Boults Е. Illustrated history of landscape design

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227

20th CENTURY

POSTMODERNISM

Landscape architects Alain Provost

and Gilles Clement took a different

approach to their design of Parc André

Citroën (1992), built on the site of a

former car plant on the outskirts of

Paris. Organized by precise geometry,

the 35-acre park might be understood

as a bold, minimalist interpretation of

a 17th-century French formal garden. A

large central lawn (a tapis vert) forms

an axis perpendicular to the Seine, as

did historic riverfront gardens in the

city center. Six themed gardens on the

north side of the open lawn all have an

alchemical symbology: each is associ-

ated with a metal, a planet, a day of

the week, a state of water, and a sense

(the sixth sense being intuition).

Water channels subdivide the spaces.

Two glasshouses on the eastern end

of the park are separated by a plaza

with dancing jets of water. An elevated

walkway on the south side of the lawn

parallels a reﬂ ecting pool. A long di-

agonal path cuts across the park and

creates a variety of dynamic spatial

experiences.

These two urban parks represent a

new idiom of park design, one vastly

different from the 19th-century

conception of a picturesque ideal.

Whereas Parc de la Villette presents a

purposely unresolved space in which a

variety of activities and paths can be

determined by the visitor, Parc André

Citroën, nestled within the urban fab-

ric, provides a sense of place deter-

mined by the landscape. Its enclosed

gardens return us to the idea of the

hortus conclusus, a place of peace,

pleasure, and joy.

PARC ANDRÉ CITROËN: Site plan.

228

20th CENTURY

POSTMODERNISM

ALCHEMY IN THE GARDEN: The six intimate garden rooms at Parc André Citroën all represent a different theme.

229

20th CENTURY / CONCLUSION

SUMMARY

New resources, technologies, modes of transportation, and communication systems transformed the way people interacted with

each other and with the natural world in the 20th century. The ideals expressed in the landscape reﬂ ected these changing values.

Landscape design in the 20th century was subject to a variety of inﬂ uences. Space became very architectonic. Trends in the art

world were interpreted by landscape architects. Analyses of site conditions and user needs determined the form and function

of the modernist landscape. Postmodernist designers searched to rebuild a traditional sense of community. The so-called green

revolution focused the profession on ecological design.

DESIGN PRINCIPLES

UTILITY

Form determined

by functionality

makes users’ needs

a priority.

TRUTH

Honest design ex-

presses the inherent

quality of a material

or a site.

CORRESPONDENCE

Beauty results from

an awareness of the

synchronicity of time,

place, and idea.

ORIGINALITY

Innovation results from

rejecting preconceived

ideas and being open

to all possibilities.

INTEGRITY

A design is complete in

itself when it acknowl-

edges the moral com-

ponent of beauty.

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20th CENTURY / CONCLUSION

DESIGN VOCABULARY

Grids

Arcs and

tangents

Synthetic

material

Collage

Shifted axes

Biomorphic

shapes

Landform

Color

BOOKS

1984, by George Orwell

HE AGE OF INNOCENCE, by Edith Wharton

RAVE NEW WORLD, by Aldous Huxley

HE FOUNTAINHEAD, by Ayn Rand

HE GRAPES OF WRATH, by John Steinbeck

HE GREAT GATSBY, by F. Scott Fitzgerald

HE JUNGLE, by Upton Sinclair

N THE ROAD, by Jack Kerouac

VERLAY, by Lucy Lippard

AND COUNTY ALMANAC, by Aldo Leopold

ILENT SPRING, by Rachel Carson

FILMS

ALL’S FAIR AT THE FAIR (1938)

POCALYPSE NOW (1979)

HE CABINET OF DR. CALIGARI (1920)

ASABLANCA (1942)

ITIZEN KANE (1941)

R. STRANGELOVE (1964)

ONE WITH THE WIND (1939)

OTEL RWANDA (2004)

HE LAST EMPEROR (1987)

ETROPOLIS (1927)

ON ONCLE, by Jacques Tati (1958)

CHINDLER’S LIST (1993)

HE TRUMAN SHOW (1998)

PAINTINGS AND SCULPTURE

LES MADEMOISELLES D’AVIGNON, by Pablo Picasso (1907)

UDE DESCENDING A STAIRCASE, by Marcel Duchamp (1912)

UPREMATIST COMPOSITION: WHITE ON WHITE, by Kazimir Malevich (1918)

IRD IN SPA CE , by Constantin Brancusi (1928)

OMPOSITION WITH RED, BLUE AND YELLOW, by Piet Mondrian (1930)

ECUMBENT FIGURE, by Henry Moore (1938)

OBSTER TRAP AND FISH TAIL, by Alexander Calder (1939)

N AMERICAN EXODUS, photographic series by Dorothea Lange (1939)

UTUMN RHYTHM (NUMBER 30), by Jackson Pollock (1950)

IGHTNING FIELD, by Walter de Maria (1977)

URROUNDED ISLANDS, by Christo and Jean-Claude (1983)

OHEMIA LIES BY THE SEA (1996), by Anselm Kiefer

r further exploration

231

21st CENTURY

Everything depends on an unforeseeable historic continuity. But if we succeed in developing

our culture while continuing to respect our past, we have a chance of preserving it.

