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All About IWAGUMI Layout

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An Iwagumi layout reflects the tradition, culture, and spirituality that have been cultivated over the long course of history, although it is modeled after natural scenery. This may be why it strikes a chord that resonates in the hearts of Japanese people. The number of Iwagumi enthusiasts is increasing throughout the world as Nature Aquarium gains popularity. In this feature segment, we are going to study the appeal and know-how of an Iwagumi layout from various angles.

All About IWAGUMI Layout

Photographs by Takashi Amano Text by Masatoshi Abe Tsuyoshi Oiwa Eriko Sekine

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Observing the nature

In real life, stones exist in natural environment. Therefore, everything one can learn from observing stones in nature, for example, the direction and angle of stones, and position with other stones, gives an idea of making a beautiful Iwagumi.

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IW AGUMINOTANKYU

Style
2003 W180D60H60

Style
1997 W120D45H45

Iwagumi Styles

This is the Sanzon Iwagumi style that forms the foundation of Iwagumi. The marked prese nce of an O yaishi (main rock) dominates the overall impression of the layout. The role of each rock is clearly defined in the composition as in Oyaishi, Fukuishi (secondary rock), and Soeishi (suppor ting rock). Rocks with a massive appearance, such as Hakkaiseki, are especially suited for this style.

2001 W120D45H45

Unlike in other Iwagumi styles, rocks are arranged in the image of a reef or bedrock instead of standing upright. E xpansive scenery with parts of an immense monolith exposed out of ground is easy to express in a horizontally long aquarium. A school of small slender fish gives emphasis further on the vastness of the scenery.

2003 W180D60H60

The establishment of Nature Aquarium was also the birth of the Iwagumi layout. Iwagumi layouts can largely be divided into a few styles.

2001 W180D60H60

2006 W180D60H60

Origin

Style
This is considered a separate Iwagumi style with a new twist in expression, although it still follows the basic compositional pattern. Layouts in this style are created with masterful rock arranging skill, such as a composition with a pair of main rocks or another with a novel rock arrangement using Ryuoseki.

1985 W120D45H45

2005 W180D60H60

2009 W180D60H60

2007 W90D45H60

2001 W60D30H36

This is a layout that was created with petrified wood, a piece that is not used much anymore due to its propensity to increase water hardness, to produce an impression of a highland. This Iwagumi layout, which was planted solely with Glossostigma, made a big splash when published in 1991.
1993 W60D30H36

Style
2002 W60D30H36

Amano created approximately 30 years ago. It was a simple layout created by arranging river rocks and planting solely with Echinodorus tenellus. According to Takashi Amano, while some people did not seem to be surprised very

f you trace Iwagumi layouts to their origin, you will find a layout that Takashi

Style
1991 W180D60H60

This is an Iwagumi style in which slender rocks are arranged in a radial pattern. Since rocks are arranged pointing upward and spreading outward, the shape of their tips is especially important. Rocks are arranged with careful attention to their angles and the balance with other rocks.

Style

While the composition of this Iwagumi style follows the Sanzon Iwagumi pattern of the style II, a different atmosphere is created with the use of cosmetic sand. Cosmetic sand can brighten up an aquascape or add a sense of depth, depending on the way it is laid. It also conjures up an image of Kare Sansui (Japanese dry garden style) built with white sand and rocks.

much by the layouts that he had created through

2002 W120D45H60

trials and errors up to that point, when they saw this Iwagumi layout, they seemed truly amazed by its unique and unusual beauty. Iwagumi layout style did not exist back then, and no one, including Mr. Mitsuo Yamazaki, the importer of E. tenellus, had any detailed information on the plant. It was truly an original creation by Amano

2002 W90D45H45

that no one had seen before. Ever since that time, various styles of Iwagumi layouts were introduced by Amano and the allure and

*The number below each photograph denotes the year the photograph was published.

fascination with Iwagumi layouts has increased.

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Arranging stones in a tank

Arranging stones in a tank based on what one has observed in nature is nothing but recreating the nature. With the arrangement of the stones, one can create a water flow in the tank.

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A
This aquascape exemplifies Nature Aquarium Iwagumi layout.

