Student Projects in Landscape History: 2005-2020 (Volume II)
STUDENT PROJECTS IN LANDSCAPE HISTORY 20052020
VOLUME II
BRYAN FUERMANN YALE SCHOOL OF ARCHITECTURE
STUDENT PROJECTS IN LANDSCAPE HISTORY
2005-2020
VOLUME II
YALE SCHOOL OF ARCHITECTURE
BRYAN FUERMANN
ANALYZING THE LANDSCAPE
X.
Labor / Leisure
Vittorio Lovato Spring 2016
The project, consisting of a huge collection of unrepeated images of landscape from prints, drawings, paintings, garden manuals, and contemporary photographs, focuses on the presence of the laborer at work in the British landscape of the seventeenth through the twenty-first century. The book is divided into two parts.
In “Part One: Labor,” Vittorio displays from numerous works of art a full image of labor on one page, and on the opposite page he erases everything in the work of art except the worker whom he isolates. In this section, workers are shown tending the lawn, shaping ground, fishing, clipping, logging, raking, rolling grass, shepherding, and managing water.
In “Part Two: Leisure,” Vittorio provides an entirely new set of historical landscape images on one page and on the opposite page outlines in white silhouette the scale and activities of the workers who made the designed landscape possible. Here the workers’ activities include manicuring lawns, sculpting landscape, trimming hedges, working in hay fields, forest clearing, planting, sweeping lawns, caring for water.
The sheer scale of the research and the numbers of works cited make this project a substantive, visually engaging investigation into how the laborer is rendered and viewed in the landscape history of Britain, 1650 to 1850.
Lessons Learned Observations from the Field
Michael Krop Spring 2008
Michael Krop’s project is a combination working sketch book, photographs, and graphic analysis of the landscapes walked on the class trip to England.
A Pattern Book of British Gardens and Manors to Scale
Based on a class trip to England this project provides a pattern book of British gardens, lakes and rivers, and country houses shown to scale based on plans traced from Google Earth.
Bo Crockett Spring 2008
Templescapes
Ian Mills Spring 2010
Bound into a book format, Templescapes analyzes the buildings seen in the landscape on a class trip to England in March, 2010 through text, drawings, and comparisons by scale to each other and scaled to uniform height.
The Roman Aqueduct Book
“The Roman Aqueduct Book I provides an overview of the elements that make up a Roman aqueduct through a long, continuous drawing. A white thread representing the flow of water stitches its way through the entirety of the aqueduct and holds the accordion booklet together.”*
*Author’s description in quotation marks
Kelsey Rico Fall 2019
“Aqua Marcia: Water Channels catalogues the sizes and types of water channels found at several excavation sites along the aqueduct. Through this visualization, one can see the variation of building methods used to construct the Aqua Marcia over time, including vault, gable, and flat roofing. This time, the continuous string that binds the booklet together tracks the height of the water above sea level from the source and along the aqueduct until it reaches the distribution site in Rome.”*
*Author’s description in quotation marks
Aqua Marcia Water Channels
Kelsey Rico Fall 2019
Conduits of Pratolino
(1/2) A set of two topographic drawings of conduits that brought water to the Italian Renaissance gardens of the Medici villa, Pratolino and the Villa d”Este, Tivoli in the sixteenth century.
Jolanda Devalle Fall 2017
(2/2) A set of two topographic drawings of conduits that brought water to the Italian Renaissance gardens of the Medici villa, Pratolino and the Villa d”Este, Tivoli in the sixteenth century.
Conduits of Villa D’Este
Jolanda Devalle Fall 2017
Internalizing Nature
Ornamented Capitals of the Oxford Natural History Museum
Kassandra Leivia Spring 2019
The project, in the form of a book, consists of a series of hand-drawn renderings of the stonecarved capitals on the ground floor of the Oxford Museum of Natural History paired with the plant on which each capital is based and a description of it.
west: 6 capitals
north: 8 capitals
east: 8 capitals
south: 8 capitals
Left: Ground floor plan from The Oxford Museum:The substance of a lecture, by Henry W. Acland, 1867.
capital no. 1
Alisma plantago is a hairless plant that grows in shallow water. It consists of a fibrous root, several long-stemmed leaves that grow to about 15-30 cm long, and a triangular stem that grows up to 1m tall. Also known as the European water plantain, this plant is common across most of Europe and Asia.
Alisma plantago
north capital no. 1
Pandanus is a genus of monocots that have a palm-like appearance. These plants vary in size from 1 m to 20 m, depending on the species. The trunk is thick and the highly visible roots have a pyramidal tract hold to the trunk. They are native to the Old World tropics and subtropics.
Pandanus
Dioon edule is a species of cycad and is considered among the oldest of seed-plants. The plant consists of a crown of pinnate leaves around a central cone. Dioon edule is native to Mexico.
