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building the american landscape - Univerza v Novi Gorici

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hazy bubble or a cloud, which has descended on <strong>the</strong> Sou<strong>the</strong>rn <strong>landscape</strong>. The<br />

horizontal progression of <strong>the</strong> project, less evident at first sight but highlighted by<br />

both <strong>the</strong> balustrade of <strong>the</strong> first‐storey gallery and by <strong>the</strong> enormous trabeation to<br />

close <strong>the</strong> giant order of façades, creates a strong spatial tension, notwithstanding<br />

<strong>the</strong> independent, autonomous shapes used [Figure 26].<br />

The significance of <strong>the</strong> <strong>landscape</strong> at Oak Alley House is well commented by Henry<br />

Plummer:<br />

While <strong>the</strong> house emanates in all directions through a permeable<br />

structure, <strong>the</strong> main axis of <strong>the</strong> site has been directionally shaped into an<br />

explosive shaft of energy. Tracing out <strong>the</strong> radius of a tight curve in <strong>the</strong><br />

Mississippi, which has made an arc around <strong>the</strong> front of <strong>the</strong> property, this<br />

line runs first from <strong>the</strong> river under a dramatic tunnel of oak trees, <strong>the</strong>n<br />

right through <strong>the</strong> main doors and hallway of <strong>the</strong> house, as well as <strong>the</strong><br />

upper veranda's balcony on <strong>the</strong> river world, out rear doors and through<br />

a less insistent alley of trees, and <strong>the</strong>n onward for over three miles along<br />

a farm road, under open skies and past neatly arrayed plots of sugar<br />

cane at ei<strong>the</strong>r side, to finally dissipate in an impassable Louisiana<br />

swamp. 47<br />

On top of <strong>the</strong> roof at treetop height is a terrace, acting as a belvedere and as an<br />

ideal watchtower, from which to contemplate nature and <strong>the</strong> surrounding fields.<br />

Oak Alley is <strong>the</strong> symbol of an aristocratic isolation from <strong>the</strong> city, <strong>the</strong> allegory of a<br />

rich landowning class, which was spending its final days with <strong>the</strong> impassive elegance<br />

of those who know <strong>the</strong>y are moving towards an inexorable decline.<br />

The significance of this large scale <strong>landscape</strong> in <strong>the</strong> vastness of <strong>the</strong> Mississippi Valley<br />

and of <strong>the</strong> lands of <strong>the</strong> Deep South highlights <strong>the</strong> complex intertwining of <strong>the</strong><br />

impulses of society, technology and politics of a specific, historical period.<br />

O<strong>the</strong>r recognizable elements of <strong>the</strong> <strong>landscape</strong> were <strong>the</strong> peculiar fencing, called<br />

warm‐fences or snake‐fences [Figure 42‐44]. Built with wooden poles or boards,<br />

<strong>the</strong>y edged <strong>the</strong> perimeter of <strong>the</strong> properties or <strong>the</strong> animal pens with <strong>the</strong>ir typical<br />

zigzag pattern. Particularly complex to make and requiring continual maintenance<br />

over <strong>the</strong> years, <strong>the</strong>se fences were constructed by taking advantage of <strong>the</strong> grooves<br />

and <strong>the</strong> superimposition of <strong>the</strong> poles to balance <strong>the</strong>m in an only apparently<br />

unstable way. Running for thousands of kilometres, <strong>the</strong>y were nearly completely<br />

47 Ibid. p. 48<br />

30

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