IW AGUMINOTANKYU

Iwagumi layout. The Hakkaiseki that are presented here are well-known viewing stones found at the foot of the Hakkai Mountains in Niigata. Those with the type of indentations called Mushikui are highly prized. Such well-shaped Hakkaiseki have the stately and

reating a layout using locally produced rocks is another great way to enjoy an

The substantial presence of Oyaishi

dignified presence of Oyaishi. These two Iwagumi layouts are the type of work that takes full advantage of the charm of Hakkaiseki. Both of the Iwagumi layouts were created using the same Oyaishi. The large panoramic aquarium above has two groups of rocks and the tall aquarium below has one group of rocks. Using two grouping of rocks makes it easier in general to create a composition in a horizontally long aquarium. The planting of a single type of plant, such as Echinodorus tenellus, works well to accentuate the presence of Hakkaiseki. The clean and simple composition of such a layout strongly brings out the spirituality of Iwagumi.
Top: The distinctive charm of Hakkaiseki is brought out by the dimples called Mushikui, which render unique shading in a layout. Bottom: The left and right balance is achieved in a panoramic aquarium using two groupings of rocks.

Hakkaiseki a renowned viewing stone A well-shaped Hakkaiseki has a commanding presence.

B
If the impression of Hakkaiseki as Oyaishi seems too strong, some plants, such as Eleocharis vivipara, should be planted in the background. Doing so can soften the impression of the rock.

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The Philosophy of Iwagumi

An interview with

nature had created. You have a lot of old books on Japanese gardens and rocks on your desk. Did you collect these books then? Yes. When I get interested in a subject, I have a tendency to pursue it to great depths from various angles, so I read a lot of books. I was interested not only in landscaping, but also in a wide range of things, such as Suiseki (the Japanese art of stone appreciation), Bonseki (the Japanese art of creating miniature landscapes on a black lacquer tray), and garden rocks. There is a limit to how much you can learn from aquascapes alone in terms of compositions and creativity. Since we are trying to create a layout and sublimate it into art, it is good to explore various fields. Speaking from a more general point of view, you mentioned in a seminar that the choice of aquatic plants vary depending on the perspective of an aquascape, such as, for example, an aquascape created in the image of a close-up view of a scene in a mountain stream or that of a distant view of a mountain range. What is the relationship between a composition and plants? You must be referring to the discussion on matching plants with the perspective of a composition, as in using aquatic plants with large leaves for a close-up view and using those with light colored leaves or fine leaves, such as stem plants, for a distant view. It is the same principle as the way scenery appears in photography. Although I generally have an idea whether it is going to be a closeup view or a distant view when I start creating a layout, its impression sometimes changes when the composition is finished, or it some-

times changes with planting. We need to be flexible when it comes to the expression of perspectives. You are quick and decisive when arranging rocks nowadays. When you were still new at creating Iwagumi, did you rearrange rocks many times? You cannot produce a good Iwagumi unless you work at a quick pace, building momentum. When you take time and think about it too much, it often turns into a dull and unnatural looking layout, lacking a sense of rhythm. However, there were times that I rearranged rocks this way and that way for hundreds of times. I often worked late into the night until I was satisfied and then found the work quite disappointing the next morning. Having experience and instinct sometimes count more than the artistic sense when arranging rocks. Although I think that the artistic sense is important in the end, it is important to first have confidence in your idea that rocks will appear this way when placed like this. When you gain experience and develop your instinct, you will gain speed and a sense of rhythm, which will enable you to create an unstable, difficult, and delicate composition that renders the powerfulness and the sense of stability of nature. It was about thirty years ago that you were in your 20 s. Internet did not exist back then and I believe that the information that you could obtain was somewhat limited. Developing your own concept of Iwagumi and sha ping the c onc ept into the prac tic al method must have taken a lot of time and efforts. That may be true, but on the other hand, such

