Open ing Spaces Design as Landscape Architecture 2nd Edition Hans Loidl

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Birkhäuser – Verlag für Architektur
Basel • Berlin • Boston
Korr_dt.indd 2 25.11.13 14:10

Hans Loidl_Stefan Bernard
Opening
Spaces
Design as Landscape Architecture
Revised and
expanded edition
Opening
Spaces
14:10

Talking about designs – a few introductory remarks
In the form of open space
Point - line - area - solid
Order
Shape and form
Coherence and prior experience
Form
Superization
Form components
Induction
Forming, design
Connection and landscape architecture projects
Between head and hand
Designing
The design
Intersubjectivity
Intention
Creativity
Bifurcation
The usual design path
Working model for the design process (Darke, Lawson)
Means and end
Prevailing conditions
Sign and Content
3.1 Creating space (”space“)
Space
Spaces in landscape architecture
4 propositions for creating landscape architecture space
”Pure“ space
Breaking down ”pure“ space
Suggesting space
Spatial sequences – spatial gradations
From closed to open spaces
Spatial boundaries
Uniformity of area
Spatial size dependent on human proximity
Space and the effect of space
The human field of vision
Spatial effect and plants
Creating space with height differences
Height differences and spatial effect
Planting to achieve visual changes of relief
The grove
3.2 Creating focal points (”place“)
Focal point
Special position
The straight line and the right angle
Emphasized (designed) focal points
[1] Form and forming
6
8
12
14
14
16
17
18
18
20
21
22
23
26
29
29
31
31
33
33
34
35
36
37
39
40
44
46
48
48
49
55
56
58
62
62
64
65
66
68
70
76
77
80
82
85
90
91
94
96
97
[2] Designing and design
[3] Space - place - path
Contents
VI On the unbroken relevance of design
Foreword to the revised and expanded edition

102
103
103
104
109
110
111
111
114
118
120
122
124
126
132
134
134
136
140
144
146
147
147
148
150
150
152
154
158
159
161
164
165
166
168
168
172
173
176
176
177
178
179
181
181
182
183
188
190
[4] Design qualities
3.3 Movement and access (”path“)
Movement – motive and reaction
Anticipatory orientation
Proceeding ”inattentively“
”Beaten“ track – the archetypal path
Positive control
External and internal access
Problems/aims of internal access
Path and goal
Path routing and visual links
Path signs and markers
Trees as path markers
Colonnades and arcades
Path joints
The seat (or bench) – a (stopping) behaviour archetype
Network of paths
Path routing and use of the area
Path routing and spatial shapes
Paths and spatial sequences
4.1 Fundamentals of good design
Form and coherence
Uniformity through common features
Shared position
Common features in terms of appearance
Theoretical/thematic common features
Diversity
Satisfying variety – the disturbance of uniformity
4.2 Characteristics of good design
Stimulation/uncertainty
Tension
Weight/balance
Harmony
Linking idea/theme/concept
Clarity
Simplicity
4.3 Repetition as a tool
Repetition
Structure
Patterns
Grids
Variation
Transformation
Rhythm
Proportion
Scale
Symbols
Literature
Authors

VI
Foreword to the revised and expanded edition
Designing is a special competence. As a “cultural technique of concrete pro-
duction”, it possesses the particular capacity to synthesize useful, coher-
ent and valuable (general) solutions from a range of often highly complex
specific site conditions, statutory requirements and diverse needs. In the
process, designers apply their (practical) knowledge of possible approaches,
examining tried and tested methods and drawing on their extensive back-
ground knowledge of precedents and models to evaluate their “fit”, i.e. their
suitability for addressing the many aspects of the given task. Conceived as
handbook of basic principles, Open(ing) Spaces describes and conveys the
knowledge and approaches needed, and in turn aims to reduce the occur-
rence of typical design mistakes.
Open(ing) Spaces is firstly – and this we should not forget – a legacy of the
landscape architect and university lecturer Hans Loidl, who died before his
time in 2015. After completing his studies in forestry, he switched to land-
On the unbroken relevance of design