Dioon edule
south capital no. 1
Dendrobium moschatum is a species of orchid. It has a musky smell and is native to the Himalayas and Indochina.
Dendrobium moschatum
Follies: Object & Morphology
This booklet is a morphological study of British follies analyzed as purely geometric objects — Circle/Spheres, Arcs, Triangles, Square/Pyramids, Rectangles, and Octagons — individually diagrammed and grouped by types and location.
Melissa Shin Spring 2013
The Garden Parterre Design and Geometric Analysis
Garrett Hardee
Fall 2016
This project is a series of large watercolor renderings of the organization of plants in Italy, England, and France from the late fifteenth to the mid-seventeenth century based on historic representations. Imposed on the watercolors are mylar overlays which articulate the underlying geometries that formed the history of compartments, knots, and parterre de broderie
Communal and Individual
This project, to quote Seokim v’s introductory statement, examines “the relationship between individual housing and communal landscape. To be specific, it shows housing for the individual set contiguous to or within communal landscape.” The booklet traces the history of nine projects chronoloically beginning in the 1340s with the Certosa del Galuzzo and ending in the 1970s with the Smithsons’ Robin Hood Gardens. The format is a brief explanation of each project with historical images followed by an abstracted diagram of axonometric drawings, the latter which are presented here.
Seokim Min Fall 2015
Landscape Lines
John Kleinschmidt and Andrew Sternad Fall 2015
“Six seminal water gardens in landscape history are dissected with their lines and end-spaces catalogued for comparison. New imaginary water gardens are then re-composed from these fragments in order to strain the joints and test whether a new balance can be created from disparate parts.”
*Author’s description in quotation marks
Hadrian’s Villa
12 Canopus and Scenic Triclinium Tivoli
c. 120 AD
HADRIAN’S VILLA
The canopus at Hadrian’s Villa is a very simple long line which terminates in a very complex end-space that guides the line up toward the sky. Approaching the serapaeum, the canopus ends in a sequence of pools that serve to broaden the linear experience of the water. Behind the scenic triclinium, a series of openings produce an intricate play of light and shadow as the emphasis shifts from horizontl orientation to vertical orientation. This end-space is also an important moment in the elaborate water system of Hadrian’s Villa: a branch of an aqueduct terminates above the serapaeum, feeding the canopus and filling the endspace with the sound of cascading water.
24 Villa Farnese
Garden Sequence
Caprarola 1559 — 1573
VILLA FARNESE
Visitors to the Villa Farnese follow a long line through the center of Caprarola, up a steep hill to the pentagonal villa. Beyond the summer and winter gardens the line picks up again, leading visitors through chestnut woods, erasing memories of the carefully composed Renaissance architecture of the villa. The line continues to a water staircase between heavily rusticated grotto walls at the entrance to the giardino segreto with its casino. The water staircase is supplied by a fountain embraced by two surving staircases, which create an end-space where the line temporarily terminates before picking up again after the casino. The line continues through the casino gardens, through a small gate in the garden wall to unknown territories beyond in the woods.
House of Tiburtinus
Villa of Tiberius
Line: Villa Lante
End-Space: Hadrian’s Villa
Line: Villa d’Este
End-Space: Villa Farnese
Line: Villa of Tiberius
End-Space: Villa Lante
Line: Hadrian’s Villa
End-Space: Villa d’Este
Line: Villa Farnese
End-Space: Hadrian’s Villa
Grotto
Fontana
Fontana
Scenic Tricilinum Concentric Pools
Aqueduct Cascade Transition Pool
Canopus Channel
A large hand drawing which displays the presence of water, colored in blue, in three buildings at Hadrian’s Villa, which are shown in red on the black reproduction of Piranesi’s plan of the Villa, of which each building is drawn in section, plan, and axonometric.
Drawing of the Smaller Baths, Stadium Garden, and Island Enclosure at Hadrian’s Villa
Aurora Farewell Fall 2009
Drawing of the Smaller Baths, Stadium Garden, and Island Enclosure at Hadrian’s Villa
Drawing of the Smaller Baths, Stadium Garden, and Island Enclosure at Hadrian’s Villa
Drawing of the Smaller Baths, Stadium Garden, and Island Enclosure at Hadrian’s Villa
Planimetric Model of the Villa Lante, Bagnaia
This project is a planimetric model of the Villa Lante, Bagnaia, which articulates the squares, circles, and half-circles of the design of the garden.
Anthony Gagliardi Fall 2015
Villa Lante, Bagnaia
Villa Lante, Bagnaia
Constance Vale’s project is a series of drawings, bound in book form, which display the apperance of water in the form of fountains, water channels, and water stairs along the two central cross-axes of the garden of the Villa d’Este, Rome. For each drawing there is a mylar overlay in which the fountain is rendered sectionally and for which is assigned a specific theme that identifies the fountain’s unique aquatic properties or its iconographic importance.
