It seems to me, lacking an intimate knowledge of the site section, that the form suggests a natural amphitheatre where sight lines are concentrated toward a focal point and form the ‘desire lines’ a walker will take to reach the goal his eyes have glimpsed.

The destination itself should be ‘vaut le voyage’; a space or ‘theatre’ of drama where one encounters an exciting spectacle, what some people call the ‘wow factor’. (Think of the Chatsworth water spout, the water filled parterres of Gamberaia or the Temple of Worthies at Rousham) ; where one observes or is observed; where visitors themselves become the actors in the drama; where the backdrop of plants sets the mood and adds to the pleasure of the stage. Whatever form it takes, perhaps not so grand, the garden will be identified with it and remembered for it.

The importance of this focal point is paramount. It fulfils the promise of future pleasure anticipated on entering and would become the highlight of the garden visit.

I think that your pattern of ‘desire lines ‘ is on the right track as it were. I agree that there should be ‘fast lanes’ on both sides of the amphitheatre for people who are hell bent on reaching their destination as fast as they can, but for those who are willing to defer their gratification, who are neither so fit nor able to walk, a transverse, easy , slower route is a good idea along which to enjoy the planting.
The points of concentration where the fast and slow lanes intersect will provide opportunities for dramatic planting. When you come to judge the competition, it will be these areas of concentration which will help you to identify the style of the planting intended by the competitor.

I entered an Italian hill garden from the high ground one time, to behold set before me a comprehensible plan of the garden enticing me to explore. This I did, to experience the awakening of the senses of sight and smell which afford such pleasure; Penny calls it ‘happiness’ and I agree.
I don’t know how you feel, but I love this process of objective and subjective appreciation which you only encounter with hill gardens.

I do think that you have the skeleton of a garden layout, which will, with some clarification, suggest points and special spaces where the planting can accentuate the sense of location and mood and make evident what function the planting is performing.

A garden is not natural. It is a representation of Nature which in any given period will
hold up for scrutiny a particular attitude towards the relationship of man and Nature.

In any period I would agree that:

‘ It is the greatest refreshment to the spirit of man; without which, buildings and palaces are but gross handyworks’ (Bacon, OF GARDENS)

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