SPECIFICATIONS 17 TH INTERNATIONAL GARDENS FESTIVAL - Parc de Wesserling
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
DESIGN SPECIFICATIONS 1 7 T H I N T E R N AT I O N A L G A R D E N S F E S T I VA L
WELCOME !
Listed as a “Historic Monument” (Monument Historique) and recognised as a
“Remarkable Garden” (Jardin Remarquable) in 2005, “Parc de Wesserling” is
testimony to an extraordinary textile adventure in a valley of the River Thur in the
Upper Vosges.
This unique site is a former “Royal Textile Printing Factory” with an incredible
number of preserved buildings linked to the textile industry. The gardens have
been landscaped ever since the site was first managed and the château was built.
They were originally created as ornamental gardens for the enjoyment of captains of
industry, bearing witness to the landscaping conventions of the various centuries.
Later they were steadily turned into vegetable gardens for workers, and then
abandoned, before being gradually restored.
Each year for almost 15 years, designers, visual artists and landscapists have
brought life to these gardens, producing temporary creations which surprise,
question and enchant. More than just a Festival of Gardens, it aims to encourage
the inhabitants of the valley to occupy the spaces trod by their ancestors, to invite
visitors to walk through centuries of history and to encourage the next generation
to ask questions about the future of their environment.
Through this new theme, the Festival reaffirms its desire to unite innovation and
respect for the past. It provides an opportunity for designers to introduce play,
interactivity and entertainment into the heart of a centuries-old heritage park. The
intermingling of eras, uses and plants shapes the unique character of the “Festival
des Jardins Métissés”.
Parc de Wesserling
- Ecomusée textile
Rue du Parc
68470 Husseren-Wesserling
Tel. : +33 (0)3 89 38 28 08
www.parc-wesserling.fr
regular garden, Festival 2018
SO M M A I R E
THEME FOR THE FESTIVAL 4
India at Wesserling 5
Let’s explore Kipling’s jungle 6
Ancient India, source of inspiration 16
FESTIVAL TIMETABLE 17
CONDITIONS OF CONSULTATION 20
Profile of participants 21
Possible Types of proposal
21
Wesserling visitors
22
DESIGN 23
Content of dossier 24
Intellectual property 25
Technical criteria 25
Selection criteria 26
PRACTICAL CONDITIONS 29
Intervention Site 30
Fees and Budget 32
Accomodation and Transport 33
Garden Installation 33
COMMUNICATION AND EVENTS 35
Event Communications 36
Content of Communication Dossier 36
Festival Launch 37
Nocturnal Extravaganzas in the Gardens 37
Site Access for Designers 37
APPLICATION FORM DESIGNERS 38
CONTACT FORM 39
THEME FOR THE FESTIVAL
THEME FOR
THE FESTIVAL
India at Wesserling
For a former factory manufacturing “Indienne” textiles (calico printed with
colourful floral designs), inviting the great country of India to exhibit at the
Museum in the Large Boiler-room and in the Gardens was a must!
This is to become reality for this new season of entertaining exhibitions and
temporary landscaping displays.
The visit of the Parc de Wesserling is a real journey through time where weaving
machines and printing tables unearthed from the industrial past illustrate the
ongoing history of textile production in Alsace.
This year, we are inviting you on an excursion which erases temporal and geographic
boundaries and during which you will discover that there are many parallels
between the Parc de Wesserling site and India during the colonial period!
At the same time that the textile printing Factory was in its heyday, Rudyard
Kipling, inspired by his childhood in the British colonies, published his famous
“Jungle Book”, which we have chosen this year as the central theme of the “Festival
des Jardins Métissés”.
Queen Victoria, at that time Empress of India, was a customer at Wesserling. The
factory produced clothing fabrics decorated with colourful designs for which it was
famous. If there is one country where they are bold with colour, it is India! Saris
made of shimmering silk, temples in rainbow colours, a myriad spices, varied
landscapes...the mere mention of these few characteristics of this huge country
are enough to transport us directly to other climes.
India, a producer of cotton, the yarn woven at Wesserling, was also the first to
create the colourful patterns of the fabrics which were the textile printing Factory’s
great strength.
So, for this new edition of the Festival des Jardins Métissés, let’s pay tribute to this
beautiful country and draw our inspiration once more from its splendours to offer
our many visitors an extraordinary new adventure!
5
THEME FOR
THE FESTIVAL
Let’s explore Kipling’s Jungle
The story behind the “Jungle Book” theme
The purpose of this part is to introduce you to the characters, places and different
stages of the story of Mowgli, the wolf-child. You will find below a summary of the
novel and quotes we think are representative of the work.
These pages are there to help you imagine the different worlds through which the
hero travels and the moods you can create in the gardens. They are supplemented
by the part of the specifications in which you will find pages of inspiration offering
a collection of photos evoking the novel.
The characters in the work *
Mowgli is described by the dark colours which characterise him:
MOWGLI his chocolate brown skin (“the little brown face”) and his jet black
the wolf-child hair and eyebrows (“his heavy black eyebrows”, “his long black hair
floating on his shoulders”).
When he is very young, his softness and roundness are highlighted:
“a naked brown baby who could just walk, as soft and as dimpled
a little atom as ever...”, “he sat laughing and playing with some
pebbles that glistened in the moonlight”, “very soft is his skin”.
Later descriptions of him are dominated by his strong muscles and
the scars left by life in the jungle: “his strong brown hand”, “there
were white scars all over his arms and legs”, “he has eyes like red
fire”, “his feet [...] were almost as hard as horn”, “in the village,
people said that he was as strong as a bull”, “he had to wear a cloth
around him”.