VII
[1] See also Bernard, S., “Nicht Ökologie, nicht
Kunst – Gedanken zum Wesen der Landschafts-
architektur”, in: Stadt & Grün, 01.2005, p. 7 ff.
scape architecture where he applied himself to aspects of urban planning
and humanities, developing projects according to the principle of “urban
ecology” he so admired, experimenting early on with plant uses and rain-
water management in an urban context. In the early 1980s – around the
time of his appointment as Professor of Landscape Architecture at the TU
Berlin – Loidl began making the first sketches for a lecture series entitled
“Materials for a Morphology of Open Space Design” (affectionately known as
the “Loidl Script”), which became the blueprint for this book. His approach
– in passionate opposition to the prevailing zeitgeist – focussed on pro-
viding students with concrete tools and possible courses of action for the
design of good quality open spaces.
At that time, landscape architecture had strayed far from its traditional roots
as a design discipline and surrendered to the clutches of two branches of
science: ecology and sociology [1]. After the revolts of the 1960s,
ecology began increasingly to shape the profession, with “nature”
posited as an antidote to what was perceived as a monotonous, techno-
logy-oriented urban reality. “Ecological” was equated with “nature”, and
thus a guarantor for quality. Slogans such as “Back to Nature” and program-
matic writings such as Louis Le Roy’s Switch off Nature – Switch on Nature
struck a chord with the times: “One should let grow what grows and limit

VIII
human intervention to the very essential – nature already orders itself.” [2]
Against this background, design as an expression of human creativity had a
hard time and was considered undemocratic and un-“natural”. Instead, land-
scape planning saw itself in the role of the naturalist: “Planning
means defining oneself and others, and that is contrary to my
ideas”, says Le Roy [3]. Nature is good, designing is bad.
At around the same time, a section of the art world was looking for new ways
of responding to changing social conditions. Its proponents strove to find
approaches that aimed to transform no less than the whole of society and its
interrelationships. The idea of an “extended concept of art” (erweiteter Kunst-
begriff) was born, the ideal consequence of which was that everyone should
re-examine their new role as an artist – or as a designer of open spaces. In
principle, it was quite a compelling idea: everything is possible, everyone can
have a say, no hierarchies, multiple competencies in concerted application.
Thus followed the hour of sociology in landscape architecture. In contrast
to ecology as a natural science and its focus on the interaction between liv-
ing beings and the environment, sociology as a social science is concerned
with the question of the relationships between living beings, their forms
of society and patterns of behaviour. As the profession gradually became
[2] Roy, L. G. le, Natur ausschalten – Natur ein-
schalten, Klett-Cotta, Stuttgart, 1978, cover
text.
[3] Ibid.

IX
aware that an increasingly ideological ecology movement would not be able
to resolve all planning problems, landscape architects gratefully turned to
sociological approaches: observers of nature became observers and facil-
itators of humans. The profession embarked on a search for ultimate user
conformity and scientifically grounded objectivity, and saw itself in the role
of mediator between the particular interests of those involved in planning.
Once more, it moved further away from its origins as a specialist discipline
for the (concrete) design of open spaces.
These influences enjoyed particular popularity at the universities, to the extent
that design chairs, such as that of Hermann Mattern at the TU Berlin, initially
went unfilled after the professors went into retirement. It was not until the
“landscape architecture revolt” of the 1980s (whose chief proponents included
Professors Loidl, Hallmann, Weckwerth and Wenzel) that a paradigm shift came
about. Gradually landscape architecture turned away from the sciences and
towards the city, orienting itself along the lines of architecture.
Open(ing) Spaces is thus a child of its time – and at the same time is its
absolute antithesis: conceived at a time when the university climate was
disdainful of design, dominated by dogmas and characterized by petty ri-
valries (“… architects are too stuck-up to listen to us enlightened land-

