A special group stands out among the diversity of modern gardens - these are not gardens in the literal, traditional sense, but rather installations that “speak” with the audience in the language of garden signs and symbols. On the one hand, they are united by the use of new technologies, methods and materials; on the other hand, these gardens emerged as the embodiment in the landscape of modern architectural trends and as a reflection of various trends in art.
The formation of modern “ART-landscapes” to some extent was influenced by traditional landscape techniques: methods of planting and caring for plants remained unchanged. The very approach to creating a garden has changed - a modern garden looks more like a certain finished composition, a museum installation, a sculpture, inside of which you can be. Images of "ART-landscapes" were formed by the end of the twentieth century. We can say that these gardens are a result of the search for art of the last century.
In the group of "ART-landscapes", as in the art of the last century, there are separate styles. Depending on what sources the garden composition refers to, they can be divided into groups:
• kinetic gardens;
• “playing in the garden”;
• garden artifacts;
• gardens-installations;
• gardens with artificial elements.
The ideas of radical design were spread on garden shows and exhibitions of the time. Architectural historians often mention the International Exhibition of Modern Decorative and Industrial Art of 1925 in Paris as an event that opened the doors to modern trends in landscape architecture. At this exhibition, Robert Mallet-Stevens created a garden of concrete and grass: four angular trees of reinforced concrete froze on a raised flat platform. This shocked some impressionable visitors - several critics staged a dressing, cursing the installed structure as a parody, a caricature of the art of gardening, which only sparked interest in this exhibit. Another author, Gabriel Guevrikian, received a Grand Prix at this exhibition for a small project called The Garden of Water and Light. Triangular beds of begonias and ageratum framed a tetrahedral construction. In it, the triangles of mirror glass and water alternated with small fountains splashing water, flashing.
Modern gardens, presented at the latest exhibitions, festivals and garden shows, sometimes seem to be the embodiment of ideas voiced in the 40s of the last century. For example, at the Chelsea Flower Show in May 2003, there was a tendency to use the properties of a metal surface that were not appreciated prior to this, for example, rust. If the noble patina was lucky a little earlier, then rust “received privileges” only recently. Now, in order to emphasize its non-randomness, red or contrasting flowers are planted next to it. Under the influence of rust, the metal over time becomes as fragile as a garden plant, unprotected and exposed to the environment - this is probably the reason for the use of metal that is not treated with anti-corrosion coatings.
Glass becomes an important element of landscape design. As in modern architecture, in the art of garden gradually expand the boundaries of its application. It now not only transmits light and performs the function of a finishing and decorative material, but also turns into a constructive, bearing element that can no longer be replaced by anything more traditional and without which many modern garden designs can no longer be imagined. At the Flower Show in Chelsea, UK, in 2003, many participants took advantage of the artistic expressiveness of glass and used it in their exhibition compositions, gardens. Traditionally, the show in Chelsea not only reflects the state of the thriving gardening of Great Britain, but new directions are born and fashion trends of world garden art are becoming visible. The works of landscape designers of that year showed that plants and glass elements are increasingly “needed for each other” to express and implement the paradoxes of modern garden concepts: the first emphasize the rigidity, industrialism and eternity of glass, and it, in turn, emphasizes vulnerability, vulnerability and short century of plants. It is surprising that in this pair: the glass-plant is the plant that is perceived as something fragile, and not vice versa.
Kinetic gardens
As noted above, by the end of the twentieth century, the research of kinetists found a response in landscape architecture. Today, not a single garden festival or exhibition can do without varieties of the “kinetic garden”. Often water becomes the driving element of a garden; it is this that brings dynamics, depth and sound to the garden. So, at the Flower Show in Chelsea in 2003, not a single garden did not manage the presence of water in one form or another. Water was presented not only in the usual ways. In addition to running, flowing, dripping or standing water, there were relatively unexpected garden designs: the sound of water, the image of water on a horizontally laid plasma panel with constantly repeated video recordings of the surface of a muddy aquarium with Japanese koi carps.
In 2003, such overtly kinetic exercises as a cascade in the “Wrong Garden” were presented in Chelsea. When looking at the glass surface of the composition, it seemed as if the water was rising upward on an inclined surface and falling out of it in a cascade.
However, the laws of physics, fortunately, were unshakable, and the audience witnessed not a miracle, but a simple optical illusion. Upwardly, only air bubbles under the glass panel rose, and the water, as it should be, flowed down the inclined plane, falling on it as follows: part of the flow merged as a wide flat jet, and part flowed along the upper plane of the glass prism, giving it the necessary roughness. But the desired effect, especially when viewed from a certain distance, has been achieved.