* The names of the characters in the “Jungle Book” are familiar to everyone. But did you know that these
names are the word for the animal behind the characters in Hindi, one of the main languages in India?
So, Bagheera means “panther”, Baloo, “bear”, Shere Khan, “tiger king”, etc.
Join us as we go and meet these animals, little Mowgli’s companions!
6
THEME FOR
THE FESTIVAL
The characters in the work
The Wolves are not described in detail. The colour of their fur is
THE WOLVES mentioned most: “forty wolves of every size and colour, from badger-
Wolf Parents and coloured veterans, […] to young black three-year-olds”, “Akela, the
the old Akela great grey Lone Wolf”, “a silky grey muzzle”.
A small exception is made for Mother Wolf, whose eyes sparkle: the
“eyes [of Mother Wolf], like two green moons in the darkness”
In their Jungle song, it is their hunting behaviour which is described:
“feet that make no noise; eyes that can see in the dark; ears that can
hear the winds in their lair, and sharp white teeth”.
Strangely, Mowgli’s foe, this “ten-foot tiger” is hardly described at
SHERE KHAN all. This suggests that simply stating that he belongs to the tiger
the Tiger race allows us to easily imagine his strong muscles rippling under
his “striped hide”.
However a few details of his anatomy are mentioned: “the tiger’s
whiskers”, “the huge claws dangling at the end of the empty
dangling feet”, “he has been lame in one foot from his birth”.
He appears most of all through the sounds he makes when he is
hunting or angry: “the dry, angry, snarly, singsong whine of a tiger”,
“the whine had changed to a sort of humming purr”, “the tiger’s roar
filled the cave with thunder”
7
THEME FOR
THE FESTIVAL
The characters in the work
The panther is one of the characters described in most detail.
BAGHEERA Everything focuses on the colour of his “beautiful black skin” and
the Black Panther also the hardness of his claws and his eyes, evoking the cold of the
night and metal: “the steel-blue ripping-chisel talons at the end of
it”, “Bagheera’s eyes were as hard as jade-stones”, “the morning dew
shining like moonstones on his coat”.
“Inky black all over but with the panther markings showing up in
certain lights like watered silk. […] But he had a voice as soft as wild
honey dripping from a tree, and a skin softer than down. “
“Bagheera’s silky chin, where the giant rolling muscles were all hid
by the glossy hair”.
There is very little description of Baloo the Bear, who is most often
BALOO referred to for his heaviness, his clumsy movements and his thick
the Bear fur.
He is “the sleepy brown bear who teaches the wolf cubs the Law of
the Jungle”, “he eats only nuts and roots and honey”. Baloo is “old
and serious”, “his fur much thicker than Bagheera’s” covers his “big
furry stomach”and “faded brown shoulder”. He is “a fat, brown, root-
digging fool”.
8
THEME FOR
THE FESTIVAL
The characters in the work
“The grey monkeys” are not described in terms of their physical
THE MONKEY PEOPLE
characteristics but through their actions (which the Jungle
the Bandar-log inhabitants disapprove of).
“They stand on their feet […], they boast and chatter”, “They are
very many, evil, dirty, shameless”, “they throw nuts and twigs on our
heads”, “they belong to the tree-tops”, “they joined hands and sang
their foolish songs”.
They are “nut-stealers and pickers of palm leaves” and can be heard
making “coughings and howlings and angry jumpings high up in
the air”.
Kaa is a python “thirty feet long”, and, along with Bagheera, the most
KAA described character in the book. Two images come to mind when
the Rock Python Kaa is mentioned: the colours of his skin “so like a dead branch or
a rotten stump”, or “a beautifully mottled brown and yellow jacket”
and the power of “his huge coils”.
We meet him “stretched out on a warm ledge in the afternoon sun,
admiring his beautiful new coat, for he had been in retirement for
the last ten days changing his skin”, “darting his big blunt-nosed
head along the ground, and twisting the thirty feet of his body into
fantastic knots and curves and licking his lips as he thought of his
dinner to come”
“Kaa was rather deaf” but “his strength lay in his hug”. “The fighting
strength of a python lies in the driving blow of his head backed by
all the strength and weight of his body.” “He turned two or three
times in a big circle, weaving his head from right to left. Then he
began making loops and figures of eight with his body, and soft,
oozy triangles that melted into squares and five-sided figures, and
coiled mounds. «
We can see “the big swallowing muscles on either side of Kaa’s
throat ripple and bulge” and hear “the rustle of the scales” on the
Jungle floor.
9
THEME FOR
THE FESTIVAL
The iconic places
The Wolves, Council Rock
The “Pack Council, [...] is generally held once a month at full moon”.
The “Council Rock [is] a hilltop covered with stones and boulders where a hundred wolves could hide”.
When he returns from the fight with Shere Khan, “Mowgli spread the skin out on the flat stone where
Akela used to sit and pegged it down with four slivers of bamboo”
The Jungle, its lush vegetation and its calm rivers
“It was seven o’clock on a very warm evening in the Seeonee hills.” The novel opens with this beautiful
sentence which plunges us directly into the Jungle atmosphere.
The Jungle is very little described in terms of thick vegetation (“miles and miles of still green Jungle”,
“brush”) but it is referred to through the particular sounds heard there and by the life of its inhabitants:
“Everything in the Jungle […] every rustle in the grass, every breath of the warm night air, every note
of the owls above his head, every scratch of a bat’s claws as it roosted for a while in a tree, and every
splash of every little fish jumping in a pool”.