Takashi Amano
Since the old days, rocks have been a product of nature in which people often find some special meanings. In Nature Aquarium, they have also been a type of material that is often discussed with reference to a philosophical element or profound spirituality. In this interview, we asked the founder, Takashi Amano, about the profundity and philosophy of the Iwagumi layout.
Spirituality and philosophy is often discussed in reference to Iwagumi layouts. When did you start getting conscious of such concepts in relation to Iwagumi? The material that I used for my first serious attempt at creating a layout with aquatic plants was, in fact, rocks. Iwagumi was already established about thirty years ago. I started getting conscious of the distinctive realm of rocks around the same time in my early 20s when I started looking at Japanese gardens. Many of the Japanese gardens were created as symbols of power or abstract images of nature rather than to recreate nature faithfully. However, they served as a useful reference in terms of the concept of Iwagumi. When did you consciously start studying rocks and their formation in nature? I think it was about the same time that I thought of studying the formation of rocks in nature. In the beginning, I went to rivers and looked at river rocks. Later, I visited various places and saw all kinds of rocks. Man-made gardens are full of exaggerated expressions, but rocks in nature are untouched and genuine. I might have been getting firsthand knowledge of the invisible law and order that

difficulties might have strengthened ones conviction in the past. It took a stronger resolve to get what you wanted than you do now. You can get just about anything quickly and easily nowadays. Abundant information may be making it difficult to develop the drive to pursue something to the end with strong conviction. Be it Nature Aquarium or ADAs products, I developed a burning desire to produce them myself because they did not exist at that time. Things are very convenient nowadays, but it seems that persistence may not be as necessary as before. It may sound like an exaggeration, but I believe that the same thing is true with Iwagumi. Although a lot of information is made available and many different methods are proposed, whats important in the end is how determined you are to create a good layout rather than how much information you have amassed. Especially in the case of rocks, ones efforts and passion are directly reflected in the work since it is a type of material that easily reflects the intention of a designer and does not allow any fudging or superficial cover-up. What kind of attitude is important to master Iwagumi? As I mentioned earlier, while its necessary to practice arranging rocks many times, it is important to develop the sense to look at things, not with your eyes, but with your heart, because there are many aspects of Iwagumi to consider such as rhythm, shading, stability, powerfulness, tranquility, Wabi, Sabi* and so on. (*Translators note: Wabi-sabi represents a

comprehensive Japanese world view or aesthetic centered on the acceptance of transience. Source: Wikipedia) How does one go about developing a sense for the spiritualit y and philosophy that Iwagumi possesses? Flexible mind-set is required for creating a layout as well, rather than making a faithful reproduction by thinking only about your know-how of the ratio and balance, you see. There are many hints hidden in something seemingly unrelated to things inside an aquarium. For example, the amazement and excitement that you feel when you come face to face with nature provides a spark for the originality or the natural feel of a layout. Or you may get a feel for the arrangement of rocks by watching rocks scattered in mountain streams. These intangible expressions that are often used for a layout, such as natural feel, flow or rhythm, can only be elucidated by replacing them with the senses you have within yourself. These senses are something you must develop yourself. The wider the range of experience you have with which to sharpen your senses, the wider the range of expression becomes. Of course, its important to do research and make efforts to understand practical methods to create a layout. No matter how many ingredients you gather, you cannot make a tasty dish unless you know how to cook them. I think it is important to develop in a balanced manner both practical skill through producing layouts and expressive ability, which is acquired indirectly. I feel that the process to master Iwagumi will make my own way of life more profound as well.

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The beauty of natural material

Stones are the objects created by nature, thus each one of them is unique and has the beauty of nature. By understanding such characteristics and optimizing their uniqueness and beauty, one can create an impressive Iwagumi layout.

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IW AGUMINOTANKYU

Because the layout is planted solely with low-growing Cuba Pearl Grass, the Iwagumi of Ryuoseki itself becomes the main subject in the layout and therefore requires an advanced rock arranging technique.

Another Joy of Iwagumi

Ryuoseki, with many variations in its expressions, is quite suitable for an Iwagumi created in the image of a rocky shore. Here are some examples for Sozo Haishoku (creative plant rearrangement) of such a layout.
hile plants will change their appearance with the seasons in a
Top: The combination of a sprawling rock arrangement and fine-leaved Cuba Pearl Grass can create scenery of vast expansive land. Bottom: Stem plants are shaped through trimming by using the ridgeline of the Iwagumi as the guideline for trimming.