Villa d’Este Water & Will
Constance Vale Fall 2013
Water & Power
Oval Fountain or Fountain of Tivoli
Alley of the Hundred Fountains
Water & Axiality
Water & Empire
Fountain of the Rometta
Water & Verticality
Fountain of the Dragons
TREES AND ROCKS
XI.
Pomological Architecture Temptation Breeds Control
Daniel Jacobs Fall 2012
A booklet that explores three parallel uses of the Fruit/Nut Tree in European and Arabic landscape history: Single Points of Isolated Trees; Point Grids and Filed; and Total Control Over the Ground.
The Tree and the Column Nature Defining Architecture
Maya Alexander Fall 2014
This bound book is divided into two parts. Part one is a ‘Brief Architectural History of the Tree,’ referencing the juxtaposition of trees and architecture in ancient Rome, in the sixteenth century and in the twentieth century.
Part two, highlighted here, lays out in grid format six typologies in which trees, acting as natural correlatives to the built form, are planted in different formats in conjunction with the architecture they inhabit or surround. Presented here are one example of each typology.
The Edge of Forestscapes
The project analyzes the edge conditions of five vastly different forest landscapes which simultaneously convey five different styles of landscape design: the hard edge of a single-line in LeNotre’s Vaux-le-Vicomte; soft edges in Asplund’s and Lewerentz’s Woodland Cemetery; the gradient edge of Lawrence Halprin’s Sigmund Stern Grove; the hard edges of clipped yews in Richard Haag’s Reflection Pool, Bloedel Preserve; and Peter Walker’s urban forest planted for the 9/11 Memorial.
Naomi Ng Fall 2020
1650-60
Vaux le Vicomte Le Nôtre
2006-2011 9/11 Memorial Forest Michael Arad, Peter Walker
1950 Sigmund Stern grove Lawrence Halprin
1988 Bloedel Reserve Richard Haag
1917 Woodland Cemetery Erik Gunnar Asplund & Sigurd Lewerentz
1650-60
Vaux le
Le Nôtre Maincy, France
1917
Woodland Cemetery
Erik Gunnar Asplund & Sigurd Lewerentz Stockholm, Sweden
Vicomte
1950
Sigmund Stern Lawrence Halprin San Francisco, CA,
Sigmund Stern grove
Lawrence
Francisco, CA, USA
New York, USA 1950
Bloedel Reserve
Richard Haag WA, USA
9/11 Memorial Forest
Michael
Arad, Peter Walk
Halprin
Vaux le Vicomte
1_ Vaux le Vicomte
neatly arrayed Cordata lime trees natural forest
formal gardens | forest hard-edge, lined with hedge, one row of orderly trees and unruly forest behind
Daniel Marty Spring 2017
Drawing on Sir William Hamilton’s Campi Phlegraei, 1776, this large, bound book displays in drawings and photographs the powerful presence of stone in the grottoes and architectural ruins of British gardens in the eighteenth century.
The Power of Stone
THE POWER OF STONE
The Axis Mundi displays two poles, the heavens and the underworld, separated by the earthly plane. While most architects look up towards the cosmos, the practitioners of the English Picturesque looked down and below. The Picturesque expanded the traditional definition and aesthetic range of “Beauty” to things that were not necessarily smooth, but instead were rough and lumpy. Elements of Yve Alain Bois and Rosalind Krauss’ formlessness are present- both explored the conveniently ignored mundane and gritty qualities that operate abnormally to certain ideals.
The stone surfaces seen throughout the Picturesque landscape reveal this operation for what it is: like the art scene’s Formless movement, the picturesque is a potent grounding of space into the reality of matter and things. While these rocks seem natural, they are designed- each have been worked, raked, formed, and split- to stack and make form. The operation is a brutal rustication. These unassuming rocks allude not the heavens above, but to Earth, and what lies beneath. The following book seeks a dimension much underexplored- that of stone, covered in grit and stripped raw. Welcome to Earth.
Grotto Entrance Stourhead
Grotto Stowe
Fountains Abbey Studley Royal
The Use of Stone in the British Landscape Inspired by Varro’s Aviary
Louisa Nolte
Spring 2020
“This collection is a catalogue of thoughts, images and sketches dealing with the use of stone in the British landscape. This primarily pictorial research explores the possibilities of land form and the cultural identity of stone in Britain, drawing from examples across different times and uses. The examples shown deal with the marking of territory, monumentalising through the use of stone, blurring the natural with the man-made and creating shelter. Each project touches on the idea of the marking of time in the landscape. It’s an effort to begin to contextualize the role of stone in order to understand its lasting potential in the landscape.”*
*Author’s description in quotation marks
Aran Islands, Ireland
Dún Eochla, Aran Islands, Ireland
Dún Eochla, Aran Islands, Ireland
24
Sketch
55 Environment Richard Long, A Line in Scotland, Cul Mor, 1981
56
Richard Long, 1971
Sketch
XII. MOUNDS
Mounds in the Landscape
A Study of a Landscape Typology
Isaiah King Spring 2009
Isaiah King’s Mounds in the Landscape: A Study of a Landscape Typology presents in booklet format a wide range of mounds, natural and man-made, in landscape history. For each mound, King provides the location, the designer, and a sectional drawing of the mound which conveys its form and height.