10THEME FOR
THE FESTIVAL
The iconic places
The lost city of Cold Lairs, a world of dressed stone that has
gone back to the wild
The “old deserted city, lost and buried in the
Jungle” evokes a labyrinth of stones and
vegetation, a mysterious maze where shadow
and light intermingle: “all the tunnels of the
palace and the hundreds of little dark rooms”.
It used to be an “Indian city before”, it is now “a
heap of ruins” where you walk “through roofless
houses” to reach “the hall of the king’s council
chamber” scattered with “pieces of plaster and
old bricks”.
“Some king had built it long ago on a little hill.
You could still see the stone causeways that led
up to the ruined gates where the last splinters of wood hung on the worn, rusted hinges. Trees had grown
in and out of the walls, the battlements were tumbled down and decayed, wild creepers hung out of the
windows of the towers in bushy hanging clumps.
A great roofless palace crowned the hill, and the marble of the courtyards and the fountains was split and
stained with red and green, and the very cobblestones in the courtyard where the king’s elephants used to
live had been thrust up and apart by the grasses and young trees. From the palace you could see the rows
and rows of roofless houses that made up the city, looking like empty honeycombs filled with blackness;
the shapeless block of stone that had been an idol in the square where four roads met; the pits and dimples
at street corners where the public wells once stood, and the shattered domes of temples with wild figs
sprouting on their sides”.
Beyond the shape of the old buildings, and their lacy brickwork, it is the colour of the materials which is
described. “A terrace above red sandstone reservoirs that were half-full of rain-water. There was a ruined
summerhouse of white marble in the centre of the terrace […]. The domed roof had half fallen in and
blocked up the underground passage. […] But the walls were made of screens of marble tracery, beautiful
milk-white fretwork, set with agates and cornelians and jasper and lapis lazuli; and as the moon came
up behind the hill, it shone through the openwork, casting shadows on the ground like black velvet
embroidery. “
The water storage points are mentioned numerous times in the description of this lost city: “the half-ruined
tanks and reservoirs held a little water” and “they drank at the tanks and made the water all muddy”.
The range of vegetation there includes plants which have spontaneously come from the jungle and those
grown by the former residents: “up and down the terraces of the King’s garden, [...] they would shake the
rose-trees and the oranges in sport to see the fruit and flowers fall”.
11THEME FOR
THE FESTIVAL
The iconic places
The Man village,
its huts and the farmed fields surrounding it
At the start of the story, Mowgli curiously
watches these men whom his Wolf Brothers
told him about.
“He would go down the hillside into the
cultivated lands by night, and look very
curiously at the villagers in their huts.” “He
pressed his face close to the window and
watched the fire on the hearth; he saw the
husbandman’s wife get up and feed it in
the night with black lumps, […] he saw the
man’s child pick up a wicker pot plastered inside with earth”.
Then he goes to live with them after being banished from the Wolf Pack.
“The valley […] went down to a little river and [...] opened out into a great plain dotted over with
rocks and cut up by ravines. At one end stood a little village, and at the other the thick Jungle
came down in a sweep to the grazing-grounds, and stopped there as though it had been cut off
with a hoe. All over the plain, cattle and buffaloes were grazing”. “An Indian grazing ground is all
rocks and scrub and tussocks and little ravines among which the herds scatter and disappear. The
buffaloes generally keep to the pools and muddy places”.
The village is evoked through the animals that live there: “the yellow pariah dogs that hang about
every Indian village”, “Rama, the great herd bull; and the slate-blue buffaloes, with their long,
backward-sweeping horns and savage eyes, rose out their byres, one by one.” The buffaloes “get
down into the muddy pools one after another, and work their way into the mud till only their noses
and staring china-blue eyes show above the surface”.
The inhabitants are also described: “the priest, who was a big, fat man dressed in white, with a
red and yellow mark on his forehead […] waving a sprig of the sacred tulsi plant”, “a woman with
heavy copper rings on her wrists and ankles”, “the circle of people that met every evening on a
masonry platform under a great fig-tree”, “The monkeys sat and talked in the upper branches, and
there was a hole under the platform where a cobra lived, and he had his little platter of milk every
night because he was sacred; […] the old men sat around the tree and talked, and pulled at the
big huqas till far into the night”.
12THEME FOR
THE FESTIVAL
A prominent place is given to traditional objects, the mere mention of which plunges us into the
atmosphere of this village on the edge of the Jungle: “her hut, where there was a red lacquered
bedstead, a great earthen grain chest with funny raised patterns on it, half a dozen copper
cooking pots, an image of a Hindu god in a little alcove, and on the wall a real looking glass”. The
children “weave little baskets of dried grass, […] they string necklaces of red and black jungle
nuts, […] they make a mud castle with mud figures of men and horses and buffaloes, and put
reeds into the men’s hands”. “They rang the bells of the temple and blow into conchs”.
A last important element of the setting: “the ravine by the dhak tree, which was all covered
with golden-red flowers”, “the big dry ravine of the Waingunga” where the final battle between
Mowgli and Shere Khan will take place.
“The head of the ravine [was] on a grassy patch that sloped steeply down to the ravine itself.
From that height you could see across the tops of the trees down to the plain below.” “The sides
of the ravine […] ran nearly straight up and down and” vines and creepers lined the walls.