Before

The outline and continuity of the ridgeline of an Iwagumi is important for this type of layout created in the image of a rock shore.

natural landscape, rocks have invariable existence. The same is true with an Iwagumi layout. Sozo Haishoku enables us to replace aquatic plants without changing rock work and enjoy a change in scenery. As shown in these two layouts, the impression of an Iwagumi layout changed with the use of stem plants in the background of the layout, which was previously planted solely with Cuba Pearl Grass. Cuba Pearl Grass is often used with Ryuoseki. This aquatic plant is easy to perform Sozo Haishoku with, as compared to other aquatic plants, since it does not root very deeply. Sozo Haishoku should be carried out by replacing the Aqua Soil used as the substrate without breaking up the Iwagumi. An Iwagumi layout will appear beautiful and well-balanced after the Sozo Haishoku because the original rock arrangement is solid and its composition is excellent, as demonstrated by this layout.
After
Echinodorus tenellus, which is planted between the rocks and the stem plants in the background, softens the impression of the Iwagumi. The rock arrangement functions as the framework of the U-shaped composition produced by stem plants in this layout.

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Expressing a series of stones

In the nature, stones do not exist by individual. If there is a stone, several stones of same kind exist around it, and in some cases, they are connected under the ground.

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IW AGUMINOTANKYU

Since Mantenseki is not a river rock, many of them tend to have this type of rough surface. However, their appearance varies greatly.

Green Neon Tetra with subtle hues goes well with the combination of warm-colored Mantenseki and Hair Grass.

Select Rocks with a Uniform Texture.

Left: The surface of a relatively rare Mantenseki with a rounded shape. When slightly covered with algae on the surface, it will have an appearance more settled in the life underwater. Right: A fast swimming Slender Tetra goes well in panoramic scenery with a wide, open space.

The appearance of the aquascape [02] right after Mantenseki were arranged. The small rocks were placed in the foreground to articulate details, and the small rocks toward the back add perspective.

Mantenseki has become easier to obtain and therefore more recognizable. Rocks should be selected not only based on their shape and size, but also for the uniformity of their texture as well.

01
An Oyaishi should be selected first, and then other rocks with the same or similar texture. When selecting an Oyaishi, check if there are other rocks that can be arranged with it.

02
This layout was planted with Willow Moss and Cobra Grass to accentuate the details created with the small rocks. The slightly visible rocks that are almost hidden by the aquatic plants add depth to the scenery.

among the fans of Nature Aquarium. The supply is stable at present and a variety of sizes are available at shops. The rock is often thought to lack variations in the expression as compared to other type of rocks, but this is not true. The basic rule is to use the rocks with the same texture for all the rocks, from Oyaishi, Fukuseki, and down to Soeishi. Otherwise, the

antenseki are well recognized as standard rocks for an Iwagumi layout

group of rocks lack uniformit y and look unnatural together. The two Iwagumi layouts above are both arranged with Mantenseki. The aquascape [01] was created with rugged Mantenseki with sharp edges whereas the aquascape [02] was created with rounded Mantenseki. Although many rocks are used, both layouts have natural and cohesive appearances since their rock arrangements are made of Mantenseki with uniform textures.

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A Harmonious Combination of Iwagumi and Stem Plants

An Iwagumi layout is occasionally produced in combination with stem plants. In such a layout, if the sense of scale produced by the Iwagumi is different from the sense of scale produced by the stem plants, the layout will appear strange. Since the foreground of a layout forms the close-up view and the background forms the distant view, the layout will have a more natural perspective if the close up view is expressed with Iwagumi and the distant view is expressed with stem plants. When the distant view is expressed with Iwagumi, it spoils the perspective and the layout will appear unnatural. A somewhat large space should be allotted for planting by keeping this in mind, if using stem plants.

DATA
Tank / Lighting system / Cube Garden W90D45H45 (cm) Grand Solar I (NAG-150W Green / NA Lamp 36W Twin 2) Lighting for 10 hours a day Aquatic plants / Rotala rotundifolia (Green) Rotala macrandra (Green) Rotala nanjean Rotala sp. Ludwigia arcuata Myriophyllum mattogrossense (Green) Echinodorus tenellus Glossostigma elatinoides Riccia fluitans Fish species / Trigonostigma hengeli Caridina japonica Otocinclus sp.

