curving walls and roofs. His work supplemented the achievements of John Claudius Loudon (1782-1843), who studied growing techniques all over Europe and was an admirer of Thomas Jefferson. Elizabeth Rogers in her book Landscape Design, writes, "Experimenting with different shapes and structural techniques in his Bayswater garden, in 1816 Loudon invented a curvilinear sash bar of wrought iron. His experiments also led him to propose a 'ridge and furrow,' or double meridian, glazing system in which the glass panes of the conservatory were angled so as best to catch morning and afternoon light while preventing the scorching of leaves by the direct rays of the noondays sun ...and pulleys in the manner of Venetian blinds to gain a more desirable angle...or to let in fresh air and summer rain showers." (p.317) At Chatsworth, Paxton became chief gardener in 1826 at age 23. He built a great conservatory there, often considered as a prototype for the Crystal Palace. Devonshire wrote that when Paxton arrived at Chatsworth, he found, "...four pine-houses, bad; two vineries, which contained eight bunches of grapes; two good peach houses, and a few cucumber frames. There were no houses at all for plants..." All of this was to change in a very short time and gardens would never again be the same. By the early nineteenth century, tastes were evolving. In his outstanding work, Life in the English Country House, Mark Girouard writes, "The upper- and upper-middle classes had reached the stage of sophistication at which they could react against their own civilization and endeavour to go back to nature. They found nature both in the countryside, preferably in as wild a state as possible, and in man in the countryside, preferably in the supposedly unconstrained, passionate and pure state as presented in the myth or model for the Noble Savage....towards the end of the eighteenth century people began to feel that the main rooms of a house should be in touch with the outside world-not just by views through the windows, although increasing attention was paid to these, but also by means of having the rooms at ground level, with low-silled windows or actual French windows opening straight into the garden or on to the lawn. The rooms thus flowed out in the garden and correspondingly the garden made inroads into the house, in the form of vases and pots of flowers or occupied an entire room in the form of a conservatory attached to the home." (214) The regency era was truly the cusp of dramatic changes in science, technology, manufacture and democratic values. All of these changes can be seen in the very interesting and significant developments in conservatories and greenhouses.

While common in Europe, conservatories are now beginning to increase in popularity in the U.S. as homeowners discover a variety of uses for these one-of-a-kind "glass houses." Many conservatories, are used as breakfast rooms or additions to gourmet kitchens, while others serve specific purposes, such as a music room or natural bridge between the house and garden. Conservatories have a rich history, going back to the days when wealthy families of Victorian Europe would travel the world and bring back rare spices or lemon and orange trees. They needed warm climates to survive the colder months, so the idea of a glass-enclosed conservatory was developed to nurture the exotic plants and specimens from the homeowner's world travels.

One of the most famous of the Regency-era conservatories was built at Carlton House, the Prince of Wales' London residence, demolished in 1826-27, which had been redesigned for him by Henry Holland (1745-1806) in 1787. Over the years, the Prince worked hard, decorating and redecorating, to make it the most magnificent residence in Europe, and by some standards he succeeded, only to have it demolished when its position was judged obstructive to the grand design he and architect John Nash worked out to redesign large sections of London, which later were named Regent Street and Regent Park. The famous conservatory was added in 1807 of the newest construction techniques in cast iron columns and a fan vaulted ceiling supporting large glass spaces. The architect was Thomas Hopper (1776-1856) whose work was considered a tour de force. The conservatory opened into the gardens at one end. If one looked in the opposite direction, there was a clear view of the entire lower ground-floor range of rooms, at the mall level, opening into one another in this sequence from west to east: conservatory, ionic dining room, gothic dining room. As an aside, architect Hopper's subsequent commissions included the main dwellings at Gosford Castle, Northern Ireland, and Penrhyn Castle, Wales, among many others. He was particularly admired for his Normal Revival style. The Carlton House conservatory was intentionally theatrical, as some writers observed, over the top and bringing the term "elaborate" to a new level. The Prince Regency planned a great fete for 2,000 people on June 19, 1811,to celebrate his Regency. The supper table was 200 feet long, the entire length of the Ionic Dining Room and the Gothic conservatory. Men were dressed, according to J. B. Priestly in his The Prince of Pleasure and His Regency (1969), in their court dress or uniforms. Down the middle of the entire length of the table ran a curving stream of water from a silver fountain in front of the Prince. Its path was lined with flowers, mossy banks and crossed by miniature bridges. Goldfish swam up and down this tiny stream. Here is the account by John Ashton in Social England Under the Regency (1895) of the Prince Regent's conservatory and the party: "...the architecture of it is of the most delicate Gothic. The upper end was a kind of circular buffet surmounted by a Medallion, with the initials G.P.R. lined by festoons and antique draperies of pink and silver, and partly filled by mirrors, before which, on ornamented shelves, stood a variety of vases, candlesticks, &c. of the most gorgeous gold plate...In the front of the Regent's seat there was a circular basin of water, with an enriched Temple in the centre of it, from whence there was a meandering stream to the bottom of the table, bordered with green banks. Three or four fantastic bridges were thrown over it, one of them with a small tower upon it, which gave the little stream a picturesque appearance. It contained also a number of gold and silver fish. The excellence of design, and exquisiteness of workmanship could not be exceeded; it exhibited a grandeur beyond description; while the many and various purposes for which gold and silver materials were used were equally beautiful and superb in all their minute detail.

Almost twenty years ago, The French government unveiled a plan to replace the aging Conservatory building on the Rue de Madrid with a new jewel in its diadem of arts buildings. The result is the Conservatoire de Paris, a complex at the Porte de la Villette. In addition to several theaters in the former marketplace building (Les Halles), the complex houses a "cite de la musique" containing a music museum, shops, a place for recitals and lectures, a "mediatheque" (the newest form of library), an audiovisual center, and an extraordinary training facility for music and dance.

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1. Planning permission Conservatories, England, Wales, UK Conservatory
http://www.conservatories4uk.com/PlanpermEng.asp