"ART-landscapes" of the kinetic direction sometimes lead a dialogue with the previous kinetic compositions of such well-known masters as Christian Megert, Jean Tengli, Walter Leblanc, Paul Talma. Just as with the perception of kinetic pictures, the viewer becomes an accomplice to the designer’s creativity. In 1999, at one of the main garden festivals in France, the unusual garden “Idea” was presented, in which the “fountains” in the form of colorful stalks of fantastic bamboo were used as an artificial irrigation system and at the same time played an aesthetic role. Movement and sound in this kinetic garden were born of water.
The principle of the organization of the garden is based on the use of a series of columns-fountains of multicolored plastic bottles, turned upside down by a cut-off bottom, and the necks strung on a long steel pipe hidden in the structure. Around them is a sea of flowers and plants. Columns of plastic are so numerous and decorative that they completely dominate space.
The International Garden Festival on the lands of Chaumont-on-Loire Castle has been held since 1992, and artists and designers from all corners of the world are invited here every year to say a new word in landscape design. The emphasis is on innovation and experiment, but all projects should be implemented. Sometimes new ideas appear as a challenge to traditional ideas about gardens. Such is the work of Liliana Molta and Jean Christopher Denis - a garden with the name “Idea”. On the plan, the structure of the garden seems traditional and inspired by the past. The plan is symmetrical, with paths clearly dividing the space into flowerbeds and plant borders. In terms of the garden is a group of polygons, the plants in which differ in size, timing of flowering, characters. Only one plant species is planted in each polygon.
Traditional in form, this garden, however, is filled with new, original content. It is equivalent to an eccentric composition, similar to those of Jean Tengli, whose electrical machines and mechanical inventions clang and roar during their programmed movement. Jean Tengley's compositions consist of a sort of chaotic assembly of gear mechanisms, wheels, belt drives, and electric motors involved in the creation of pointless kinetic pictures that can be set in motion by any viewer, having touched the indicated lever. The movement that has begun is transferred from the mechanism to the mechanism, from the part to the part, after which the whole structure begins to move. Thus, a kinetic, mechanically sounding picture emerges. Gradually, the movement fades - everything stops and stops until the next touch. Jean Tengli also has such compositions that, in the process of the movement that has begun, self-destruct.
In the garden "Idea" the authors also programmed the movement that occurs under the action of water. Water rumbles, rising from the base to the top of the tank from upturned plastic bottles, and fills them one by one, until the column looks like a miniature tank. Having reached the summit, the water rapidly pours out with a flow of pleasant murmur, watering the surrounding plants, until the whole structure, bending down, is completely empty. Then, like a flexible bamboo stalk, the column straightens, returning to its original position, and the cycle repeats. In contrast to the anarchist compositions of Jean Tengli, the purpose of this garden is to use a “perpetuum mobile” for utilitarian purposes - the timely irrigation of land in polygons.
The creators of this garden, Liliana Molta and Jean-Christopher Denis, calculated that 20 liters of water are needed per week for irrigation of a square meter so that plants could survive the hot and dry French summer. When calculating, it turned out that two columns-fountains with a height of 1.5 meters per square meter are needed. The calculations even took into account the fact that some plants require more water than others, therefore some columns are higher and some are lower than the estimated 1.5 meters.
As its name indicates, “Idea” is a conceptual garden. Liliana Molta, who has experience in film, creating fashion and architectural projects, boldly sent her garden project to the mainstream of the experiment. She succeeded in convincingly defining the concept of a garden precisely because she is an expert not only in the field of landscape architecture, and therefore does not experience the historical limitations of this specialty.
Despite the fact that the project did without many components, such as lawns and curbs, mandatory in traditional gardens, it is nevertheless perceived as a garden - with a separate entrance, with a clear planning, and, importantly, as a territory, where plants feel very comfortable. A creatively executed irrigation system, similar to sculpture, makes a thrilling impression and is a spectacular alternative to pipes and jets of a conventional sprinkler.
So, in the gardens of the late twentieth - early twenty-first milestone, kinetic compositions became not just habitual, but utilitarianly used.
Nevertheless, there remains in them the element of the game that distinguishes new art. In art, experiment is a form of playable behavior. “In traditional art, the playing field is identical to the plane of the painting. Only the artist plays, the viewer is excluded from this game. The spectator becomes a participant in the game at that moment when the artist’s activity is no longer focused solely on the work that is closed in itself, that is, at the moment when the participation of the contemplating picture or even the acting audience completes, finally, the artistic process. If, for example, you rotate the Talman balls in such a way that their light halves will be on one side and the dark halves on the other, then this will be a static order. To disturb the order, you only need to turn one ball. If you now mix all the balls, you will get a random order, much less prone to destruction. A different form of game behavior is inherent in kinetic objects, and above all where the movement is not determined, that is unpredictable, which is just a typical sign of the game. ”
"Playing in the garden"
In modern landscape architecture, there are examples of “playing in the garden,” when a garden is created for a short period of time, turning into a sort of theatrical scenery in which a certain action unfolds. After the end of the "presentation" garden understands. The idea to transform space instantly and for a short time can also be used for other purposes. A boring concrete patio can be quickly modified using brightly colored inks, plants (real or artificial) in vases, an astroturf, or other synthetic plating.