X
scape planners …”), it championed the act of doing and making. In place of
the supposedly quantitatively measurable “truths” of science, it highlighted
the aspect of “Gestalt quality”, and grounded it with references to (Gestalt)
psychology and systems theory.
Behind all this lies a fundamental enlightening conviction: Big, supposedly
universal ideas and principles only rarely provide adequate answers to the
many forces that shape a concrete place – the specific characteristics of
the site, the respective needs and the stakeholders involved. Big ideas are
inherently unspecific, and their limitations soon become apparent when
it comes to the skilful composition and design of actual open spaces. As
Hans Loidl put it: universal recipes are better at calming the mind than
they are at dealing with the ‘inhospitability’ of the city [4]. In this respect,
Open(ing) Spaces sees itself first and foremost as a design toolbox from
which designers can select relevant tools as needed, and enrich
them with own ideas, approaches and additions. Over time it be-
comes a collection of tools and knowledge for developing and realising one’s
own approach and design ideas.
Today, some 20 years after the first publication of Open(ing) Spaces, land-
scape architecture (especially in Germany) has established itself as a valued
[4] Loidl, H., “Arbeitsthesen zu Stadt und Öko-
logie” written for a lecture at the International
Convention of Bioarchitettura, Padua, 1992, un-
published.

XI
profession in urban design. Large building projects now almost always in-
volve landscape architects in some way or other. The developments in the
1990s away from the sciences and towards a renewed focus on actual design
and making, played a major role in this. Discourse shifted from sectoral as-
sertions to a holistic and critical reflection of concrete projects and designs.
New designs for open spaces in Barcelona, France and the Netherlands were
visited and discussed at length; there was less talking and more doing,
more trying out and discarding – a working method more akin to that of ar-
chitects. Landscape architecture rediscovered for itself the iterative design
process as a means of grasping a problem. The ubiquitous problem analyses
of the past were replaced by the optimistic sounding out of possibilities for
action.
Open(ing) Spaces has therefore also undoubtedly made a not insignificant
contribution to a renewed appreciation of the role of landscape architecture
in the current planning sector. And ultimately – along with many wonderful
landscape architects with strong design skills – it has helped a profession
regain its lost creative competence and dignity.
Today, big ideas and buzzwords are once again informing planning discourse,
and again it is universities that are promoting many of these as ultimate

XII
benchmarks of quality – terms such as sustainability, climate change, resili-
ence, cradle to cradle, everyday usability, public participation, animal-aided
design, sponge city, design for all, and so on. While contemporary designers
undoubtedly have to consider all of these – and already do so in practice –
they are in essence no more than further conditions, constraints and aspects
that feed into the many considerations and decisions that designers make
when designing.
So, with all due respect, I would like to passionately and emphatically con-
tradict all those eager to advance their respective field of research as the
primary benchmark for determining the quality of the design of open spaces.
This is not how design works. This is not how good-quality, forward-looking
urban spaces are created.
Why: because to come full circle, designing is a special competence. It is
not the stringing together of a series of individual needs and criteria. As
a “cultural technique of concrete production”, its particular quality lies in
its capacity to synthesize useful, coherent and valuable (general)
solutions from a highly complex mix of specific site conditions,
statutory requirements and diverse needs [5].
[5] Anyone who has ever been faced with ha-
ving to weigh up between whether to preserve
an existing tree (objective: “climate protec-
tion”) or to ensure easy access for older people
by eradicating unevenness caused by tree roots
(objective: “design for all”) knows that a good
solution is the product of design competence
(and not of dogmatic principles).

XIII
In this respect, this book remains an indispensable guide to creating
good-quality open spaces. Only through the competent actions of a design-
er does a principle or standpoint acquire actual spatial quality. In this book
we present the fundamental principles and skills of landscape architecture.
They have lost none of their validity and relevance.
[Stefan Bernard, June 2022]

6
Can one (two?) talk about designs and exchange ideas about their qualities and defects in words, or would it be
better to take as many designs as possible and show how they came into being (preliminary sketches, formal “build-
ing bricks”)? Can there be any way of verbalizing design that is more than just a colloquial version of something that
the design itself says much more clearly and unambiguously?
And then another thing: what are we supposed to measure this sort of discussion against – if we think it is possi-
ble to have it at all? Are we not all too well aware that designs are largely ambivalent, imprisoned in a mass of
detail or necessarily imprecise, or that essential information for realizing the concept is kept from the viewer?
Any attempt at analysis rapidly changes designs into a dead construct. Wouldn’t it be better for absolutely all of
us to get away from that as quickly as we can, and move on to the living work, or at least to images that are as
close to reality as possible, and to talking about concrete things rather than drawn abstracts?
We know that historically we have always talked about design, and we still do today – in juries and professional
magazines, at presentations or in the design groups themselves – and this definitely suggests that a viable link
between word and design might emerge.
One reason could be that sign language and word language are coded very differently. So translation (both ways)
seems helpful and necessary: it allows us to distinguish a subsequent reality from “seduction” by the design pres-
entation. We can use language as an effective corrective to blurring and deception by colours and graphic games,
resisting moving images and “beautiful pictures”.
That would be an “enlightened” argument. It is of course not enough.
The second reason also lies in the coding. The pressure to translate from a graphic sign into a linguistic sign, from
images into words, always represents a thrust towards abstraction, a linguistic reduction to what is essential in
Talking about design – a few introductory remarks

