STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES最新文献_第8页

Le Jardin des Hypothèses 假设花园

IF 0.1 3区艺术学

STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES Pub Date : 2020-10-01 DOI: 10.1080/14601176.2020.1720353

B. Lassus

引用次数: 0

Dynamic landscapes: the reclamation of disused quarries 动态景观：废弃采石场的开垦

IF 0.1 3区艺术学

STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES Pub Date : 2020-08-26 DOI: 10.1080/14601176.2020.1796368

René Davids

引用次数: 1

Gathering ideas for an Irish garden: Lord and Lady Berehaven’s Italian tour of 1842–1843 收集爱尔兰花园的想法：贝雷海文勋爵和夫人1842-1843年的意大利之旅

IF 0.1 3区艺术学

STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES Pub Date : 2020-08-19 DOI: 10.1080/14601176.2020.1797353

F. Boggi

引用次数: 0

Interactive commemoration in the Sacro Bosco 博斯克大教堂的互动纪念活动

IF 0.1 3区艺术学

STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES Pub Date : 2020-08-11 DOI: 10.1080/14601176.2020.1794350

R. Howard

引用次数: 1

Designing gardens in English novels of the 1790s 18世纪90年代英国小说中的花园设计

IF 0.1 3区艺术学

STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES Pub Date : 2020-04-27 DOI: 10.1080/14601176.2020.1750826

Liz Bellamy

引用次数: 0

The perception of the Semmering landscape between 1850 and 1880 1850年至1880年间对塞默林景观的感知

IF 0.1 3区艺术学

STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES Pub Date : 2020-04-20 DOI: 10.1080/14601176.2020.1741926

R. Tusch

引用次数: 0

Risk and fun: Dan Kiley’s interior landscape for the Ford Foundation 冒险与乐趣:丹·凯利为福特基金会设计的室内景观

IF 0.1 3区艺术学

STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES Pub Date : 2020-04-02 DOI: 10.1080/14601176.2019.1704025

D. Choi

{"title":"Risk and fun: Dan Kiley’s interior landscape for the Ford Foundation","authors":"D. Choi","doi":"10.1080/14601176.2019.1704025","DOIUrl":"https://doi.org/10.1080/14601176.2019.1704025","url":null,"abstract":"In December 1968, from aboard the Apollo 8 spacecraft, US astronaut Bill Anders photographed a radiant blue earth floating above the gray lunar horizon. Although the primary objective of the Apollo missions was to explore the moon, Anders’ image, NASA AS08-14-2383 (later dubbed Earthrise), would become an icon for the modern era of terrestrial environmentalism, where scientific discovery and rapid technological change led to an anxious understanding of a whole and fragile earth. Earlier that same year, Dan Kiley’s atrium garden for the Ford Foundation Headquarters in New York City opened as the first major interior landscape in the United States. It was a self-contained biosphere engineered for human occupation (in this way distinct from greenhouses and conservatories), and Kiley stated that the project ‘embodied both risk and fun... Although it may not have been what the clients expected to hear, I told them frankly that the project was an experiment’. The midtownManhattan building, designed by Kevin Roche and John Dinkeloo, has been thoroughly studied in relation to the Foundation’s humanitarian mandate, organizational structure, and urban design context. Between 2015 and 2018, the entire building and garden underwent significant restoration and renovation to conform to 21 century building code and better align with the rebranding of the organization as the Ford Foundation for Social Justice. However, Kiley’s garden— particularly the planting design — has received comparatively narrow consideration; it is typically presented as little more than an exotic centerpiece to the atrium. This essay examines Kiley’s consultants, reference materials, and planting palette to reposition the garden as a cosmopolitan horticultural project that synthesizes diverse frameworks of modernism and ecology of the mid-20 century. The garden was not only a revelatory environment for city-dwellers, but, like Earthrise, a cultural artifact of the environmental era wherein new technologies linked local phenomena to planetary forces. This expanded context for the garden offers new perspectives on the historic treatment of landscape design in wholly constructed environments.","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14601176.2019.1704025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46822585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

‘Men as plants increase’: botanical meaning in Shakespeare’s The Winter’s Tale “人如植物生长”：莎士比亚《冬天的故事》中的植物学意义

IF 0.1 3区艺术学

STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES Pub Date : 2020-04-02 DOI: 10.1080/14601176.2019.1631619

K. Myers

引用次数: 0

The problems of meaning and use of the puer mingens motif in fountain design 1400–1700 1400–1700年喷泉设计中puer-mingens主题的意义和使用问题

