Landscape – Great Idea! X-LArch III - Department für Raum ...

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132 Fig. 02: Llorca Stéphanie, AXYZ Design [Image Synthesis]. Floodable Square, Bordeaux, France [2006]. Urban Landscape: New Tendencies, New Resources, New Solutions. Ed. Benitez, C. P. [2007] Barcelona, Loft Publications. one create a place or landscape condition that informs and stimulates discourse on contemporary urbanism and landscape artistic expression? How far can human manipulation of the environment go with parallel advancements in technology, and the pressing environmental conditions? As proposed by Charles Waldheim [in The Landscape Urbanism Reader/A Reference Manifesto], is landscape the filter through which the contemporary city is registered? And if so, what is the currency of transaction between urbanism, architecture, landscape, and contemporary art at the beginning of the 21st Century? On the issue of currency between art, architecture, and landscape, its quite clear that landscape architects are enjoying a renewed degree of visibility and relevance in an expanding sphere of contemporary practice, which today includes the design of remnant urban voids, postindustrial brown-field sites, large-format public works, urban infrastructural facilities and landfill amelioration projects, As a consequence, landscape architects are now acquiring a broad range of skills and are increasingly drawing on other mediums, and in the process are collaborating with installation artists, architects, urban theorists, forest ecologists, historian, and civil and environmental engineers. This sophisticated form of practice – places emphasis on conceptual imagination, critical insight and technical innovation – have continually pushed the boundaries of contemporary landscape architecture, seeking new design practices and solution’s that combine aesthetic beauty with ecological sensitivity. Nomadic Museum on Manhattan’s historic Pier 54 [1999], [Figure 01]; Performing Arts Center Plaza, Memphis, United States, Acconci Studio [2004]; Webb Bridge, Melbourne, Australia by Denton Corker Marshall and Robert Owen [2003]; Urban Lounge, St. Gallen, Switzerland by Carlos Martínez and Pipilotti Rist [2005]; West 8’s Carrasco Square, Amsterdam; Schouwburgplein, Rotterdam, Netherlands [1990-97]; and Cypress Swamp Garden, Charleston, U.S.A [1997]; and La Voie Suisse, Uri, Switzerland by Georges Descombes [1999]; and Les Buission Optiques, Niort, France by Bernard Lassus [1993]. But from a polemical standpoint, they forecast the promise of visionary-criticality in an expanding sphere of speculative inquire into what is landscape/architecture? As with conceptual art, the boundaries of landscape are not at all clear. Describing a similar situation in conceptual art, Paul Woods has written: “Why produce a form of visual art premised on undercutting the two principal characteristics of art as it has come down to us in Western culture, namely the production of objects to look at and the act of contemplative looking.” [Wood, 2002: 6]. In the case of The CCA/Patrick Dougherty Collegetown Installation [Figure 03], the project challenges both the assumed role of public realms as territory for cultural experimentation, and the role of contemporary art practice in the transformation of public space. Dougherty’s site-specific sculpture encompass architecture and landscape, engaging unique conditions associated with interior and exterior spatial environment, horticultural and structural engineering. The large-scale sculptures such as Whim Wham [Laumeier Sculpture Park, 1992], Crossing Over [American Craft Museum, 1996], Full Court Press [Munson-William-Proctor Arts Institute Museum of Art, 2001] and Na Hale O Waiawi [Contemporary Museum/Honolulu, 2003] are fluid expression of notational lines in space, resulting in a threshold were architecture, art and landscape merge, producing a sculptural hybrid-folly constructed with large branches Fig. 03: Mugura Julie, Patrick Dougherty: Half A Dozen Of The Other, Cornell Council of the Arts [CCA] Installation, 2006-07. The projects that have resulted from these collaborations are functional, adaptive and artistically crafted; and illustrate the creative genius and material qualities imbedded in “great ideas”; and how “great ideas” can reinvigorate urban voids, or marginal leftover antispaces. Projects like Floodable Square, Bordeaux, France by JML Arquitectura Del Agua [2006], [Figure 02]; Patrick Dougherty’s CCA Collegetown Installation, Ithaca, New York [2006-07]; Shigeru Ban’s 45,000 square-foot
133 and woven maple, dogwood and willow saplings. In every case, Dougherty’s work exhibits individual sensibility, stylistic consistency, and a complexity grounded in spontaneous imagination. The saplings act as fluid fractals and enigmatic metaphors, as in Peter Eisenman’s computer renderings for the Staten Island Institute for Arts and Sciences and the curved trace for the Aronoff Center for Design and Art, University of Cincinnati. In both cases, as in Richard Serra’s work, the reference to contextualism is generated by vacillating waves, modulation and torques. In a peculiar way, Serra and architects such as Frank Gehry and Greg Lynn, have prepared the way for artists such as Patrick Dougherty to participate in contemporary art and architecture discourse. Specifically, The Spin Offs installation at the De Cordova Museum and the Sittin Pretty installation at the South Carolina Botanical Garden are examples of Dougherty’s use of architectural symbolism and spatial type as a starting point of riffs that take the mind and body to another place – essentializing the spatial aspects of architecture while undermining its fundamental requirements of sculptural form. Experiential differences between these sculptures and “actual architecture” are brought into tension, forcing the viewer to re-evaluate normative, or mainstream architectural structure – including norms for traditional landscape transformation. The success of the speculation lies in the insertions ability to resist the normative conditions in the urban-void, by recasting its visual qualities in relation to conditions of its physicality – consequently, affecting the ways in which the urban-void is used and experienced. As projects, these landscape insertion serve as compelling visions for a new way of thinking about the role of contemporary art in urban landscapes, and the role of landscape architect as curator and urban-protagonist. The projects engage themes of the relationship between landscape and architecture and borrow expressions from the genre cotemporary artistic practice, including non-normative modes. In describing this phenomenon in contemporary landscape/architectural practice, Moshen Mostafavi has written: “ The temporality of landscapes renders them forever incomplete, and this incompletion can be seen as an antidote to the implicit finitude of zoning … As a framework for the imagination, landscape produces new insights in response to the contemporary urban situation. It allows one to describe that territory in terms of an equal, although artificial, dialogue between building and landscapes. Yet this dialogue is not limited by the traditional definition of the terms ‘building’ and ‘landscape’, it allows for the simultaneous presence of the one within the