13THEME FOR
THE FESTIVAL
The stages in the plot
-1–
THE ARRIVAL OF MOWGLI AND HIS ACCEPTANCE BY THE PACK
Chased by the Tiger Shere Khan who had attacked a woodcutters’ camp, baby Mowgli crawls into the
den of Mother and Father Wolf and snuggles up against his brother Wolves with their warm grey
coats. Mother Wolf prevents Shere Khan from devouring him as “the moon shone into the mouth of
the cave where they all lived”.
His arrival in the Wolf Pack is puzzling (he is a Man child, a race they fear and abhor) and he is only
accepted after the Council meeting. This takes place in a distinctive, arid setting, at the top of a hill
covered in stones and boulders, at night-fall under a bright silvery full moon.
This gathering at the Council Rock allows us to meet many of the characters of the story and to start
learning the “Law of the Jungle”, a series of precepts and rules laid down and adhered to by the
animals. This “Law” guarantees their survival in this environment where danger is permanent and
death lurks around every corner.
-2–
THE DEATH OF AKELA AND THE BANISHMENT OF MOWGLI
Akela, the old leader of the Wolves, is attacked by young Wolves who want to lead the Pack as Shere
Khan has convinced them that the presence of a Man child among them is unnatural. The old grey
wolf, tired and alone, loses the battle and runs away. Mowgli has to leave the Pack, as he is no
longer protected by Akela.
During this confrontation, we discover “the Red Flower”, fire, mastered by Men and feared by the
animals. It represents a form of initiation ritual (possible link with Indian ascetics and esotericism).
“Go [...] to the men’s huts in the valley, and take some of the Red Flower which they grow there”,
“that grows outside their huts in the twilight”, “it grows in little pots”
14THEME FOR
THE FESTIVAL
The stages in the plot
-3–
THE LOST CITY OF COLD LAIRS
The story takes a brief step back in time to an episode in the life of Mowgli in the Jungle. While
he is learning the words of the Jungle (which are the calls of the different animals) with Baloo the
bear, he is kidnapped by the monkeys who take him to their lair: an ancient city built by men where
temples and stone houses disappear under the lush jungle vegetation.
Tall trees, long creepers and leaves wet with rain are the setting for this lost place.
The way the monkeys get about reminds us of an adventure obstacle course in the trees, involving
balancing and swinging above the ground far below, tree trunks, ropes and other apparatus.
The branches lashed his “face, and then he was staring down through the swaying boughs”, “the
flight of the Monkey-People through tree-land […]. They have their regular roads and crossroads, up
hills and down hills, all laid out from fifty to seventy or a hundred feet above ground, and by these
they can travel even at night if necessary. [They] swung off with him through the treetops, twenty
feet at a bound.” “His escort would rush him up a tree till he felt the thinnest topmost branches
crackle and bend under them, and then with a cough and a whoop would fling themselves into the
air outward and downward, and bring up, hanging by their hands or their feet to the lower limbs of
the next tree”.
It is Kaa, the great python, who is responsible for rescuing the Man cub. His presence is mesmerising.
He is so long, with his coils winding over the Jungle floor or around branches, his scales rustling as
he moves and his hypnotising eyes.
-4–
MOWGLI ENTERS THE WORLD OF MEN
Mowgli ends up by returning to the world of Men. He goes to a village of huts around which sacred
cattle graze between farmed fields. This last “setting” is described as a mosaic of green, yellow,
ochre, orange and brown shades, blending wild nature with that domesticated by Man, the stone
and straw houses with the grandeur of the tropical trees.
He is in charge of taking the cattle to the fields and watching over them.
When he finally confronts Shere Khan, the Tiger responsible for his banishment and the departure
of the Old Wolf Akela, he uses the buffaloes to kill his enemy. The final battle takes place at the
bottom of a deep ravine cut by the river at the edge of the farmed fields and visible from the village.
As a trophy he brings back the hide of the great Tiger to the Wolf Pack, but will be chased from the
village, where the villagers take him for a demon.
We can imagine the presence of Indian women in the village, dressed in multicoloured cotton
saris, bedecked with their most gorgeous sparkling jewels and beautiful with their make-up. The
young girls go to the stream to draw water and carry the full jars back on their heads. The Brahman,
the village priest, condemns Mowgli, the Wolf-Child, whilst in the distance, a Maharajah sends
his troops into the jungle in search of another Tiger. All the atmosphere of colonial rural India is
suggested in the sketch of this village at the edge of the jungle.
15THEME FOR
THE FESTIVAL
Ancient India, source of inspiration
A vast country of varied landscapes, stretching from the beaches of the Indian
Ocean to the summits of the Himalayas, with the mythical rivers of the Ganges
and Indus and impenetrable jungle in between, India offers a wealth of inspiring
natural environments to our admiring gaze, the special atmosphere of which
can be evoked in the gardens.
If this great country can boast such diverse geography, it can also take pride in
a history stretching back over several millennia and a multifaceted culture, the
mere mention of which takes us on a multi-coloured voyage of discovery into
ancestral traditions and know-how.
Come and discover Hindu temples housing thousands of gods, the richness of
the gossamer silk saris worn by the women and the soft jingle of their countless
bracelets. Follow in the wake of the elephants and sacred cows adorned with
sparkling brocades, succumb to the aroma of the spices which flavour the
food and drink, let yourself be carried away by the Brahmans and Sadhus in
their spiritual quest and bewitched by the traditional music and dance which
punctuate local life.
Make your temporary gardens and your works reflect this diversity and beauty
to take our visitors on a discovery of a country and a culture unlike any other.
