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building the american landscape - Univerza v Novi Gorici

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about very soon became a symbol of life on <strong>the</strong> frontier. These places came very<br />

close to <strong>the</strong> definition of cultural <strong>landscape</strong>s given by <strong>the</strong> World Heritage<br />

Committee of UNESCO. The great American spaces referred to ultimately represent<br />

“<strong>the</strong> combined work of nature and of man” 3 ra<strong>the</strong>r well.<br />

On <strong>the</strong> one hand, <strong>the</strong> nomadic <strong>landscape</strong>s of <strong>the</strong> Native Americans, on <strong>the</strong> o<strong>the</strong>r<br />

“<strong>the</strong> machine in <strong>the</strong> garden” 4 , <strong>the</strong> modern technology of <strong>the</strong> means of<br />

transportation, which burst into <strong>the</strong> wilderness, moving <strong>the</strong> border of civilization<br />

forward a little more every day.<br />

The most sophisticated American intellectuals believed this relationship between<br />

man and nature was developed by giving life to <strong>the</strong> so‐called transcendentalist<br />

movement, which was probably <strong>the</strong> most interesting and au<strong>the</strong>ntic philosophical<br />

contribution to <strong>the</strong> definition of <strong>the</strong> concept of <strong>landscape</strong> in America.<br />

A new conception of man matched a new vision of <strong>the</strong> world and nature, in o<strong>the</strong>r<br />

words nature circumscribed a new model of <strong>the</strong> individual with precise artistic and<br />

intellectual interests. As mentioned previously, it was not only <strong>the</strong> philosophers<br />

who expressed <strong>the</strong>ir considerations, but also artists, men of letters, politicians and<br />

<strong>landscape</strong> architects. Our interest is to all of <strong>the</strong>m.<br />

In this respect, it must be said that <strong>the</strong> most important study, <strong>the</strong> most precise<br />

analysis ever made, on which this research is based, was <strong>the</strong> book by Leo Marx<br />

entitled The Machine in <strong>the</strong> Garden: Technology and <strong>the</strong> Pastoral Ideal in America<br />

(1964), which somehow gravitated around <strong>the</strong> image of <strong>the</strong> painting by George<br />

Innes, The Lackawanna Valley (1855), but which had <strong>the</strong> defect of not lingering on<br />

<strong>the</strong> <strong>landscape</strong>/architectonic experiments and on <strong>the</strong> problem of <strong>the</strong> frontier,<br />

dwelling at length instead on <strong>the</strong> literary and poetic aspects.<br />

In <strong>the</strong> course of <strong>the</strong> following year, <strong>the</strong> large amount of research, which followed,<br />

privileged instead <strong>the</strong> analysis of problems which were more strictly urban. The<br />

historical studies by John William Reps on <strong>the</strong> birth of <strong>the</strong> American cities<br />

represented <strong>the</strong> prevailing trend in <strong>the</strong> sixties and seventies of <strong>the</strong> last century<br />

3 Operational Guidelines for <strong>the</strong> Implementation of <strong>the</strong> World Heritage Convention. UNESCO, World<br />

Heritage Centre, Paris, 2005, p. 83<br />

4 MARX Leo, The Machine in <strong>the</strong> Garden. Technology and Pastoral Ideal in America. Oxford, Oxford<br />

University Press, 1979 [first ed. 1964] (Italian translation La Macchina nel giardino. Tecnologia e<br />

ideale pastorale in America. Roma, Edizioni Lavoro, 1987)<br />

5

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