Showing posts with label Noailles. Show all posts
Showing posts with label Noailles. Show all posts

9/15/12

Architectural Form and the Garden


 by Arif Javed

            One of the first misconceptions about the nature of architecture that was shattered when I began my architectural education was that architects primarily shape buildings. Over the course of studying architecture it has become apparent to me that what architects really deal with is space. Space is both the material an architect sculpts with as well as what he creates. By the same token, architects also primarily deal with form; the form an architect imagines is what defines the spaces that are created.  It is easy to think about the architectural form of a building and how that form shapes the spaces in and around the building. However, a perhaps less obvious yet just as important and fascinating use of architectural forms is when they are used to shape urban garden spaces. Gabriel Gueverkian’s cubist garden at Villa Noailles in France and Bernard Tsuchmi’s Parc La Villette are both excellent case studies for the use of architectural forms in landscape.
            Gabriel Gueverkian was the designer of three “Cubist” gardens, which were highly modern gardens designed in the Art Deco style, taking influences from Cubist paintings. One park was a hortus conclusus style private garden designed for a French family that was living in Villa Noailles. This park is triangular in plan and is enclosed on two sides by walls that recede in perspective to the tip of the triangle. The architectural nature of the design of the garden comes across with great clarity due to the way Gueverkian used strongly defined geometric forms to divide the space. It seems clear that the architect viewed the design as a composition of forms within space. Gueverkian’s careful placement of greenery, selection of geometry, and changes of elevation all contribute to the way the garden is experienced.
              Another highly modern garden that embodies the way that architecture can be used to shape space is Bernard Tschumi’s Parc la Villette in Paris, which came about 50 years after Gueverkian’s work. Tschumi’s Parc was done as an experiment in deconstructivism. I think Tschumi’s essential thesis for this project was an examination of using architectural form to shape an urban green space and in turn shaping the experience of the occupants of the park as they move along. He wanted to challenge the way parks conventionally function: as places for ordered, static relaxation. To do this he imposed a grid system of 35 structures called follies on the park that provide points of reference to people walking through the massive 100+ acre green space. This ordered grid of structures is the counterpoint to a free and unsystematic collection of paths that manipulate the circulation through the space. The follies are architectural forms that evenly divide the space and thus form visual landmarks for someone moving through the vast park, but the lines of the path almost force the occupants to get lost trying to find their way to those landmarks. This achieves Tschumi’s goal of turning the park into something that promotes activity, interaction, and movement.
            While these two projects are clearly completely different in terms of design and overall experience of the space they are interesting to examine in conjunction because they both in a way show the range of methods by which architects have used theories of form and space to shape experiences in an open public area rather than something that is more traditionally considered architecture.  Thus, they are a true testament to the ideal that architects are both figuratively and literally sculptors of space. 

Cubist garden
Parc la Villette design diagrams

Parc la Villette

9/11/12

Modern Domestication of Nature


By Tyler Silvers
As cities become more and more dense with man-made constructions, the demand for creative allocation green spaces has risen substantially. Landscape architects are challenged to form space that speaks toward both the natural beauty of the site and cater to the human need for order and structure. In the process, however, modern urban landscapes seem to have lost much of what makes nature in itself a space that overflows with an unmatched splendor through the slow but steady domestication of nature in form.
Although beautiful, modern urban landscapes, such as Gabriel Guevrekian’s cubist garden at Villa Noailles, tend to cater more to the human need for structure rather than turning their focus on the natural forms and processes particular to the site before human occupation. With his cubist garden, Guevrekian seeks to form an elegant oasis for the occupants – with much success in this aspect. His use of formed concrete and subtle terraces lead the eye toward a central node while the triangular shape of the space plays on the perspective of the eye.  The design of the garden allows occupants to enjoy the elegance of the architect’s interpretation of the landscaped area. The garden focuses the viewer attention on just that – a highly domesticated space. Rather than enjoying the natural, native beauty in itself, occupants are enthralled with a diluted, stylized version of the architect’s vision for the site. On a grander scale, the effect designing more and more controlled environments creates an inaccurate representation of how “nature” truly defines itself; the interdependent ecosystems making up nature are lost in the folds of modern urban garden design.