7
the image. This verbal transformation “automatically” makes principles clearer, or happens across them for the
first time, shows themes and reveals connections. If we don’t (can’t) talk about designs, we are missing a chance
to evaluate designs that is as simple as it is important. Movement in the opposite direction, translating linguistic
abstractions into their pictorial equivalents, for example (pictograms), is just as important, and one of the most
difficult and debilitating activities in the whole process of conveying design (anyone who has agonized painfully
and endlessly over the correct way to represent a principle that is already perfectly clear from discussion will be
all too aware of that).
The third reason – and an important one for this book – plops down from the tree of the above arguments like a
ripe plum: I can only talk meaningfully and productively about something if the people I am talking to “speak the
same language”, understand me and I them, i.e. if the semantics of my word/concept are largely the same as the
other’s. And that is the snag: something that is taken for granted, indeed often constitutive, in the exact sci-
ences, i.e. a fundamental understanding of certain concepts, (unfortunately?) does not apply to landscape archi-
tecture, architecture and similar creative disciplines. Here a conceptual Babel prevails, and putting your head over
the design “description” parapet gets a little risky.
And for as long as we do not understand (to some extent) what we want to say to each other, talking to each other
about design is an idle game (but still one that is often played).
If we can’t talk about it, can’t identify qualities and deficiencies precisely, then an important chance to improve
things is being missed [1].
So this book attempts – or rather is compelled – to use more precise concepts about design and its
content, components and qualities. We hope that this will make the content itself intelligible, and
could perhaps help to cut the linguistic Babel of landscape architecture down a little.
[Hans Loidl, June 2002]
[1] ”One should always say what one sees.
And above all – and this is even more difficult –
one should always see what one sees.“
(Le Corbusier)

Exploring the Variety of Random
Documents with Different Content

Open ing Spaces Design as Landscape Architecture 2nd Edition Hans Loidl

THE QUEEN WAS THERE
So everybody came round and pinched the Queen's calf, though nobody
bought it.
And when Tiny saw that he went and pinched it too very shrewdly,
saying,
"Ha!" and "Hum!" with his hat a bit on one side: for Tiny didn't want to
buy the Queen's calf himself, but he liked the Queen to think he did.
And the vet was there running up and down on a string a little rough,
round pony that pattered, trying to sell it, because he said he'd outgrown it.
And when Baby saw how rough and round the pony was, and how it
pattered, she clapped her hands and cried,
"Oh, the duck!" and asked the vet if she might run it up and down on the
string a bit.
And when the vet, who was rather hot and panty, said,
"Suttinly, Miss," she ran it up and down till she could run no longer; and
after that she went into a corner out of the crowd with the vet, and gasped,
"How much?"
So the vet whispered,
"I'll leave it to you, Miss, because it's to a good ome."
Then Baby turned her back, and gave him some out of her sixpenny
purse.
And she christened the pony Puck, and led him away by the string.
And a little further on the Junior Subaltern's mother was trollying a little
go-cart about with the King in his crown in it, to try to sell it, because she
said her son didn't care for it any more.

