5 days in Adelaide, Australia- 5/17- 5/21/2024

Day 5-Adelaide Botanic Garden continuation-5/21/2024

First Creek Wetland locate south-east corner, helps the community learn about wetlands, how they work and why they’re important for maintaining healthy environments, especially urban ones. The garden exposes visitors to new plants and a function of plants they may never have considered.

The body of water beneath the bridge is part of the First Creek system, which flows from the Adelaide Hills and through the Botanic Garden’s south-east corner before joining the River Torrens. First Creek Wetland also forms an important part of the water security plan and long-term sustainability of Adelaide Botanic Garden. By 2022 it’s hoped First Creek Wetland will be able to recover up to 100ML of water a year from the underground aquifer, enough to irrigate the entire Adelaide Botanic Garden.

From where we are standing on the First Creek Wetland bridge, the scene beautifully layers the garden’s themes, in front is the modern wetland with reeds and still water reflecting the cloudy sky, and beyond it, the gleaming glass and steel arc of the Conservatory. From the bridge, the dome almost seems to float above the trees. The reflection of the structure on the water, surrounded by reeds and native plants, creates a beautiful contrast between nature and design, like water, glass, and sky all blending together.

Near the Bicentennial Conservatory is the Nymphaea Lily Pond with a modern green sculpture that’s part of the garden’s contemporary art installations.

The sculpture is a large, abstract green form rising from the water is called “Cascade” by artist Greg Johns, an Australian sculptor known for blending organic shapes with landscape elements.

The piece was installed to complement the reflective lily pond and the Conservatory’s curved architecture. Its smooth, twisting form and green patina echo the fluid shapes of plants and water, while its placement in the pond gives it a feeling of both motion and stillness, like something growing out of the basin itself.

The Bicentennial Conservatory was opened in 1989 to celebrate Australia’s Bicentenary.

 Designed by architect Guy Maron, it’s the largest single-span glasshouse in the Southern Hemisphere measuring 328 ft. long, 154 ft. wide, and 88 ft. high. Its curving, transparent form was inspired by a tropical leaf, and it houses plants from northern Australia, Southeast Asia, and the Pacific islands, all thriving in the warm, misty interior.

Inside the Bicentennial Conservatory, the first thing that captures you is that bright blue ramp curving upward through layers of lush green foliage.

The ramp was designed to lead visitors gently upward, so that visitors can experience the rainforest canopy from different heights, from the forest floor at the entrance to the upper walkway where the leaves nearly touch the glass.

The tall glass ceiling, soaring up to 88 feet, fills the entire space with diffused light even on a cloudy day. The air feels warm and humid, and everywhere you look are tropical trees, ferns, and epiphytes growing in dense profusion.

Looking up, the tree’s crown nearly brushes the glass panels, its leaves silhouetted against the grey sky beyond. The effect is both awe-inspiring and peaceful,  a feeling of being deep in a tropical forest while still in the heart of the city.

The Port Jackson fig is famous for their buttress roots, enormous, flaring roots that crawl and twist across the ground, anchoring the tree in shallow soils and spreading far beyond the trunk. The roots look like sculpted waves or the limbs of some ancient creature gripping the earth.

The Port Jackson fig, native to the east coast of Australia, can grow over 98 ft. tall with a canopy that spans more than 164 feet. It thrives in the warm, humid environment of the Conservatory and Australian Forest area, where the filtered light and moist soil mimic its natural rainforest habitat.

The Queensland Bottle tree is famous for its bulbous trunk, which swells near the base like an enormous bottle or water storage vessel. This unique shape allows it to store water in its fibrous trunk, an incredible adaptation to survive drought in Australia’s semi-arid inland regions. As the trunk rises, it tapers gracefully, giving it that “fat-at-the-bottom, slim-at-the-top” silhouette.

Its bark is smooth and greyish-brown, and depending on the season, you might see small clusters of cream or pinkish flowers along the branches. Even without leaves, the sculptural form of the trunk stands out, it looks ancient and wise, almost like a living sculpture shaped by the land itself.