16FESTIVAL TIMETABLE
FESTIVAL
TIMETABLE
16 nov. Deadline for receipt of proposals
2018
18 jan. Deadline for receipt of complete proposal
dossier.
2019
1 feb.
• 15
Selection date.
2019
Date of site visit for teams selected for the
By Festival (meeting with garden staff and project
mid-march timings)
2019
20 march Deadline for submission of communications
2019 dossier (in digital format)
18FESTIVAL
TIMETABLE
Dates for installation of gardens (construction
11 march carried out by designers with technical support
• 24 may from Park teams)
2019
9 june Opening date and official launch of the Festival
of Gardens (in the presence of the designers)
2019
13 oct. Closing date of the Festival of Gardens
2019
19CONDITIONS OF CONSULTATION
CONDITIONS OF
CONSULTATION
Profile of Participants
This consultation is open to all creatives, whether they are landscape designers,
visual artists, landscaping professionals or simply inspired amateurs.
Landscaping colleges and town departments are invited to take part in the
consultation and propose ideas.
The call for proposals is deliberately open to everyone and provides an opportunity
for all artists and other creative specialists to express themselves through the
creation of monumental and temporary works.
There is only one rule: take pleasure in designing and installing your work
while respecting the specifications !
Possible Types of Proposal
At Wesserling Park we suggest two ways of approaching the theme of the Festival.
The Complete Garden
The most ambitious and courageous applicants can propose a large-sized
garden occupying a complete plot with a surface area of 150 to 800 m². The
works must be vast and offer surprising progressions or innovative structures.
They must immerse visitors in a parallel world and make them forget where they
are.
The Snapshot
The idea of a snapshot is to evoke the theme of the Festival in a small work
- anecdotally, humorously or artistically. The construction is less ambitious as
it is smaller, but the design is just as complex as it must be based on an idea
which “strikes a chord”. A snapshot aims to surprise and astonish the visitor, like
a fleeting apparition.
21CONDITIONS OF
CONSULTATION
Wesserling visitors
The ˝Festival des Jardins Métissés˝ is one of the main garden events in eastern
France, with an average visitor attendance of more than 70,000 in recent years.
Festival visitors
• Individual visitors 80 %
• Groups and schools 20 %
Geographical Origin of Visitors
Visitors
Est
ies
ace
pourcent
é)
se)
ntr
mt
nd
s
Als
ts
uis
trie
- Co
tric
cou
G ra
,S
che
ne
un
dis
ag
ra n
ng
r co
lem
dF
aki
ch
an
(Al
he
en
spe
ine
Ot
r fr
r ra
an
( Lo
he
rm
Ot
Ge
The numbers and typology of visitors varies according to the different months
of the Festival:
• School groups visit the Festival during the month of June (and the Park in
the months of May, September and October) and take advantage of the many
events offered by the Park’s educational team.
• The peak times for individuals to visit the Festival are at weekends (on
Sundays we hold artistic events – music, theatre, etc. – and weekend evenings
in August are dedicated to Nocturnal Extravaganzas).
• The tourist audience is present every day from 14 July to the end of August.
22DESIGN
DESIGN
Content of dossier
Your application must be submitted to the organiser by 16 November 2018
at the latest (fill in and send the form provided at the end of the specifications).
The complete dossier must be submitted by 18 January 2019 at the latest.
This dossier can be sent by post or delivered in person to the following address:
Parc de Wesserling – Ecomusée textile
Festival des Jardins Métissés 2018
Rue du Parc, 68470 Husseren-Wesserling
Administrative documents to be included in the dossier:
• Participation form detailing the names and addresses of all members of the
team and that of its representative.
• Succinct dossier presenting your former achievements and your work.
Documents to be included in the dossier :
• Description of the essence of the project in connection with the theme and
the site and a suggestion for the title of the garden.
• Ground plan of the garden in colour, on a 1:100 scale (or 1:50 for a snapshot),
specifying the planned materials and planting plan.
• Significant cross-section of the project.
• Free-style pages featuring perspective drawings, freehand sketches, axonometric
projections and/or schematic diagrams for every specific technical element (floor
anchorage, hanging elements, etc.).
• Technical description detailing the installation procedures for the garden and
the condition in which you would like to find your plot upon arrival on site.
• Detailed costing of the project.
• Timetable specifying the number of days required to install the project and the
number of people who will be working on its installation.
• Programme for managing the plot for the duration of the Festival.
• Optional: project model.
The final location will be determined by the organiser and may entail adaptation
of the work.
The jury will only consider complete dossiers with estimated materials costs
less than or equal to 5000.00 euros incl. taxes for a complete garden or
1000.00 euros incl. taxes for a snapshot.
24DESIGN
Intellectual Property
The design proposal, drawings and all submitted documents remain the
property of the designers. Any graphic material may be published or exhibited.
The names of the authors are always specified. The same applies to photos produced
by the organiser. These may be used, free from copyright, for promotional purposes
relating to the event and for general communications about the gardens, with no
time limit.
The works of art created for the ˝Festival des Jardins Métissés˝ using the
budget allocated for the event remain the property of the organiser.
Wesserling Park undertakes to mention the following: “Créé pour le Festival des
Jardins Métissés – Année xxxx / Artiste: nom, contact” (Created for the Festival of
Mixed Gardens – Year xxxx / Artist: name, contact). The Park may make changes to
the work after its first year of display to the public, if it has been retained for the
purpose of re-display.