Molehills at Rousham
Land Forms in the British Landscape
Owen Howlett Spring 2013
Models of Charles Jencks’ and Maggie Keswick’s Mound at Portrack House, Charles Bridgeman’s Serlian exedra terracescape in turf at Claremont, and the turfed Amphitheatre at Chiswick.
Mound at Portrack House
Charles Jencks and Maggie Keswick
The Amphitheatre at Claremont
Charles Bridgeman
Amphitheatre at Chiswick
Typology of Mounds
This project is made up of three parts. One is a spiral binder of broadsheets that provides photographic images and analyses of twenty mounds found or created from Stonehenge to the present. These are organized into five categories: Burial, Military, Garden, Earth, and Public. For each individual mound, Vale has made an abstract drawing and for each drawing she has made a model, all twenty of which are contained within a single frame.
Constance Vale Spring 2014
ARTIST BOOKS
A British Landscape Primer
Select spreads from an illustrated book of concepts and terminology in British landscape and architectural history, inspired by Matthew Rice’s Architectural Primer
Alice Tai Spring 2014
Red Book of Sidley Park
Haelee Jung and Melody Song Spring 2015
Bound in red leather, this facsimile of a Repton Red Book draws on the text of Tom Stoppard’s Arcadia and provides ‘befores’ and ‘afters’ as described in the play.
Observations on Several Parts of England Particularly the Lines and Surfaces
Isaac Southard and Sarah Kasper
Spring 2016
This is an artist’s book of hand-sewn plates in black text in Johnston type-face on gray paper that depicts lines drawn and textured surfaces embossed, based on photos taken, with site and quadrant givent, of places visited on the course trip to England. Included in the book are excerpts from William Gilpin’s On Landscape Painting
Lines in the Landscape
Alex Kruhly Spring 2017
Alex Kruhly’s Lines in Landscape is a collection of photographs of lines, natural and man-made, seen on an “eight-day walk through the English countryside.” In the spirit of Richard Long’s work on making lines and documenting them in photographs, Kruhly’s lines are photographic observations made while walking the landscape.
Lessons from Landscape
Jonathan Molloy Spring 2018
Jonathan Molloy’s bound book, Lessons from Landscape, combines photographs taken on the trip to England with descriptive texts that convey a poetic sensitivity to what is seen, felt, observed, and interpreted in six categories in the British landscape: Light, Lines, Shape, Objects, Enclosure, and Thought. He writes:
This is something of a pattern book. Wandering to, through, and from the gardens of England leaves an indelible imprint of images, of sounds, of temperatures, of colors, of spaces, of light…of space. These photographs are an archive of those moments deliberately captured. The text is an attempt to understand their qualities and glean from them lessons…lessons from landscape.
This is something of a pattern book.
Wandering to, through, and from the gardens of England leaves an indelible imprint: of images, of sounds, of temperatures, of colors, of spaces, of light…of space.
These photographs are an archive of those moments deliberately captured.
The text is an attempt to understand their qualities and glean from them lessons. lessons from landscapes.
light weather, atmosphere, shadow, haze, clouds, color
I often wonder about the origins of light.
What it is, really, to us. Indeed, we can’t even answer the question scientifically…both a wave and a particle. Like gravity, it is an ineffable, unchanging constant, a truth. It is perpetually cast, out into the universe equally and indiscriminately, but forever interrupted, manipulated. Indeed, it exists, to us, only as an apparition, a trace brought to life by a surrogate. We cannot see light, we can only see what light does. A column and its shadow. A glimmer on water. Dust and casting light. Dusk and the golden hour. Night and the stars. And of course, the result is our world, which exists, to us, only through light.
There is profound beauty in this accidental and codependent dance between light and material, each realizing the other into perceptual existence. The fortunate result, for us, is beauty. The world illuminated.
Into it we cast ourselves and our creations, hoping they might reveal something in their perpetual waltz. We’re never quite sure beforehand – the specificity of the dance impossible to fully predict. And all the more beautiful because of it. Our surprise forever an inspiration.
The shadow on the ground indelibly tying its creator to the sky.