Image Courtesy of stylepark.com
In order to reform the correct representation of nature in the minds of the general populace, designers have begun to look back to a time before the rise of urbanization. Alan Sonfist’s Time Landscape, for example, offers a new form of urban landscape that takes root deep in the history of the particular site – Manhattan, New York. Sonfist’s green space is designed around the idea of bringing back the landscape that was once prominent in the area before the arrival of Dutch settlers in the 17th century. As noted by the New York Government Park Services, Sonfist conducted “extensive research” on the “botany, geology, and history” of the community and utilized native trees, shrubs, rocks, soil, and flowers to create a living memorial to the natural landscape that once dominated the area. The simple idea of the Time Landscape seems to have been well received in the surrounding community as people gathered to assist in the construction of and subsequent maintenance for the park. With his seemingly simple design, Sonfist provides an effective manner by which to reintroduce nature (in its true sense) into the context of the modern city.
Time Landscape: Past, Present, and Future
Painting by Paul Rodgers

As urbanization continues to rise and cities continue to advance, nature, in its true form, will continue to be diluted of purity. Perhaps one of the most effective manners by which to truly preserve natural form is to realize the loads of history below our feet.

9/10/12

The Inhumane Garden: An Analysis of the work of Gabriel Guevrekian


By Joel Pominville

Is cubism relatable to the human? Is there a certain disconnect from human emotion and cubist art? Maybe more importantly so, is there a disconnect from the human figure and cubist and modern gardens designed for human habitation? These are questions I asked myself as we discussed the cubist gardens by Gabriel Guevrekian. The answer can be found in an in depth comparison between cubist art, cubist architecture, and human emotion.


Cubism was originally crafted by artists Pablo Picasso and Georges Braque in Paris between 1907 and 1914. Cubist artists wanted to turn away from how nature is really seen. They strove to take the geometrical forms of nature, and reduce them to a scale and depth that represented the canvas on which they were painted. This was a notion that partly gave way to modern architecture, also stemming from movements such as minimalism and primitivism. In cubism, however, there is a fault in the simplicity of the geometry presented: the loss of human connection to the nature in which it represents. To observe this, one can look to artist Robert Delaunay and his painting Homage to Bleriot. When most viewers see a piece of artwork, there is normally a starting point or a point that draws attention to itself. With cubism, there is not a point in which to begin viewing. The viewer must see it, try to understand, and interpret it him or herself. In this flattening of dimension, the depth of nature is stripped away, leaving the viewer in a state lacking human relation to the painting.

This lack of connection is not necessarily needed in a painting, as it is not something the viewer can fully sense. By this, I mean it is not a place in which the viewer can feel, experience, and inhabit. However, in architecture, it is more important to keep a connection to the human. This leads the conversation to the cubist gardens designed by Gabriel Guevrekian. The first garden designed by Guevrekian in a cubist manner is the Jardin d’eau et de Lumiere. Although this garden was meant to be viewed and not traversed, I believe it still lacks a connection to the human element that most gardens. As one can see in the picture, the fragmentation of the garden leads the viewer to believe that they are an entity outside of the garden, not a part of it. In this case, there is a focal point, but even still, the fragmented sections block the viewer from experiencing the centerpiece, as I believe they should be allowed to.


The second garden, and Guevrekian’s most famous cubist garden, is the Garden of the Villa Noailles. This garden is considered one of the most influential modern gardens, especially in France. Although it does not draw quite as much from cubism, it still faces the same problems previously discussed. In the same way as cubist art, this garden has no true start or end. There are two points of entry, but the circulation throughout the space is a continuous loop, with no place to pause, reflect, or rest. Also, the center of the garden seems completely uninhabitable. This makes for quite an emotional disconnect from what most garden offer. Most people experience gardens in a way that they reflect upon different spaces, but also identify the overarching path of circulation in order to move between these spaces. Guevrekian’s Garden of the Villa Noailles allows for only one action: continuous movement around the uninhabitable centerpiece. Overall, the gardens are beautiful works of art. They just do not seem like works of architecture that allow for human relation and interaction.

Info about architect


Pictures
http://www.artchive.com/artchive/d/delaunay/homage_to_bleriot.jpg.html