other, building as landscape, landscapes as buildings. And in this lies the potential to redefine the parameters of each discipline – architecture and landscape architecture – in relation to each other. By forcing us to rethink fundamental questions such as “what is building? And what is landscape? These new hybrids add to the existing repertoire of material elements with which we construct future urbanisms” – reference to the consummation and mutually beneficial association that could ferment between architecture and landscape in the form of landscape urbanism. [Mostafavi 2003: 07]. This emergent shift in disciplinary alignment represents an adjustment in tactics of disciplinary appropriation, operational strategies and an evolving philosophy in the planning, design and development of human environments. With development pressures, and more than half the world’s population now residing in cities, it is more imperative than ever to develop inventive and imaginative solutions, and in some cases more temporalized interventions that reframe the context of realities in the urban landscape – where the urban void is an active and adaptive surface open to [re]vision and [re]envisioning. Thus, the notion of temporality – or in the case of this essay and study-project, temporality as agency in the [re] writing and [re]covery of urban void[s] – merits critical consideration in a medium that is dynamic and subject to the unpredictable forces and accelerant of change, both visible and invisible. In considering the works of Merleau-Ponty [Phenomenology of Perception], J.J. Gibson [The Ecological Approach to Visual Perception], Walter Benjamin [illuminations], and John Whiteman [Criticism, Representation and Experience in Contemporary Architecture]; and the subject of “Temporality in Landscape” Corner has written: Because ones relation to things are in “dynamic flux”, one never experiences the same experience without variations in conditions and meaning – which means that the symbolic meaning associated with landscape and architectural space shifts as “conditions of the experience” evolve [Corner 1992:148]. Reflecting on this complex condition, described as “dynamic temporal” in his major text on existentialism [Being and Nothingness], John-Paul Sartre has written: “observing temporality more closely we establish the fact of succession; that is, the fact that a particular after becomes a before, that the present becomes past and the future a former-future… The future is the continual possibilization of possibles…” [Sartre 1994: 129]. A fact recognized by Willem Jan Neutelings in describing the ‘paradoxical phenomena’ found in most European cities. He has written: “ the programmatic density does not lead to a high building density as in traditional city centers. A minimum of spatial facilities can create a maximum of mass events. A ‘roped-off’ field is sufficient for huge spectacles; a few letters on the side of a shed can pull a vast crowd; a section of raised motorway can become a market kilometers long, a black carpet with white stripes, is the daily stage for a choreography enacted by hundreds of thousands.” [Neutelings 1994: 59]. Papers
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University of Natural Resources and
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Authors of the papers are fully res
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3 Day 2 Thursday, April 30, 2009 Se
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6 The “Landscape-Infrastructure
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8 a) b) Fig. 2 : Study of the perme
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10 Endnotes [1] Bernetti, Casini, M
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12 Urban landscapes need great idea
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14 the term “overall expression
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16 Fig. 2: Initial overall pictures
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18 Evaluation of Open Space Form an
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20 Fig. 5: Other vegetation This st
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22 Type of activity: • Exercise/p
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24 Landscaped, Modern, or Social? T
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26 Fig. 2: Rose and Perennial Show
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28 Herbert Bayer’s Megastructures
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30 a large extent the Japanese deve
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32 A Fertile Wilderness: The CPR’
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34 Fig.3 as their destination. The
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36 The Method of Structuralist Land
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38 Fig. 2: SLA implements gender eq
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40 Landscape Evaluation Process. A
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42 systematic application of certai
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44 holders (as Piemonte Region, Riv
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46 Frameworks - Preparing rural lan
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48 The issues are organized into fa
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50 Do Landscape Architects make the
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52 within the larger landscape piec
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54 Landscape as Urban Structure: th
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56 city extension area but also in
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58 housing neighborhoods. Construct
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60 “massive change, required - ni
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62 architecture’s ability to conc
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64 cape Journal 6 (1): 4-12 Jackson
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66 Green Idea/Grey Reality Carl Smi
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68 argument was put forward for omi
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70 Green Streets Potential for Down
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72 size of rain garden through the
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74 Climate Change asks for Sustaina
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76 Fig. 2: Simplified example (livi
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78 Sustainability in Park Design -
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80 Fig 2: Integrative Design Approa
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Page 88 and 89: 86 Endnotes [1] Anyone interested i
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Page 110 and 111: 108 Exploring a New Mode of Sustain
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Page 114 and 115: 112 Structuring the Concept of Land
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Page 130 and 131: 128 The traditions of landscape sch
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Page 164 and 165: 162 Kevin Lynch’s Openness of the
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