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142 Fig. 3: Paley Park is an interstitial garden, inserted in the urban fabric different city?” (Rohmer 2007: 160) The pocket parks already existed as defined spaces, before they were turned into pocket parks. Yet they were invisible and useless. All they needed was an architectonic transformation to make them act as open space in the perception of the urban landscape. Hidden Landscapes Paley Park could be called an ‘Interstitial Garden’, an interstice, a crack hidden in the urban fabric, inserted into the living tissue of the city and closely related to a highly urban context [Fig. 3]. The expression of the landscape in these leftover spaces, is implicit, hidden. But to define spatial nodes in the montage landscape of the metropolis we need to look for different types of gardens. Whereas the spatial definition of Paley Park is predetermined and the position coincidental, in an exurban situation the garden has to create its own space and the position can be deliberately chosen. Such as the Swamp Garden that West8 Landscape Architects designed for the Spoleto Art Festival in 1997 [Fig. 4]. This exhibition garden is made in the silent, unpeopled cypress filled swamp landscape 40 kilometres from Charleston: an enclosure, a framework with steel wires, hung with Spanish Moss. Inside you find the same black water, water lilies and cypresses as outside, but the frame enhances the landscape and brings it to attention. This type of garden accentuates a crucial point in the landscape, creates spatial relationships, functions as a field glass enlightening the hidden logic of the context. In many situations the proportion between built and unbuilt is less unequivocal. The garden of the Fondation Louis Jeantet in the outskirts of Geneva brings a 19th century villa into accordance with its radically changed surroundings [fig. 5]. The garden is cut out of a monolithical socle, which gives the villa an address to the main road while at the same time hiding the traffic from view. The interaction between garden and socle negotiates the position on a sloping site, as well as the scale difference of the villa and the surrounding high-rise. Viewing from the villa the garden provides a representative front parterre, seen from inside the garden it becomes an intimate entrance space. Fig. 4: the Swamp Garden creates its own space These examples give a glimpse of a possible typology of Hidden Landscapes. Although the different types still need to be determined, their unifying aspect begins to present itself. They are defined spaces in a continuous field, as well as anchor points to the landscape topography. The simplified, emblematic and abstract image, the strong visual unity underpins their autonomy. This ideal, cultivated image can either be a paradisiacal nature, as in Paley Park and the garden of the Fondation Louis Jeantet, or an expression of the physical surroundings, as in the Swamp Garden. At the same time it is a contextual space, that enters into a physical and visual relationship with its surroundings. Such spaces are indissolubly bound to the (urban) tissue, originate from it, and at the same time are essentially ‘other spaces’, contrary to their surroundings “in such a way as to suspect, neutralize, or invent the set of relations that they happen to designate, mirror or reflect.” (Foucault 1967:3) But the essential expression of the tension between autonomy and contextuality - the quintessence of the Hidden Landscape - is the boundary. The enclosure is both the condition to create an autonomous space, as the connection to the outside, a reflection of the world on the other side. However impenetrable the boundary, physically and visually, there is always an infection by one side of the border of the other, there is a becoming otherwise of each of the terms thus bounded. As a result the boundary, that which defines the space, differs in each situation and the typology of Hidden Landscapes will have to be based on the spatial, compositional relations with the physical context. Fig. 5: the garden of the Fondation Louis Jeantet negotiates between building and landscape
143 Endnotes [1] Every landscape architectonic composition can be broken up in the layers of basic form (or layout, resulting from the geometric rationalisation of the topography), spatial form (architectonic treatment of the landscape ´s three-dimensional space), visual structure (in which the relation between culture and nature is expressed) and programme form (spatial organisation and interpretation of the programme). [2] In his time-lapse photo analysis of park users conducted in 1980 the sociologist William H. Whyte concluded that the park was the most heavily used open space, on a square-foot basis, in all of New York City. This is still the case, thanks to its position in the centre of the business district, to the living room-like atmosphere and the kiosks in the corners, but also to the intensive maintenance, a permanent and impressively uniformed guard and gates that close after office hours, thanks to the ample funding of the private Paley Foundation which owns the Paley Park. [3] The notion of the constellation as a spatial strategy for an urban problem was introduced by Liane Lefaivre in her analysis of the playgrounds Aldo van Eyck created for the city of Amsterdam in between 1947 and 1974 (Lefaivre 1999) [4]These polycentric constellations are to be found all over the world: the residential courtyards of St. Petersburg, the pocket parks of Barcelona, the playgrounds of Aldo van Eyck in post-war Amsterdam. References Aben, R. & De Wit, S. (1999): The Enclosed Garden; History and Development of the Hortus Conclusus and its Reintroduction into the Present-day Urban Landscape. Rotterdam: 010 Publishers. Augé, M. (1995): Non-places; introduction to an anthropology of supermodernity. London: Verso. Foucault, M. (1967): On Other Spaces. Unpublished. Geuze, A. (1995): Adriaan Geuze/West 8: Landscape Architecture. Rotterdam: 010 Publishers. Grosz, E. (2001): Architecture from the outside; Essays on Virtual and Real Space. Cambridge, Mass: MIT Press. Kayden, J.S. (2000): Privately owned Public Space. The New York City Experience. New York: John Wiley&Sons. Lefaivre, L. & Tzonis, A. (1999): Aldo van Eyck; Humanist Rebel. Rotterdam: 010 Publishers. Rohmer.M. (2007): Bouwen voor de next generation. Rotterdam: NAI Publishers. Steenbergen, C. e.a. (eds)(2002): Architectural Design and Composition. Bussum: Thoth Publishers. Steenbergen, C. & Reh, W. (2003): Architecture and Landscape. Bussum: Thoth Publishers. SteenbergenC. (2008): Metropolitan footprints. Architecture Annual 2006-2007. Rotterdam: 010 Publishers. Whyte, W.H. (1980): The social life of small urban spaces. Washington, DC: The Conservation Foundation. Papers
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