And the King, now he'd had his ride, said, nor did he, and got down, and,
after taking off his crown very courteously, bustled off to join in pinching
the Queen's calf; which was rather depressing for the Junior Subaltern's
mother after all her trouble.
But Baby came up with Puck, and kissed her to comfort her; and after
that she bought the little go-cart out of her penny purse, which comforted the
old lady still more.
Then Baby harnessed Puck to the go-cart, and tied him by his string to the
wall, while she ran and got Tiny away from the Queen's calf.
And they went round the pens together, and chose out some things, and
some servants.
And there were about four things, and three servants.
And one servant said her name was Phyllis; and she was plump and brisk:
but the Others didn't seem to know what their names were; and they were
dressy and draggly.
And really the Others didn't belong to That Country, but had got in by
mistake from Abroad, one Bank Holiday.
And Baby only took them because they wanted a home: for you mayn't
sleep out in That Country except in the summer, when you mayn't sleep in.
And people only have one servant in That Country, except at the Castle,
where they have none: for there the Queen does it all.
Then they shoved the things under the seat of the little cart; and Tiny and
Baby got up; and Baby cracked the whip; and Tiny tugged the reins; and
Puck started off for Cosy Cottage at a run-away patter; while Phyllis walked
and the Others trailed behind.
And when they got to the Common everything was exactly as they had
left it, with Methuselah just nodding off to sleep under the thorn; and by the

yew the Colonel standing with his shako off, and little Marwy on a string,
visiting her mother's grave.
For it was about evening by now.
And they could see the Fort on the Hill in the sunset, and some of the
Fellows playing pranky on the wall: while the Junior Subaltern was hiding
behind a buttress, gulping the sponge-cake they swab out the great cannon
with.
And the rooks were cawing home in the dusk; and the starlings whirred
and chirred among the gorse; and old Goly rolled down the Hill from the
Fort with the letters, the Boy holding on to his tail, because he said he would
do brake.
And as they came to Cosy Cottage, the stars came out and shone, and the
sparrows chattered as they went to bed in the creepers.
And when Baby saw that she trembled and whispered,
"I say, Tiny!" because she loved it so.
But round the corner the Commander-in-Chief waited at the Castle-
window.
And when he saw them drive up he smiled.
21
Then as they got down, all of a sudden a merry little voice from the boot-
hole began to sing,

"I'm Master Mischeevous,
My conduct's so grievous,
They've bottled me tight
In a hole—O!
But I laugh—ha! ha! ha!
And I sing—tra-la-la!
For they never can bottle
My soul—O!"
Then Baby clutched Tiny's arm, and whispered,
"Who?"
But Tiny only put his finger to his lips, and led round to the back on his
toes. And there he unlocked the door of the boot-hole, and whispered,
"Look."
So Baby peeped round Tiny's shoulder.
And there was a dear little brown mannikin, only so high, with a winky
way with him, who scuttled about on bandy legs, and nibbled a nut.
Then Baby whispered,
"Why?"
So Tiny answered,
"By order of the King."
And he told Baby how the mannikin really belonged to the King, who
had taken him away from home, to try to make a better mannikin of him, for
really he was so very naughty; and the King has to be very strict, although he
is so good and kind.

And the King lent him Tiny (by the secret advice of the Commander-in-
Chief) to spit on his boots for him. And in return Tiny was to keep him good
and tight in the boot-hole, only when he let him out for a little run in the
back-yard at dark; which he did now.
And after he had done him up again, he went and hung the key on the nail
in the kitchen, where it lived.
Then Baby and Phyllis went down on their knees in the parlour and undid
the things.
And after they had undone them, they arranged them round the wall in a
row, while Tiny sat in an easy chair, and made remarks, which was the best
he could do.
So after about a bit Baby said,
"Now you do some," and she plumped down.
Then Tiny stood on a chair in the parlour, and put his thumb against the
wall, and hammered it; while Phyllis stood below with the picture; and Baby
said from the easy chair,
"That's capital."
Only it didn't take Tiny quite that way: for he got off the chair and walked
about the room with his knees up, and corked his mouth with his thumb, and
so on etc.
Only when he saw Baby took no notice, he soon got over it; which is
often the way.
And after that Tiny and Baby ran up and downstairs at the double.

And when they got to the top and bottom, they turned and ran down and
up again.
And they got in Phyllis's way rather as she tidied up; but she didn't mind,
only so long as they enjoyed themselves.
Then they stood at opposite ends of the Cottage, and gave the Others
contradictory orders in loud voices.
But the Others didn't hear: for they had paddled out into the back-yard to
find out what it was in the boot-hole screaming and scampering so.
And of course it was mannikin, who, when he heard them, came to the
crack, and whispered them to undo him, and he would tell them something
secret.
So they got the key from the nail, and undid him.
Then mannikin came out into the kitchen, where he wasn't really allowed,
and sat on the edge of the table, sucking his thumb.
So the Others held each other, gasping,
"My!" and asked him what the secret was.
But mannikin only swung his legs and said he'd forgotten.
Then he heard Phyllis coming and scurried back to his hole in a terrible
fright, and locked himself in, and shoved the key under the door.
And one of the Others came later and picked it up, to hang on the nail;
only she forgot—and a good job too.
22