Garden artifacts
Many of the ideas of kinetists were used in the theory and practice of artistic design and landscape art. In the late 70s and early 80s of the 20th century, compositions appeared - “artifacts”, works on the verge of sculpture and compositions in the landscape. Similar experiments were conducted by the architect Ettore Sottsass, creating his “Metamorphoses” - compositions against the backdrop of the mountain landscape. Special mention should be made of the names of Vyacheslav Koleichuk and Francisco Infante - artists working in this direction. Koleichuk is the author of design sophisticated and plastically elegant, always paradoxical photokinetic installations, spatial compositions, objects, dynamic, freely transforming core structures. Many of his works have independent aesthetic value, others are subordinated to the idea of design shaping.
An “artifact” is “a thing of the second nature, that is, a thing made by man and autonomous in relation to nature; it is also a fact of art (art fact), requiring the full creative presence of the artist. Another understanding of the artifact is connected with tradition, with culture — it is like an eternal symbolic given, like something that cannot be, but it mysteriously happens. ” An artifact in ancient cultures is a symbol of mystery. In ancient Persia - black parallelepiped stela. In Amirabad culture, it is also a stele, but with opposite bases twisted by 90 ° relative to each other. The culture of the artifact testifies to the infinite world, about the connection of all that exists with the secret, in fact, this world is filling.
“ART landscapes” took a lot from the idea of the artifact. So, “Plastic Garden” by Dean Kardasis can be considered a pure artifact, an installation under the open sky. Plexiglas color panels interact with nature, change the color and shape of the environment. Light falling through the panels creates splashes of color on the plants and adjacent surfaces.
The Garden of Plastic is a sculpture of color and light. Gay panels with their play of light are pushed from the house, affecting the way the whole garden is perceived. If you look outside through the panels, the view of the surrounding objects - trees, grass and, finally, the sky turns out to be changed. It seems that they changed color or lost their shape. The roof panels change the color of the cloudy sky to light blue. Light falling through the panels creates splashes of color on the plants and adjacent surfaces. The gray gravel terrace turns into a sea that glows red, orange and yellow. As the sun rises or sets, the colors gain or lose their saturation. From a certain point of view, plexiglass, like a mirror, reflects the images of trees or the sky.
The Plastic Garden illustrates the statement by Francisco Infante: “Where artifact and nature interact, a playing field arises. It is an organizing principle — a kind of framework or sphere within which you can dispose of the attributes of nature itself: sunlight, air, snow, earth, skies, etc. The artist, because he himself inspired such a situation, is in the epicenter of the playing field. Through it, as through a magnetic core, pass all the lines of force of the field. Such a privileged position gives him the right to choose those moments of the game that are important to him. ” The visitor of the Garden of Plastic becomes in some sense an artist: depending on the time of day and the season, the image of the garden changes, and if the visitor, like Infante, would take photographs, they would always be obtained with a different mood. The viewer in such a garden always remains an active participant in the artist's intention.
The construction of the "Garden of plastic" is very simple. Plexiglass is similar to modern colored glass, but it is lighter and more stable. It is also simpler and safer to handle, and can be used immediately after it is ready delivered from the factory. The design that supports the panels is made from raw, inexpensive wood and is easy to install.
Kardasis recreated the forest landscape in the garden, later introducing synthetic materials that interact with the environment as an innovative method. As a result, this garden has connected the house with nature. The plot, which has no character, utilitarian and nondescript, was transformed into a garden full of individuality.
Сады-инсталляции
Все формы искусства, распространенные в ХХ веке, в той или иной мере получили свое отражение и в садовом дизайне. Одной из таких форм искусства является инсталляция (от англ. installation – установка) – пространственная композиция, созданная художником из различных элементов – бытовых предметов, промышленных изделий и материалов, природных объектов, текстовой или визуальной информации. Основоположниками инсталляции были дадаист Марсель Дюшан (1887−1968) и сюрреалисты. Создавая необычные сочетания обычных вещей, художник наделяет их новым символическим смыслом. Эстетическое содержание инсталляции в игре смысловых значений, которые изменяются в зависимости от того, где находится предмет, – в привычном бытовом или в выставочном окружении.
Although the ideas of creating installations are reflected in the landscape, it cannot be argued that such attempts are a trend, as is the case with kinetic gardens or other objects of landscape architecture described above. Gardens-installations still remain within the framework of exhibition shows - they are too extravagant for private sites, and even on landscape shows such compositions are always an accent.