Ruins are magical theaters of light and dark, directed by the whimsical choreography of clouds...enormous light monitors animating the delightful play of light onto aged surfaces. Unoccupied and incomplete, they are rid of their obstructions. Lost are the doors and roofs, and floors if they were wood. Only stone vertical surfaces remain. It’s not clear if the result is still a building, but perhaps instead the apparition of one, an elaborate tombstone of its own making.
Without roofs, they loses their sense of architectural enclosure, and blur fully into an ambiguous condition of exterior-interiority. What were once interior spaces, now open to the elements and unobstructed, receive sunlight from above, casting shadows through whatever structure might remain.
Inside, the room without a roof becomes a shadow-garden. Outside, the unobstructed building becomes an infinitely layered and impossibly deep tapestry of light and dark.
_fountain’s abbey
There is something truly human about specific form.
Natural phenomena manifest form through organic means and give it shape with inherent looseness, haphazardness. The river has fuzzy edges that perpetually fluctuate; its surface the profound result of infinite atomic collisions, fluctuating far more. The stone is accumulated for millennia, compacted by the world above it, and eventually born through rupture. Clouds slowly but persistently morph as floating accumulations of moisture.
Human form is deliberate, specific. We make form through choice. We decide that something should be square, because we prefer squares, and make it square. The decision is evident in the thing itself. It was made, not grown; shaped, not propagated. And in it, we can understand a person, an identity, an aspiration. At times, even ourselves.
Often, those decisions accumulate with persistent beauty – their collective presence full of spirit and longing; their continuity of making prideful and creative. Their depth evolving alongisde their growth.
These shaped hedges share this profundity of palpable humanity. We know that someone sculpted them — the hand is evident. Through, or perhaps in, their geologic beauty, we see an interpretation, a voice. The sculptor derived beauty in rock formation and deployed it in topiary, realizing a natural impossibility and a perceptual alchemy. At first glance, they might be green, Incan stonework. But, of course, they are not stones, they simply express something of stones, in green.
And onto them occasionally falls (fell) the illuminating dust of an early spring snow, somehow unmoved, or moved so consistently to be imperceptible, by gusting winds; the white snow, like its forensic counterpart, serving as a privileged lens into the surface’s inner workings while demarcating its extents…a selective formal x-ray.
_rousham
A geology of plants, made by hands.
objects form, depth, texture, body
Buildings truly are the dominion of humans, standing necessarily in contrast to the environment that surrounds them. They are expressions of deliberate existence.
Their conception demands not just what we sense, what we wish to touch, but how we wish to feel, what we wish to inhabit. Shaping not just the material form, but the space between it, the space for us. They inevitably ask us who we are, who we want to be, and how we view the environment we occupy. For we must decide.
Witnessing them alone in the landscape reveals this with palpability. They calibrate the environment that surrounds them, necessarily redefining their context through the act of occupation. Someone has been there, made decisions, influenced the place, formed the ground. They are markers, manifested through meaning, of deliberation, of dominion.
The folly, unburdened by logistical practicality, has particular access to this possible purity of building as expression of existence/humanity/deliberateness. Its purpose is fulfillment, and in it we seek meaning.
Sometimes, we feel this fulfillment. The calm of a well oriented mass, textured by hands of craft, colored by the friendship of natural stone and northern light, stabilizing a small part of the universe into a coherent silence. This is the possibility of architecture.
_blenheim palace
enclosure
combes, courtyards, allays, arcades, rooms
Enclosure is a feeling.
It is at the root of architecture, but derives from the natural world. The combe, the canyon, the clearing in the woods, the crater, the canopy, realize natural enclosure. Out of the sequential progression of natural assemblies, space emerges. Often, at an epic scale – canyons forming outdoor rooms of heroic proportion, combes realizing allays miles long, canopies producing ceilings of (for a long time) impossible heights. Indeed, nature was the first landscape architect, shaping the world, though haphazardly, into spaces of clarity and feeling.
As we developed, enclosure ceased to be accidental and continuous, and became deliberate and binary. No longer formed over time as a void within the fabric of the natural world, human enclosure formed specifically as a solid, holding the world at bay to protect its controllable, non-natural, interior. And yet, though nearly opposite in conception, the two are spatially and experientally the same. We are within
Surrounded, we feel a sense of space. Something palpably occupiable, but ineffable. It does not exist, and yet it does. It is held, and us held within it.
The courtyard, or cloister, is perhaps the most clear and calm of human enclosures – the archetype, maybe. Organizing architectural space around a void of pure geometric proportion, it essentializes the underlying spatial logic of enclosure into its most specific, most human, form, approaching what we might consider a platonic ideal. It’s profound that the result is a space of deep calm and silence. Circumambulating the cloister is intrinsically ritualistic, crossing it aspirational. Curiously, we prefer its edges, not its center. Unlike its natural counterpart, the edges are occupied, and have eyes. We like to be enclosed, not watched. And so we enclose space, feel its enclosure through osmosis, occasionally visit it in transit, secured by a quick return to the intimacy of the arcade.