Technical Criteria
The Park welcomes tens of thousands of visitors each year. All constructions,
pathways and installations must therefore be built in such a way as to support this
level of visitor numbers for the duration of the Festival (4 months). You are invited
to employ a technician within your team, if necessary.
The presence of interactive elements within the gardens necessarily entails
a huge amount of unrestricted handling by all visitors and particularly by a
young audience. Despite constant surveillance of the gardens, we cannot control
the movements of our public. Every element must therefore be designed to last
for the entire period of the Festival (4 months) and endure repeated use without
becoming dangerous to visitors’ safety.
The paths and walkways must be constructed in such a way as to offer
universal access (particularly for pushchairs and disabled persons). The Park
has been awarded the Tourisme & Handicap label and the gardens are entirely
accessible. In this respect, you should plan for walkways with a minimum width of
0.8 metres. The incline of pathways must not surpass 5 % (or 8 % over a maximum
distance of 2 metres). They must also permit visits from school groups (approx. 20
to 30 children per group and 400 children per day).
25DESIGN
All plots are equipped with a water inlet and an electrical outlet. We also
have full outdoor sound equipment (amplifiers, speakers, CD players) which we
can make available to you on request and subject to the approval of the technical
department.
Wesserling Park is committed to the environment. A preference is given to
natural, recyclable or recycled materials and to materials gathered on site or
in the surrounding environment.
The use of materials on the ground (mulch, minerals, etc.) must be carefully
considered as these materials must not mix with the underlying soil and must
be easily retrievable at the end of the Festival. We therefore strongly recommend
that you include tarpaulins or geotextiles in the list of supplies to isolate ground
coverings.
Selection Criteria
The jury will comprise employees and volunteers from two garden management
associations as well as landscaping professionals (landscape contractors, landscape
designers, visual artists, members of the Parc & Jardins d’Alsace network or
members of the town’s green spaces department).
5 to 6 dossiers will be selected from the applications received.
Applicants will be notified of the results by letter.
The selected teams will be contacted by the Gardens Manager as soon as possible
to schedule a date on which to meet on site.
The Gardens Manager will be available to unsuccessful applicants, if they require
an explanation to understand the jury’s decision.
26DESIGN
The criteria analysed by the jury are as follows:
1 A Festival of Gardens which “mixes” plants.
• Predominance and showcasing of plants. Designers who have no or little knowledge in the
field of gardening are invited to employ the skills of a landscapist or a technician for the use of
plants within their proposal.
• Diverse selection of plants to ensure the plot remains attractive throughout the Festival (June to
October) thanks to a succession of flowering periods, use of foliage in diverse colours or creation
of designs where fruit trees are the main feature, etc.
• Range of plants including horticultural plants, useful plants (dye plants, fibre plants, medicinal
plants) and vegetables.
• High density of plants so that the plant element of these temporary gardens is dominant from
the start.
• Materials which respect the environment and evoke the garden.
2 Gardens embodying the history of the heritage site and its landscape.
• Landscape integration of the proposed work into one of the various spaces of expression offered
to the designers (see Intervention Site).
• Use or emphasis of existing structures and viewpoints, establishment of a dialogue with the site.
• Evocation of its textile and industrial history through the selection of plants (linked to fibres
or dyes), the design of the beds (recalling textile motifs), the presence of materials and machines
evoking the industrial world (steam, metal, gears) or any other narrative which inspires you.
3 In line with the topic of the year, the common thread being
“The Jungle Book” and India, the setting for the story
• Installation of one of the worlds described in the novel: Council
Rock - an arid, mysterious place, the Lost City of the monkeys -
an ancient stone city buried under lush vegetation, the jungle -
its unexpected animals and its plants which blend into a haven
of greenery, the Man village - its huts, farmed fields and sacred
cows, the temples of rural India, the Maharajahs’ palaces and their
colourful troops of elephants, etc.
• Creation of entertaining devices evoking the exploits and
adventures experienced by the protagonists: giant animals (bear,
panther, snake, etc.), learning to master fire as an initiation quest
- a parallel with the philosophy and enigmas of the Brahmans
and Sadhus, balance and equilibrium courses (a nod to the way
the monkeys travel about), craft articles to create/complete,
disconcerting soundscapes, etc....
• Educational approach linked to the geography of India and its
specific features, local crafts, the Hindu religion and its thousands
of gods, etc.
27DESIGN
4 Exerting a power of attraction over visitors via a strong playful,
educational and interactive dimension
• An original and unexpected garden with innovative methods of construction and surprising
structures which transport visitors to another world during their visit (high platforms, long or
short tunnels, see-through or opaque materials, etc.).
• A true work of art that has an emotional impact on the young and old and which invites
visitors to participate fully in the garden.
• Presence of fun activities to do in the garden, distribution of clues to solve a puzzle or
strange objects and extraordinary machines to manipulate (sound objects, optical illusions,
participatory artworks to complete, etc.).
• Creation of a genuine journey of discovery within the garden, fostering a succession of
sensations (interplay of colours, transition from shadow to light, variability of materials,
etc.); use of a multiplicity of pathways within the same plot, so visitors can enter and exit in
multiple locations.
• Accessibility to all (disabled persons, children, families).
• Consideration of the furniture present in the garden to invite rest, contemplation or even
activity (benches, chairs, hammocks, picnic tables, etc.).
5 Constructed for optimum safety.
• Solid design resistant to the impact of multiple visitors.
• Thorough consideration of technical aspects (materials, technical cross-sections, etc.).
• Requiring simple maintenance by Park teams.
• Within the allocated budget (5000 euros of material).