Then after tea Tiny stole out, and round the corner, and into the Castle by
the back-door, to spy out the Commander-in-Chief, and the surprise he was
getting ready for the Regiment.
And he crept along the passage and shoved the green-baize door, and
peeped into the hall.
And there by the fire sat the King with his crown cocked over his eyes
sound-asleep in the rocking-chair after the market; while the Queen churned
in the dairy.
And in the darkest corner, under a shaded candle, sat the Commander-in-
Chief with his hump up and his head down and wrote a letter very secretly.
And as Tiny looked, he sealed it with a black seal, and said with a
snigger,
"Because of Goliath."
Then he rang for the Queen, and gave it her, saying,
"Important—Private—Secret. For Cooey in the morning."

THEN HE RANG FOR THE QUEEN
But Tiny crept home in the dark, with a little rainy wind in his face, and
wondered.
Book V headpiece
BOOK V.—TINY AND BABY QUARREL
23
Next morning Baby woke up very happy, because she was at home.

And she lay and listened to the day getting up, which was rather a
favourite thing of Baby's.
And first the Policeman tramped by in boots.
Then a cock at the farm crew a lot to say it was dawn, when it wasn't.
And after that just as the dark began to grow dim, a thrush in the lilac
under the window cleared its throat, and began to shout,
"I'm first! I'm first! I'm first!"
And that woke a robin in the yew-hedge which piped,
"Cheek! Cheek! Cheek!" and began to laugh in its little way.
Then a rook sailed out to work, groaning,
"Aw! aw! aw!" which is rook for "Oh! oh! oh!" which is short for "Oh
dear! oh dear! oh dear!" for the rook hates work and loves grumbling.
And after that the sparrows began. And as soon as the sparrows began,
the others left off: for they knew it was no good to go on against the
sparrows; for the sparrows go on for ever.
Then Baby got up, and went to the window.
And the sun was just up and staring white through the black of the trees:
for it was about Christmas by now.
And the sky shone like a sword. And great white ice-bergs with shining
tops sailed by behind the Mountain on the border of That Country. And old
Methuselah, his ears hoary with frost, was trying for some more sleep under
the thorn.
And on the eave above the window a starling, all purple and green and
gold in the sun, was dressing. And as he dressed he was making all the
noises no other bird can make. For the starling is like a lot more, he never

knows quite what he's going to say himself till he's said it, only he knows it's
never been said before, and never will be again.
Then the sun rose over the wall of the back-yard, and struck the top of the
boot-hole. And at once mannikin inside began to sing very merrily,
"I hop in the boot-hole,
As happy can be,
As bold as a robin,
As brisk as the sea,
I chirp like a cricket,
I buzz as a bee
A-swing in the fox-glove,
A-blow on the lea."
And when Baby heard that she ran and shook Tiny, who was lying in bed
with one eye out, and the blanket tight round, and she cried.
"Get up, Lazy-bones! get up! get up!—Everybody's up and busy and
merry long ago only you."
And she began to dance about with her hair down, singing,
"O, I say!—Shan't we just be happy here? happy here? happy here?"
But Tiny only groaned, and got up, one leg at a time.
And the first thing he did was to go to the window, and spy out at the
Castle round the corner, with the frost on the roof.
And the first thing he saw was the Commander-in-Chief stealing out of
the back-door in his bedroom slippers.

STEALING OUT IN HIS SLIPPERS
24
And when Tiny saw that, he shivered, and came in, and didn't have much
bath, for Baby had gone down; but took off his clothes, and put on his
redcoat instead.
And soon he forgot all about the Commander-in-Chief, and stood before
the glass a long long time, and simplee loved it.
Then he dragged himself away, and went downstairs, and did the lamp
and the knife, which was always his little job.
And when he had finished that, he walked to the parlour, rather proud
because of Captain in that Army, rather cold because of sore thumb and no
real sympathy, and rather shy because of his redcoat, and Baby inside
waiting to tease.
So he came to the door.
And when Baby saw Tiny in his redcoat, very tall, and jolly little curls all
over, she thought,
"How most beautiful!" Only she didn't say for fear of bad for Tiny,
because she knew about the glass, for she had peeped.
Instead she played with his medals, and tapped him under the chin, and
said,
"How most booful!" which was much better for Tiny.
Then Tiny went sulky-shy and pulled away.
And when Baby saw that she left it, and went back to the window to
watch a little figure creeping across the Common towards the Cottage.