_magdalen college, oxford
XIV. SOUNDSCAPES
Replicating the Various Sounds of Water at the Villa d’Este, Tivoli
Boris Morfin-Defoy Fall 2015
This project is a moving sculpture that reproduces the variety of sounds heard in the waterworks of the Villa d’Este. Morfin-Defoy writes:
This project will take precedence in the work of artists Ned Khan and Zimoun. The influence of Ned Khan will translate in the use of a uniform kinetic matrix to convey fluidity and variation. The draw from artist Zimoun will be closer as the form of the simulacrum will echo his prepared DC motors series. The fundamental departure from this precedent will be in the nature of the created kinetic matrix. Instead of being an analog system (i.e. all the motors are simply plugged into power, turned on and constant) creating a uniform sound and visual effect, the matrix will be digital and adaptive. Connecting the motors to a bread-board and computing system, the matrix will be able to be programmed to re-create the series of effects of the different soundscapes of the Villa d’Este. Ranging from a slow and soft uniform brushing to vigorous concentration patterns, it will convey the essence of the plays on water without water ever touching the system.
A link to the video recording of the handmade machine of movings beads on rods:
https://vimeo.com/150338176
Above: Screenshots
Soundscapes
Ava Amirahmadi Fall 2016
This project takes three gardens that differ in siting, scale, age, and experience and pairs them with a piece of music that embodies the same characteristic of each garden. The garden and music pairings are: Fossanova Abbey and John Cage’s 4’ 33”, MoMA’s Sculpture Garden and Leonard Bernstein’s New York, New York, and Villa d’Este and Antonio Vivaldi’s The Four Seasons
Each garden is then redesigned to create an unfolding soundscape that reflects the auditory experience of the musical piece paired with the garden. As a visitor moves through the newly designed garden, they will experience similar crescendos and decrescendos similar to the musical piece that inspired its design.
The diagrams depict how the musical piece informed the newly designed plan, while the three-dimensional soundscape highlights the crescendos and decrescendos as they would be experienced in the garden.
Movement 2
-2’ 23” -wind rustling trees -rain on roof
Fossanova Abbey Redesigned According to Interpretation of 4’ 33” by John Cage
Movement 1 -30” -wind rustling trees
Cage
Fossanova Abbey redesigned according to the interpretation of 4’ 33” by John Gage
Movement 3
-1’ 40” -wind rustling trees -rain on roof -audience whispering
Outro
-1’ 8” -instrumen -repeats th
Body
-2’ 28” -three sing -accompa -alternatio
Soundscape of Fossanova Abbey, in model
MoMA Sculpture Garden Redesigned According to Interpretation of New York, New York by Leona
MoMA Sculpture Garden redesigned according to the interpretation of New York, New York by Leonard Bernstein
Outro
-1’ 8” -instrumental -repeats themes of body
Body
-2’ 28” -three singers -accompanied with instrumentation -alternation dialogue and singing
Intro -32” -instrumental
terpretation of New York, New York by Leonard Bernstein
Soundscape of MoMA Sculptural Garden, in model
Soundscape of MoMA Sculptural Garden, in model
Villa d’Este redesigned according to the interpretation of The Four Seasons by Antonio Vivaldi (con’t)
Spring
-Movement 1: birds chirping and thunderstorms
-Movement 2: tranquility
-Movement 3: joyous festival
Summer
-Movement 1: intense, lazy heat
-Movement 2: thunder and insects
-Movement 3: huge storm, wind
Autumn
-Movement 1: harvest celebration
-Movement 2: peaceful breezes
-Movement 3: the joy of the hunt
Winter
-Movement 1: freezing snow, fast winds
-Movement 2: peace of protection from elements
-Movement 3: the storm arrives
Villa D’Este Redesigned According to Interpretation of The Four Seasons by Antonio Vivaldi
Villa d’Este redesigned according to the interpretation of The Four Seasons by Antonio Vivaldi
Vivaldi
Soundscape of Villa d’Este, in model
PHOTOGRAPHY & CINEMA
XV.
Cinematic Garden
Dadds Spring 2016
A project that conveys the importance of landscape in contemporary British cinema as shown in storyboards and viewed on a loop of images.
Andrew
Lordship of the Eyes
Towards a Poetics of Movement in the Garden
Marc Guberman
Spring 2008
The project, in book format, begins with an essay that proposes three ways of seeing in the garden or landscape — the linear, the panoramic, and the pictorial — that parallel and take precedence over the three kinds of movement — the stroll, the processional, and the ramble — which John Dixon Hunt argues is how we experience gardens in his important essay, ‘Lordship of the Feet: Towards a Poetics of Movement in the Garden.’ Guberman expands upon his initial argument by stating that the three ways of seeing find parallels in three ways of making films — zooming, panning, and montage — for which he provides six examples of each. The essay and examples are presented in full.