« La cabane cocon », Séverine Cadier « Jardin de l’ordre Public », Nicolas Houdin et Josiane Rinn, Festival 2011
et Jean-Yves Béhotéguy, Festival 2010
28PRACTICAL CONDITIONS
PRACTICAL
CONDITIONS
Intervention Site
The gardens are divided into 3 large areas:
• The regular garden is very geometrical and consists of squares of lawn; it is
completely level and visible from a distance. The works occupying this space must
be monumental, of sufficient height and highly distinctive (selection of colours,
materials or unique design). Four plots are available of a dimension of approx.
600 m².
• The Mediterranean terraces unfold below the château and offer a number of
extremely varied spaces.
The upper terrace of the château is a sunny space which connects with two rooms
in the building.
A large slightly sloping terrace (340 m²) offers a beautiful view of the herb alley in
the vegetable garden.
The grotto (a small cavity reminiscent of the old ice boxes used to keep products
fresh) can be used for a snapshot installation.
• The English park is a large space with centuries-old trees dotted throughout
vast lawns. The perimeter of the English park is home to barefoot paths. The unique
shady atmosphere of the woody undergrowth is the major characteristic of this
romantic space.
We are also open to any other proposal. Work on major areas of the site (such as
the central beds in the regular garden) is possible.
La terrasse du château ambiance Japon,
Festival des Jardins 2018
30PRACTICAL
CONDITIONS
31PRACTICAL
CONDITIONS
Fees and budget
Fees for Selected Projects
For a complete garden:
• 800 euros incl. taxes for design
• 1500 euros incl. taxes for garden installation
For a snapshot garden:
• 600 euros incl. taxes for the design of a snapshot
• 1000 euros incl. taxes for the installation of a snapshot
If work is carried out by the Park team, the cost of this is deducted from this figure
on the basis of 100.00 euros incl. taxes per half-day and per person or 30.00 euros
incl. taxes per hour.
Design fees are payable from the end of May on presentation of an invoice.
Installation fees are payable from the end of July or the end of September for potentially
“fragile” projects requiring validation of the feasibility of the garden.
For artists resident in France, the invoice must include a SIRET number or a membership
number for the Maison des Artistes; other designers must include an intra-community
VAT number on their invoice.
Otherwise, a work contract is required. In this case, the total amount is in gross, from
which the various contributions will be deducted.
Supplies Budget
• up to 5000 euros incl. taxes for a garden
• up to 1000 euros incl. taxes for a snapshot
This sum exclusively covers plants, materials, machinery hire, costs for the transport of
specific materials and employment of an external company for a specific task that cannot
be performed by the designer(s).
All expenses must be validated in advance by the organiser before being confirmed to
the supplier.
Expenses are reimbursed on presentation of a complete detailed invoice.
Some orders can be made directly by the organiser to group the needs of different
designers and potentially take advantage of reduced tariffs.
The raw materials used and transformed through creation will remain the property of the
Association de Gestion du Parc de Wesserling.
N.B. If the actual artistic expenses are less than the provisional budget amount, the
unused budget cannot be transferred to the fees or accommodation budget. The
budgets allocated to each item are independent.
32PRACTICAL
CONDITIONS
Accommodation and Transport
Transport Fees
The Park has an overall budget from which to reimburse all designers for their
travel costs; these will include:
• a return trip to view the site and refine the project with Park teams
• a return trip (or several) to install the works on site
• a return trip to be present at the launch
Each designer is accorded a flat fee depending on their geographical distance from
the site as well as the number of extra return trips planned for the installation of
the work.
A precise timetable of the dates of installation and the number and geographical
origin of persons must therefore be submitted to the organiser as soon as possible.
The total sum determined for each is included in the commitment agreement and
cannot be exceeded.
All additional interventions unannounced in the timetable cannot be reimbursed.
Sums paid are reimbursed only on presentation of supporting evidence.
Accommodation
Accommodation during your various visits to the site is provided by the Park.
You will be housed in holiday rentals, B&BS or hotels.
During the installation period, the holiday rental accommodation will be shared by
different successful applicants.
As the Park takes care of all accommodation directly, no specific allowance is
provided for accommodation.
Garden Installation
Organisation Meeting
A meeting is scheduled between mid-February and mid-March 2019 for you to
visit the site and meet and exchange information with Park teams.
This on-site meeting is compulsory and will involve discussion of the
arrangements for future works, so that these can take place under the best
possible conditions.
33PRACTICAL
CONDITIONS
On-site Installation
The on-site installation of the gardens must be carried out by the designers.
The Gardens Manager will monitor the installation of the work to ensure that
it is in keeping with the project validated by the jury. The Manager may ask for
modifications during the works, particularly as regards visitor safety.
The installation timetable and the forecasted budget must be scrupulously
observed.
Commencement of the works and delivery of the garden must take place on
a week day, on a specific date booked in advance with the Gardens Manager. The
team of gardeners at the Park do not work at weekends or on bank holidays.
The designers must be equipped with their own tools for the installation of
the garden on site. If tool purchases are included in the supplies budget, these
tools will remain the property of the Park and must be returned after completion of
the works. Wesserling Park does not own augers, lifting gear, compact excavators,
etc. Designers must therefore take this into account in planning the installation of
their work. A technical team can be made briefly available on site. This team’s job is
not to construct the works under the direction of the designers. However the team
can provide advice.
The gardens remain accessible to the public during the period of installation.