But directly her back was turned, Tiny bent and looked at himself some
more in the shiny tea-thing; and that pleased Tiny, so that he smiled. And the
more he looked the more he was pleased. And the more he was pleased the
more he smiled. And the more he smiled the more he thought how very jolly,
and what teeth!
Then Baby turned. And when she saw Tiny staring she went up and down
and roared, and said,
"O my dear boy!"
But Tiny turned his back on the tea-thing; and he was cross, because he
was found-out.
Then he thought of a little lie, and cheered up, and told it; and it was,
"I was looking at the crest."
But Baby said,
"The crest is the other side, Tiny," which was rather depressing for Tiny
after all his trouble.
So he went crosser than ever, because he was found-out twice now.
And he took off the bit of plaister that he had allowed Baby to put on his
thumb last night, and threw it down, and trod on it, to show he would be
master in his own house.
But Baby teased some more and said,
"Poor Tiny then! it was a shame, it was! He shall worship himself, he
shall." And she said that because Tiny had told a little lie, and she was
teaching him. And Baby didn't often teach by tease, for she didn't believe in
it; but she did this time because Tiny had lied a little.
So Tiny nibbled his nails, because he knew that would annoy Baby; but
he said nothing, because there was nothing to say.

Then Baby went back to the window, and said inside,
"Poor old Tiny! If I was Tiny and like so," which was very tall and little
curls all over, "I know I'd be the very same only worse." Only Baby really
was much nicer herself; only she didn't think so much about it, because of a
girl and too sensible; and Tiny thought about nothing much else, because of
a man and so silly. But Baby taught him so that he began to have time to
think little bits about other things too; so that less time went before the glass;
only it was rather hard for Tiny at first.
And when Baby remembered that, she went up to Tiny, and patted his
shoulder, and said,
"There, old boy!"
But Tiny went back at her with both elbows to show he wouldn't be good.
And it was very wrong indeed of Tiny; and he knew that quite well. And
the more he knew it the more ashamed he was. And the more ashamed he
was the more he wouldn't own up. And the more he wouldn't the more he
wanted to. So it went in a sort of circle, as it always does.
And it was like trying to climb a hill by running down it. And really a
better way is to stick in your heels, and come up jerk, and turn, and plod.
Then Baby rang the bell to change the subject.
25
And when the bell went Phyllis collected the Others, and stood them by
the door, while she ran to get mannikin out of the boot-hole: for he might
come too if he liked.
But she found the key wasn't on the nail. So she ran to the Others in
rather a state, and asked them,

Then one of the Others fussed about in her pocket, and found it, saying,
"Well I never!—Now however did it get there?"
So Phyllis answered, pretty sharp,
"It got there because you put it there," and she ran off with the key.
But the Others stayed behind, and agreed secretly to dislike Phyllis.

BUT THE OTHERS AGREED TO DISLIKE PHYLLIS

Then Phyllis came to the boot-hole, and unlocked it.
And the boot-hole was a dear little place, very dark and dewy, with bricks
for the floor, and a glass-hole at the top with wire over it, so he couldn't get
out that way.
And it was furnished all round the walls with blacking bottles, and across
the middle with a knife-board done up in red powder by the King's
command, to make it comfie for him.
Then Phyllis tried to collect mannikin; only he wouldn't be collected.
So Phyllis said,
"Why?"
But mannikin only sat on his hands on the knife-board, with his back very
round, and said,
"Becob I won't," which wasn't a bit like mannikin, for though he was so
mischievous, he was very merry too mostly always.
Then Phyllis answered quite kindly,
"Then don't, my dear. I only thought it would make a little run for you."
But mannikin only said quite snappy,
"Goodness sake, go 'way."
So she went; locking the door behind her, to keep him good and tight.
And the real truth was that about a minute back the Commander-in-Chief
had crept into the back-yard in his slippers, and whispered mannikin through
the crack to tell him where the key was, and he would let him out to escape.
For the Commander-in-Chief knew that would get Tiny into an awful row
with the King.