Filtration system / Super Jet Filter ES-600 EX, Bio Rio, NA Carbon Substrate system / Aqua Soil-Amazonia, Power Sand Special M, Bacter 100, Clear Super, Tourmaline BC, PENAC W for Aquarium and PENAC P CO2 system / Air / Additives / Water change / Water quality / Pollen Glass Large 30 3 bubbles per second with CO2 Beetle Counter Aeration with Lily Pipe P-4 (14 hours while lighting is OFF at night) Brighty K & Green Brighty STEP 2 1/3 water change once a week Water temperature: 25C; pH: 6.8; TH: 20mg/

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An Introductory Guide to
Special edition

For someone who wants to try an Iwagumi layout for the first time

Iwagumi Layout Procedure

Iwagumi

Each rock used in Iwagumi has its own name. There are special rules of Iwagumi, such as the way its substrate is laid and the order of rock placement. This section discusses the basics of Iwagumi that every beginner should know.

The names and functions of rocks

Fukuishi

2
Oyaishi

Soeishi

01
Suteishi

Lay a thin, even layer of the substrate.

Although the thickness of the substrate for a layout with driftwood is kept low in the front of an aquarium and increases gradually toward the back, the substrate for an Iwagumi layout is laid thin and evenly initially. This is different from the way the substrate is laid in other layouts.

02
POINT!

Arrange Oyaishi according to the golden ratio.

It is the cardinal rule to start an arrangement by placing the Oyaishi first. An attractive and well-balanced Iwagumi can be created by placing the Oyaishi following the golden ratio of 1:1.618 (roughly 2:3).

Soeishi

POINT!

Mound soil Mound soil

Oyaishi

Fukuishi

Soeishi

Suteishi (a sacrificial stone)

It is a small rock that does not stand out in the overall arrangement of Iwagumi, and it may even b e c ome hid den by aquatic plants occasionally. Its presence has a subtle, simple elegance.

This is the primary rock in Iwagumi. It is the largest rock as well. Select the best one in terms of shape and character. Its height should be approximately 2/3 of the height of an aquarium.

This is the second largest rock and is placed on either left or right side of the Oyaishi. Select a rock with the same or similar texture as Oyaishi to give uniformity to the overall Iwagumi.

It is smaller than Fukuishi and is placed next to the Oyaishi, along with the Fukuishi. It plays a key role in the flow that the Oyaishi creates by bolstering the presence of the Oyaishi or accentuating the strength of Oyaishi.

03
POINT!

to the smallest in descending order of size.

Arrange the remaining rocks from the largest

What is Sanzon Iwagumi? five, or three?

It is the most basic composition of Iwagumi in which the largest rock is placed in the center and a smaller Fukuishi and Soeishi are placed to the left and right of the Oyaishi. This type of composition is called Sanzon Iwagumi due to the resemblance of the rock arrangement to Buddhist triads.

Should the number of rocks be seven,

Why is the Oyaishi tilted?

While Sanzon Iwagumi in Japanese gardens, such as those in the dry garden style, often appears upright, the Oyaishi in Nature Aquarium is placed in an angle to express the flow of water by appearing to bear the force of the water.
Flow of water

It is considered good to have an odd number for the rocks that play the major parts in scenery. An even number of rocks tends to look symmetrical or makes scenery appear split. Iwagumi looks more attractive if the center of the balance is somewhat shifted to one side or the other.
An even number of rocks tend to split evenly.

Following the placement of Oyaishi, remaining rocks are placed in descending order of size: Fukuishi first, then Soeishi, and Suteishi last. The positions of rocks are decided by watching the balance of the angles and orientations of the rocks.

04
POINT!

Finish the substrate by mounding soil.

Mound soil by spreading additional Aqua Soil over the existing substrate using a small plastic container. Let some Aqua Soil flow in between rocks to produce a sense of continuity. Finish the substrate by spreading powder type Aqua Soil over the mounded soil.

A key point for planting

Since aquatic plants can sof ten the strength of rocks, aquatic plants are used to create a balance in the strength among the rocks. Low-growing plants are used to a c c e n t ua te the d et a il s of a r o c k arrangement. Planting aquatic plants next to or in-between rocks is key for enhancing the natural feel of the layout.

Having an odd number of rocks prevents the even split.

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Nature Aquarium information magazine

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Published by Aqua Design Amano Co.,Ltd.

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