Time Overwhelms the Works of Man
Decay in the English Garden
Daria Solomon Spring 2013
A small book which uses mylar placed over photographs to convey the effects of time on British gardens and buildings in the landscape.
Between and Beyond
Ian Spencer Spring 2015
A collection of eight photography books which compile experiential photographs of gardens visited throughout England. Featured are selected pages from the Castle Howard volume.
Animating LeNotre at Vaux-le-Vicomte
Fascinated by how Andre LeNotre used anamorphosis or distorted perception of space in the design of Vaux-Le-Vicomte, Hiuki Liu made a video that is a model of clarity and is as close as one can come to understanding the optical complexity of Vaux without actually being there to walk the garden..
Hiuki writes: “Vaux-le-Vicomte is the garden of optical illusion. It acts as an optical device as a whole, by making use of anamorphosis as the design tool. The manipulation of perspective is achieved by delicate control of scale, proportion, level difference, and distance of various elements in the garden. The animation aims at exhibiting the discrepancy between the forced and real perspective as the spectator travels along the central axis from the Chateau terrace to the Statue of Hercules. At the beginning, the view on the terrace seems to reveal the entire image of the garden, but one only comprehends the reality when he/she explores the grounds. The video shows the orthogonal drawings, i.e. plan and section, and the real-life perspectival views side by side, in order to clarify the disparity between the actual physical path and the perception at each stage in his/her walk. The use of distorted perspective constructs a sequence of spatial and optical experiences, that are constantly misperceived but then revealed throughout the journey.”
The video accessed through the link provided demonstrates the role new technology can play in the teaching of and learning about landscape.
Hiuki Liu
Fall 2021
https://youtu.be/MU_p2uJOiz8
APPENDIX
Object Summary of the Works Shown at the Yale Center for British Art
WORKS SHOWN IN
SESSION ONE
REFERENCE MATERIAL
Jean Tivou
Stephen Switzer
N/A
Isaac de Caus
Johannes Kip
John Rocque
Colen Campbell
Salomon de Caus
Nouveau Livre de Desseins
Ichnographia Rustica, or, The Nobleman, Gentleman, and Gardener’s Recreation
Vuew de la Ville de Londres
New and Rare Inventions of Water-works
Nouveau theatre de la Grande Bretagne
Prospect of Greenwich Hospital from the River Vitruvius Britannicus
Les raisons des forces mouvantes
Design for the Parterre at Hampton Court
Daniel Marot the Elder, 1661–1752
Leonard Knyff, 1650–1721
Early 18th century gray ink with watercolor over graphite
Sheet (cropped to image): 6 5/16 x 19 15/16 inches (16 x 50.6 cm)
Paul Mellon Collection
Bowling Green at Hampton Court Palace, Richmond
Birds-eye View
Sir Nicholas Hawksmoor, ca.1662–1736
ca. 1690
Pen and brown ink with brown and gray wash over graphite
Sheet: 14 3/16 × 20 1/8 inches (36 × 51.1 cm)
Paul Mellon Collection
The Pavilion Belonging to the Bowling Green at the end of the Terras Walk At Hampton Court
John Tinney, died 1761
Joseph Highmore, 1692–1780
Engraving
12 x 18 1/2in. (30.5 x 47cm)
Paul Mellon Collection
Prospect of Hampton Court from the Garden Side
Jacques Rigaud, 1681–1754
1736
Engraving
Sheet: 16 3/4 × 28 13/16 inches (42.5 × 73.2 cm)
Plate: 15 3/16 × 28 3/8 inches (38.6 × 72.1 cm)
Image: 13 5/8 × 27 13/16 inches (34.6 × 70.6 cm)
Paul Mellon Collection
The Diagonal Walk Fountain and Canal in the Garden of Hampton Court
John Tinney, died 1761
Joseph Highmore, 1692–1780
Engraving
12 x 18 1/2in. (30.5 x 47cm)
Paul Mellon Collection
An Oblique View of the East Front of Hampton Court With Part of Garden
John Tinney, died 1761
Joseph Highmore, 1692–1780
Engraving
11 7/8 x 18 5/8in. (30.2 x 47.3cm)
Paul Mellon Collection