IF 0.1 3区艺术学

STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES Pub Date : 2020-04-02 DOI: 10.1080/14601176.2019.1675987

James W. P. Campbell, Amy Boyington

{"title":"The problems of meaning and use of the puer mingens motif in fountain design 1400–1700","authors":"James W. P. Campbell, Amy Boyington","doi":"10.1080/14601176.2019.1675987","DOIUrl":"https://doi.org/10.1080/14601176.2019.1675987","url":null,"abstract":"A small girl stands at the door to a walled garden (Figure 1). In her right hand, she holds a basket of flowers she has just picked while she holds out her left hand on which a butterfly has just alighted. She stares into the eyes of the viewer. Over her shoulder we see through an archway into the garden beyond and in the distance a fountain can clearly be made out. It is a figure of a urinating boy, standing in a large black stone basin (Figure 2). The figure is an example of a Puer Mingens, a urinating boy. There is no reason to believe that the fountain did not indeed exist in the garden in 1606 or at least that it is depicted because it was a desirable object to have in such a position at the time. While fountains became a common feature of seventeenth and early eighteenth century British gardens, those depicted in the works of Knyff and Kipp are almost universally non-figurative simple jet fountains. It appears that figurative garden fountains had fallen out of fashion in Britain by the end of the seventeenth century. On the continent they were, however, common and had been since the Renaissance. Judging by images in literature the Puer Mingens was a popular motif, but there are few surviving examples. Perhaps the most famous figurative fountain in this form, still operating today is the Manneken Pis in Brussels.","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14601176.2019.1675987","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48577554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Agricultural infrastructure and the gardens of Middleton Place 米德尔顿广场的农业基础设施和花园

IF 0.1 3区艺术学

STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES Pub Date : 2020-03-24 DOI: 10.1080/14601176.2020.1732644

Roxi Thoren

{"title":"Agricultural infrastructure and the gardens of Middleton Place","authors":"Roxi Thoren","doi":"10.1080/14601176.2020.1732644","DOIUrl":"https://doi.org/10.1080/14601176.2020.1732644","url":null,"abstract":"Middleton Place, a former rice plantation west of Charleston, South Carolina, contains gardens that are exceptional in US garden history. They are among the oldest extant designed gardens in the United States, and the plantation is one of very few properties in continuous family ownership since the era of the royal land grant. While time, natural disaster, and war all took their toll on the plantation, the bones of the eighteenth-century gardens are intact, and they are the only colonial Baroque gardens in the United States that were never substantially altered (figure 1). The 20-acre gardens were part of a regional landscape of rice production that included Middleton Place itself and the Middleton family’s dozens of rice plantations, and that comprised the South Carolina lowcountry region. Middleton Place is an unusual intact example of a lowcountry plantation where garden and rice fields were two sides of the same coin: landscapes carefully organized, formed, and regulated to guide human activity in the production and display of wealth and prestige. The seat of the Middleton family’s rice enterprise for over a century, the 6,500-acre plantation was renowned for its formal gardens and terraced site, now a National Historic Landmark. Yet despite its significance, Middleton Place has not been studied as an integrated garden and agricultural landscape. Mentions of the plantation in garden histories discuss the extraordinary terraces stepping down to the Ashley River, and the Le Nôtre-inspired gardens that use a nearlymile-long reach of the river to create a water axis at the scale of Vaux-leVicomte. The gardens, altered by war, earthquake, and natural processes, have been interpreted based on their partial reconstruction in the twentieth-century, and problematically, they have never been fully analyzed or critiqued as embedded within an agricultural landscape. Geometric gardens and geomorphic rice fields mirrored each other, as earthworks and water flow organized the two landscapes and structured the daily and seasonal movements of two groups of people, the black enslaved workers and the white planters. The domestic core of the plantation is at the eastern edge of the property, overlooking the Ashley River and organized along a 1,980-foot (30-chain) east–west axis. Within the core, geometrically organized leisure and display areas are located to the north and east, with the productive landscapes located to the south and west where they are organized functionally by topography, hydrology and solar access. A 6-acre parterre garden overlooks the river, flowing down over beveled terraces influenced by Versailles’ Triton Fountain to two oblong reflecting pools and then to the river. An 11-acre pleasure garden sits to the north, and to the south were vegetable gardens and an orchard, along with farm buildings, the work yard, and ‘the street’ containing the homes and gardens of the enslaved workers (figure 2).","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14601176.2020.1732644","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41969576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0