The Wisteria Arbor in the fall have mostly lost their leaves and the brilliant spring flowers are gone, the area retains a gentle elegance. The yellowing leaves that remain create a soft, warm carpet on the ground, and the bare vines twist along the arbor’s trellis, their sculptural forms standing out against the sky. The structure itself,  a series of wooden or metal arches,  gives a rhythmic framework to the space, drawing your eye along the path.

The contrast between the pale autumn sky, the muted yellow foliage, and the dark, twisting vines makes the arbor feel almost meditative.

The beauty of fall here isn’t just in the individual trees, but in the contrast and layering of colors. The deep, steady greens of evergreens, Moreton Bay figs, conifers, and shrubs sit alongside golden ginkgo leaves, amber plane trees, and the warm tones of wisteria and maples. This creates a natural tapestry of color that changes with every step.

The Palm House was constructed in 1877 and is one of the few remaining Victorian-era glasshouses in Australia. Its cast-iron frame and glass panels create a delicate, airy structure that’s both elegant and functional. The recent restoration has refreshed the ironwork and glass, preserving the heritage features while ensuring the house continues to function as a living botanical exhibit.

The front of the Palm House is one of the most elegant and distinctive sights in the Adelaide Botanic Garden.

 As we approached, a grand glasshouse standing proudly amid the greenery, its arched façade made almost entirely of clear, delicately framed glass panels supported by intricate blue-painted ironwork. The structure is symmetrical and graceful, with a central domed roofline and tall, curved windows that glisten softly, even on a cloudy day.

The entrance itself is framed by ornate iron columns and decorative trim, a hallmark of Victorian design. The blue-and-white detailing adds a fresh, airy contrast to the surrounding garden’s autumn tones.

Walking inside, you can admire tall palms stretching toward the ceiling. We are now in the Palm House courtyard area, it’s one of the charming architectural features of the restored glasshouse.

The floor tiles in brown, black, and white are arranged in geometric patterns, giving the space a classic Victorian feel and complementing the wrought iron and glass structure above. The stairs leading to the back guide visitors toward the elevated sections of the Palm House, allowing a closer view of the taller palms and other tropical plants that thrive in the higher levels.

The courtyard itself often serves as a transitional space, blending the open-air Victorian elegance with the lush tropical interior, while the tiling and layout echo the heritage design. It’s a subtle but beautiful example of how the garden combines architecture and horticulture, making every corner visually interesting even before you reach the main plant displays.

Looking up, the glass ceiling soars above, framed by the restored cast-iron structure. The panes of glass let in soft, natural light, illuminating the lush green palms and tropical plants below while casting delicate shadows on the courtyard tiles and stairs. Even on a cloudy day, the ceiling makes the space feel airy, bright, and open, enhancing the sense of being in a Victorian-era greenhouse filled with life.

The heritage-style fountain, crafted from stone, with a simple basin and gentle sculptural detailing that fits the Victorian aesthetic of the Palm House. Even if small, the sound of trickling water brings life and movement to the courtyard, creating a peaceful, meditative atmosphere amid the lush tropical greenery. The fountain also acts as a subtle focal point, drawing your eye toward the center of the courtyard while complementing the geometric tiles, ironwork, and glass ceiling above.

View of the Courtyard from the back. From this vantage point, you can really appreciate the engineering and artistry of the building , designed in 1875 by German architect Gustav Runge, and imported piece by piece from Bremen, Germany. It’s not only one of the oldest surviving glasshouses of its kind in the Southern Hemisphere, but also one of the most beautifully restored, a perfect blend of heritage, light, and tropical life.

We are now getting into the garden by going through this blue stained glass door that immediately catches the eye, giving the entrance a sense of ceremony and artistry. Even in soft light, the deep blues glow subtly, creating patterns of colored light on the floor as you pass through. The glasswork likely features geometric or floral motifs, reflecting the Victorian-era love of combining architecture, craftsmanship, and natural motifs.

Stepping through that blue stained-glass door into the garden feels almost like crossing into a hidden sanctuary.

The garden is made of lots of exotics plants that thrive in this carefully balanced microclimate.  It is tranquil, timeless, and beautifully designed.

This is the view of the Palm house from the garden.  From this angle, the iron framework, painted in that distinctive shade of pale blue, stands out elegantly against the plants, giving the building a light, lace-like appearance. The arched roof and symmetrical form look almost ethereal, like a crystal pavilion nestled within nature.

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