—Stephen Jay Gould (2000)

ultural trends have become linked to the marketplace; 21st-century culture is mobile, networked, and instantly

available. The fashionable trend at the moment is “green”; what started as a countercultural movement has

now become mainstream. Everything is green. Sustainability is a buzzword. One hopes that this trend will be

permanently instilled into the global consciousness and become the origin of all design

The early modernists were optimistic about the potential for industrial materials and methods to offer promise for

the future. Designers are again hopeful that technology can help reestablish a harmonic balance with nature. The

projects described in this chapter demonstrate that art and science can combine to create beautiful and ecologically

responsible design.

232

A SUSTAINABLE EARTH / TEN IDEAS

CRISSY FIELD, SAN FRANCISCO, CALIFORNIA (2001)

Hargreaves Associates

A restoration of wetlands and dune ﬁ elds along the bay front helped turn this

former U.S. Army installation into San Francisco’s “front yard.”

Hargreaves’s

ﬁ rm also created a series of paths and earthen forms that serve as a

framework for new recreational activities along the waterfront.

233

A SUSTAINABLE EARTH / TEN IDEAS

HERMAN MILLER FACTORY LANDSCAPE, CHEROKEE COUNTY, GEORGIA (2001)

Michael Van Valkenburgh Associates, Inc.

The design for this rural factory was driven largely by hydrologic management. The entire 22-acre

building site is graded at a 5 percent slope, allowing for runoff from the built surfaces to sheet into

wetlands without the use of pipes or curbs. When the wetland system is dry, it functions as a

meadow, with trees creating thickets along the edges of the ﬂ oodplain.

234

A SUSTAINABLE EARTH / TEN IDEAS

BLUR BUILDING AND

ARTEPLAGE, YVERDON-LES-BAINS,

SWITZERLAND (2002)

Diller + Scoﬁ dio (architects),

West 8 (landscape architects)

Built as the Exposition Pavilion for the Swiss

Expo, this space takes the line between

architecture and landscape, structure and

atmosphere, and erases it completely. The

site is consistently engulfed in fog, thanks

to water pumped from Lake Neuchatel and

shot as a ﬁ ne mist through 35,000 nozzles.

The resulting whiteout effect leaves the

visitor in a space that is both formless and

scaleless. It is a 21st-century rumination on

the limits of physical spatial design.

Access to the pavilion was across

a plaza constructed entirely with

recyclable materials. Eighteen-

foot-high artiﬁ cial dunes collided

with rough timber structures and

biomorphic patterns of fragrant,

colorful ﬂ owers, adding to the

visitor’s sense of disorientation.

235

A SUSTAINABLE EARTH / TEN IDEAS

FORUM ESPLANADE BARCELONA, SPAIN (2004)

Torres & Lapena

When designers began employing renewable energy

technologies in their designs in the latter part of the

20th century, the electricity-generating infrastructure

often served merely as a skin applied to a design. However,

the photovoltaic “pergola” at the Forum Esplanade

Barcelona employs solar energy production as an integral

space-making device. The grand scale and skewed plane of

the pergola’s canopy provides crucial shade, 4,500 square

meters of photovoltaic panels, and a clear terminus for

the waterfront esplanade.

236

A SUSTAINABLE EARTH / TEN IDEAS

LURIE GARDEN, CHICAGO, ILLINOIS (2004)

Gustafson Guthrie Nichol Ltd., Piet Oudolf

and Robert Israel

Built atop an underground parking structure and former

rail line in Chicago, the Lurie Garden is the focal point

of Millennium Park, the open space that connects the

city’s downtown to Lake Michigan. Gustafson tapped

into Chicago’s ecological history, using native plants and

local stones to reference the Midwestern prairie in a

grouping of geometric gardens. A boardwalk runs beside

a stylized stream where pedestrians can sit with their

feet in the water—a new promenade for the tourists

and businesspeople, who crowd into the park during the

humid summer months.