Последние ландшафтные выставки в Европе показывают обострившийся интерес к дикорастущим травам. Разнообразные их виды: крапива, мать-и-мачеха, осоты, бодяки, тысячелистники, таволги и прочие не случайно получили такой необычно внимательный прием. Сорняки стойко воспринимают воздействие окружающей среды, быстро развиваются, способны выжить в экстремальных условиях, поэтому их можно использовать для озеленения в центре города или в промышленных районах, где культурные растения могут погибнуть. Чтобы привлечь внимание к дикорастущим травам, придать им новый символический смысл, на ежегодном садовом фестивале на землях замка Шомон-на-Луаре во Франции в 2003 году были представлены композиции инсталляции, подчеркнуто использующие сорные травы.
Сады с искусственными элементами
As always happens in art, on the basis of previous experience, experienced and analyzed, completely new images of gardens appear, which are difficult to attribute to a certain category that existed before. Such a garden "Eco-Park" was created by the architect Andy Kao, who was born in Vietnam, but was educated in the USA. The basis of his garden is an unusual material: a crumb in the form of rounded granules arising in the process of recycling glass. In terms of the garden looks like an abstract picture, the harmonious interaction of material and nature resembles an artifact, but it is still an original work, which has no analogues.
The idea of creating a garden, based on granules of glass, seemed unusual and, finally, dangerous. But it was created - and the result was an interesting landscape. This is the merit of Andy Kao, a young architect who accidentally discovered the possibilities of this material in landscape activities. Glass fills the entire garden, combining horizontals and verticals. The ability to use glass at the same time as a pedestrian walkway and as mulch means the ability to erase the traditional distinction between artificial turf and natural landscape, between paved surfaces and surfaces left untouched. In Kao's garden, both are mixed in a uniform landscape that is pleasing to the eye, and glass is also an advantage in color. Outside the season, glass can be an excellent substitute for flowers, and in season it becomes their pleasant addition.
For his garden, Kao was inspired by the landscapes of his native Vietnam. The first hint is colored glass hills spread out next to the path, the color of which gradually changes from yellow to green, reminding of a roller coaster after harvesting in Vietnam. Another image originating from the past - mountains of salt, drying out in the sun, received an echo in the garden in the form of conical mounds of white glass crumb over the calm water of a small pond behind the house. The sides of this reservoir, framed by black glass, look like sludge in a pond. The last image is rice fields, expressed here in the form of flax variety Stipa tenuissima, growing in clear lines on the ground, powdered with blue powder, similar to water on rice plantations. On this "rice field" is a sculpture made of fragments of steel structures. She recalls the memory of military weapons left on the fields of Vietnam.
It is difficult to find a historical alternative to a garden like this. Never before has recycled glass been used in the garden. Glass balls were used as mulch, but this idea did not have much success due to the high cost of the material. In addition, the possibility of using glass chips not only as sprinkling of footpaths, but also as covering vertical surfaces, if they are mixed with concrete, is the opening of Andy Kao.
The study made it possible to assert that a new direction appeared in landscape art - “ART-landscapes”. Modern “ART-landscapes” are mostly small territories, therefore they are also called gardens. Some gardens have arisen under the influence of new technical ideas - they are used in modern energy-efficient buildings and closed-cycle buildings and are part of the engineering system.
Other gardens were formed under the influence of modern non-objective art.
After analyzing these gardens, we can identify their main features:
1. Due to the limited territory in which these gardens are designed, they are arranged as museum exhibits;
2. Much attention is paid to the details;
3. Sometimes they design gardens only from artificial materials, but according to the rules of landscape art using unusual methods of creating ARTlandshaft: glass in various forms, metal, paint, synthetic materials;
4. Architects approach the creation of such gardens as a picture; the whole garden is most often perceived as a single composition.
So, analyzing the modern gardens, we can conclude that they reflected the different trends of the art of the twentieth century. The creators of the gardens appeal to the most interesting directions for them. The ideas of kinetic artists embodied in kinetic gardens. If in the “Idea” garden under the influence of water, columns of plastic bottles lean, then in the garden of the architect Makoto Say Watanabe fibers with a solar battery and a light-emitting diode on the top oscillate under the influence of wind. Art installations were transformed into “garden-installations” using unexpected objects — ordinary tablespoons or medical tables. Infante's artifacts were reincarnated into transparent multi-colored plastic panels against the background of the forest.
Modern gardens often address the issue of recycling - recycling of household and industrial waste. If in the garden “Idea” empty plastic containers are used utilitarianly, then in the garden “Eco-park” instead of traditional materials glass of “recycling” is used. In order to melt such glass into mass for glass casting, large energy expenditures are needed, but using melted fragments obtained at the initial stage of processing saves energy and allows open space for the artist’s imagination.
Thus, it can be argued that “ART-landscapes” is a synthesis of landscape architecture, modern art and the latest scientific and technological achievements [1].
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