A Perspective View of the East Front of Hampton Court Taken
from the Park Gate
John Tinney, died 1761
Joseph Highmore, 1692–1780
Engraving
12 x 18 1/2in. (30.5 x 47cm)
Paul Mellon Collection
The South Front of Hampton Court
With Part of the Garden
John Tinney, died 1761
Joseph Highmore, 1692–1780
Engraving
12 x 18 1/2in. (30.5 x 47cm)
Paul Mellon Collection
Kings Weston, Bristol
Ground Floor Plan
Sir John Vanbrugh, 1664–1726
ca. 1710
Pen and brown ink
Sheet: 14 9/16 x 18 9/16 inches (37 x 47.1 cm)
Paul Mellon Collection
B1977.14.1236
YCBA, 222, C, 20, U-V (17 Jul 2007)
Kings Weston, Bristol Front Elevation
Sir John Vanbrugh, 1664–1726
ca. 1710
Pen and brown ink with gray wash over graphite
Sheet: 14 1/2 × 18 5/8 inches (36.8 × 47.3 cm)
Paul Mellon Collection
WORKS SHOWN IN
SESSION TWO
REFERENCE MATERIAL
Jacques Rigaud
Jean Baptiste Claude Chatelain
J. Seeley (printer)
William Chambers
William Chambers
Batty Langley
Charles Over
William Halfpenny
Timothy Lightoler
Matthew Brettingham
Stowe Gardens in Buckinghamshire
Sixteen Perspective Views
Stowe: A description of the house & gardens…
Plans, elevations, sections, and perspective views…
Designs of Chinese buildings, furniture, dresses, machines, and utensils
The builder’s jewel, or, the youth’s instructor, and workman’s remembrance
Ornamental architecture in the Gothic, Chinese, and modern taste
Rural Architecture in the Chinese taste
The gentleman and farmer’s architect
Plans, elevations, and sections of Holkham in Norfolk.
Design for a Pavilion in a Deer Park
William Kent, ca.1686–1748
ca. 1735
Brown wash, graphite, and pen and brown ink
Sheet: 7 1/4 × 11 7/8 inches (18.4 × 30.2 cm)
Paul Mellon Collection
Octagonal Temple at Shotover Park, Oxfordshire Plan, Section and Elevation
William Kent, ca.1686–1748
ca. 1738
Brown wash, pen and brown ink, and graphite
Sheet: 11 1/4 x 12 3/8 inches (28.6 x 31.4 cm)
Paul Mellon Collection
The Cascade at Chiswick House, Middlesex
Elevation and Plan
William Kent, ca.1686–1748
Between 1720 and 1735
Pen and gray ink with brown wash over graphite
Sheet: 14 1/4 x 10 5/8 inches (36.2 x 27 cm)
Paul Mellon Collection
Townsend’s Building at Rousham, Oxfordshire
Elevation
and Plan
William Kent, ca.1686–1748
ca. 1738
Graphite, pen and brown wash within single-ruled pencil border
Sheet: 13 1/2 x 9 11/16 inches (34.3 x 24.6 cm)
Paul Mellon Collection
A View of the Palace from the South Side of the Lake in the Royal Gardens at Kew With the Temples of Bellona and Aeolus and the House of Confucius
Pierre Charles Canot, ca. 1710–1777
William Woollett, 1735–1785
ca. 1764
Hand-colored engraving
Plate: 14 5/8 x 21 1/8in. (37.1 x 53.7cm)
Paul Mellon Collection
Kew: The White House from the Lawn
James Mason, 1710–1783
William Woollett, 1735–1785
Hand colored engraving
Plate: 14 1/2 x 21 1/4in. (36.8 x 54cm)
Paul Mellon Collection
c. 1764
Facade for a Temple of Peace, Kew Gardens, Surrey
Sir William Chambers RA, 1723–1796
ca. 1763
Graphite, pen and black ink, watercolor and gray wash
Sheet: 12 5/8 x 18 3/4 inches (32.1 x 47.6 cm)
Paul Mellon Collection
A View from the Lawn from the Palace in the Royal Gardens at Kew With the Pagoda, The Temple of Victory, and the Colonnade
James Mason, 1710–1783
William Woollett, 1735–1785
Hand colored engraving
14 1/2 x 21 1/4in. (36.8 x 54cm)
Paul Mellon Collection
St. James’ Park, London Plan
Lancelot (‘Capability’) Brown, 1716–1783
After 1764
Pen and black and brown ink, watercolor
Sheet: 19 1/2 x 27 1/16 inches (49.5 x 68.7 cm)
Paul Mellon Collection
WORKS SHOWN IN
SESSION THREE
REFERENCE MATERIAL
William Gilpin
William Gilpin
Richard Payne Knight
Camera obscura
Camera lucida
Zograscope
Observations on the river wye
Three Essays: on picturesque beauty, on picturesque travel, and on sketching landscape
The Landscape: a didactic poem
Goodrich Castle on the Wye
Hearne, 1744–1817
ca. 1785
Watercolor, pen and black ink, gouache, and graphite