We therefore request that you respect the boundaries of the worksite, determined
in agreement with the garden team, and be vigilant of any material or equipment
on the pathways. No danger to visitors is permitted.
You may receive support from volunteers during the installation of the work on
site. They can be accommodated by the Park along with the designers, as long as
there are spaces available in the booked holiday rental accommodation.
All structures must be in place at the latest by the deadline for the completion
of works, i.e. 24 May 2019.
Maintenance and Disassembly of the Plot
Once the works are completed, garden maintenance and disassembly will
be performed by the team of gardeners at “Parc de Wesserling”. If possible,
maintenance may be continued until the end of December. Some works may
be decorated and lit for the nocturnal extravaganzas held during the month of
December as part of the “Christmas in the Garden” event.
The designers are required to stipulate if any specific management is required. They
must also inform the Park team of any particular requirements for disassembly of
the work, if applicable.
34COMMUNICATION AND EVENTS Communication et Fééries Nocturnes
COMMUNICATION
AND EVENT
Event Communications
The ”Parc de Wesserling” communicates through different media. Website,
newsletter, social media, signs, posters, leaflets, flyers, videos, articles in the press,
advertising inserts, radio commercials, etc. and also via events, in particular trade
fairs. The Festival des Jardins Métissés is the largest event at the Parc de Wesserling
and therefore benefits from a very extensive communication campaign.
Good Internet referencing of the Festival gives increased visibility, backed by the
distribution of approximately 200,000 leaflets and 2,000 posters.
The www.parc-wesserling.fr website and also the Parc’s active presence on
social media and via its newsletter will allow each work produced by the selected
artists to be described in detail and showcased based on pictures (photo or video
produced either internally or by professionals) together with descriptions from
the communication package.
Daily guided tours of the Gardens are offered to visitors. These are carried out by
gardeners who have themselves taken part in the installation.
”Parc de Wesserling” is solely responsible for communications relating to the
”Festival des Jardins Métissés” and assumes sole responsibility for garden
signage based on documents provided by the designers.
Content of Communications Dossier
A dossier containing all communications documents must be submitted in digital
format before 20 March 2019.
This dossier must contain:
• A text presenting the designers and their careers (50 words maximum)
• A text presenting the work created for the Festival (180 words maximum)
• A colour map of the work
• A selected view of the project (perspective drawing, sketch, axonometric
projection, etc.)
• Your contact details giving your addresses/identifiers for your online presence
linked to your activity, not forgetting the contact details of any partners and
the logos.
No logos other than that of the ”Parc de Wesserling”, that of the ”Festival des
Jardins Métissés” and that representing the designer are authorised on the
visuals presenting the works.
This set of documents will mainly serve to:
• create a web presentation file, available on the Parc’s website,
• design a presentation panel printed on fabric, in French and
translated into English and German and installed in the gardens in
front of the work,
• produce the Festival press pack. 36COMMUNICATION
AND EVENT
Festival Launch
The designers undertake to take part in the official launch of the Garden
Festival.
This day is a fun event which enables guest visitors and partners to meet the
designers and talk to them about their work.
The day begins at 10:00 with official speeches and continues with a visit to each
plot, followed by a gathering with drinks. A meal is provided for all the designers
and garden teams at the Park at midday.
The nights before the launch day are managed by the Park.
Nocturnal Extravaganzas in the Gardens
The Gardens are open in the evening during the first three weeks of August, from
Thursday to Sunday, until 23:30
Visitors are invited to come and discover the site by night on an imaginative
fairy-tale journey, featuring characters drawn from the selected story inspired by
this year’s theme.
The Gardens are lit by the Park’s technical team. Lighting equipment is installed in
July.
The designers must therefore ensure that their garden is accessible for nocturnal
events.
Site Access for Designers
Designers and their close families (partners and children) enjoy unlimited access
to the Festival for its duration. The Park provides a named “Partner Pass” for this
purpose which will be distributed to the designers on the day of the launch.
37AP PL I C AT IO N FO RM
D E S I GNERS
Please name a single official representative of your team to facilitate the distribution of
emails and letters during the application period.
If you are selected to participate in the ”Festival des Jardins Métissés”, all members of the team
will be duly cited in the various communication media and in exchanges with Park personnel.
Official Team Representative
Name :
N° SIRET :
N° Maison des Artistes :
Adress :
Telephone :
E-mail :
Team
Name :
Team composition (name, surname, adress, phone number and e-mail) :
The team mentioned above undertakes to present a garden project as part of the ”17ème Festival des Jardins
Métissés” which will take place at Wesserling Park from 9 June to 13 October 2019.
I will submit my complete dossier to the organiser before 18 January 2019.
Please send your application form before 16 November 2018 via email to the following address -
jardins@parc-wesserling.fr - or via post addressed to:
Parc de Wesserling – Ecomusée textile
Service Jardins - Festival des Jardins Métissés 2018
Rue du Parc
68470 Husseren-WesserlingC ON TAC T F O R M GARDEN DEPARTEMENT Cécilia HAYER jardins@parc-wesserling.fr +33 (0)3 89 38 28 12 COMMUNICATION DEPARTEMENT Justine BALLAND communication@parc-wesserling.fr +33 (0)3 89 38 28 13 ACCOUNT DEPARTEMENT Christelle MEHLEN cmehlen@parc-wesserling.fr +33 (0)3 89 38 28 10
Rue du Parc, 68470 Husseren-Wesserl ing
info@parc-wesserling.fr ● 03 89 38 28 08
www.parc-wesserling.fr
#ParcdeWesserlingYou can also read