So mannikin got in a fearful state, and ran up and down the door, and told
the Commander-in-Chief about the key on the nail in the kitchen, and to get
it quick! goodness sake quick!
Then the Commander-in-Chief crept to the back-door, disguised as a
milk-man, and peeped into the kitchen. And he found the nail, but no key on
it: for the key was in the pocket of one of the Others all the time—and a
good job, too.
So when the Commander-in-Chief saw he was disappointed of spiting
Tiny that way, he ran back to the crack, and spat, and swore most terribly,
while poor little mannikin cuddled away in the corner out of range.
And the Commander-in-Chief said he must report mannikin to the King
for trying to escape, because it was his duty: for the Commander-in-Chief is
head of the Policeman as well as of the Army in That Country.
And he went on about how he would never have believed it, never; and
how disappointed he was; and how he had hoped, and so on, etc.
And now, he said, however much it pained him, he must tell the King that
mannikin only grew worse and worse, and make His Majesty promise to
keep him tight in the boot-hole all his life for ever.
And after that he pretended to blub a bit outside the door to show how
grieved he was; and then turned away.
So poor mannikin found himself worse off instead of better, which is
often the way, if you try too much.
Only he soon got over it, and began to sing instead; for mannikin took
nothing to heart very much.
But the Commander-in-Chief shuffled away across the Common in his
bedroom slippers, very busy and bad.

26
Then Tiny grumbled some out of a book.
Only he didn't grumble it well: for he kept one eye on the book, and one
eye on the window, to see if the road was looking through the blinds.
But nobody was, only old Methuselah, who crossed the road, a foot at a
time, and leaned his head over the gate. And when he heard what was going
on inside, he closed his eyes, and bowed his head: for Methuselah was like a
lot more, he wanted people to think he was a deal pi-er than he really was.
Then, when that was done, and Phyllis and the Others had left the parlour,
Tiny just dumped down and gobbled porridge without a word.
So Baby sat behind the tea-thing and ate bread without butter, for she
didn't feel hungry. And when Tiny looked at her, and pretended he hadn't,
she looked back at him, quite kind and true.
And when Tiny saw that, he was so ashamed that he went worse than
ever, and gobbled till everything was all gone: so that he really had
something to grumble about now; which he did gladly.
Then Baby played music on the table behind the sugar-bowl; and she was
rather white, and rather tired; and she said.
"Very sorry, Tiny. Shall I ring for more?"
So Tiny snapped,
"Yes. No. What you like."
And when he had said that, he wanted to say sorry so bad that he thought
he would unless he left the room.
So he got up and went out quick for fear. And he put on his cap and his
cane, and went out of the front-door, and down the path joggle with his
knees to show don't-care-damb, which was quite a lie, because he did care a
lot.

Then Baby came to the door, and peeped at his back; and water stood in
Baby's eyes; and she said low,
"I'll tidy up, and have everything square by the time you get back, Tiny."
But Tiny just joggled, and pretended don't-care-damb some more.
Then Baby peeped; and her handkerchief was at her mouth; and she said
in a wee voice,
"Back for tea, Tiny?"
So Tiny answered,
"Dunno," and joggled down the path.
Then Baby gasped,
"Hope you will, Tiny-boy!" And she shut the door and ran, because she
was taken blubby bad.
And when Tiny heard that, he could not bear it any more, for you can't if
they keep on at it; and he thought,
"You are a darling! I am a cad."
And he stopped, and turned, and went back to the door as though he had
his seven league boots on, to say sorry I'm a cad, which he truly was.
But the door was shut.
Then Tiny ran up and down on his feet, and cried at the key-hole,
"Lemme in! lemme in! lemme in! O Baby! I do love you! Truly sorry!
lemme in!"
But it was too late then.
So Tiny stood outside the door and wished he hadn't. And that is what
Adam spent his time doing outside the Gates of Eden. And it is what most of

Open ing Spaces Design as Landscape Architecture 2nd Edition Hans Loidl

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