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TO DESTROY LANDSCAPE ARCHITECTURE (TO SAVE LANDSCAPE) *(R) Denotes required readings provided in xerox format and/or on reserve (R) Denotes optional readings placed on reserve in the Fine Arts Library *(R) Lodewijk Baljon, Designing Parks [an examination of contemporary approaches to design in landscape architecture, based on a comparative design analysis of entries for the Concours International, Parc de la Villette, Paris, 1982-3] (Amsterdam: Architectura & Natura Press, 1992), "Concours International: Parc de la Villette, Paris, 1982-3" (pp. 25-47), "Ground Plans" (pp. 239-290) *Anita Berrizbeitia & Linda Pollak, Inside/Outside: Between Architecture & Landscape (Gloucester, MA: Rockport, 1999), *"Operations Between Architecture & Landscape" (pp. 10-13), "Villa Dall'Ava" (Koolhaas/OMA, pp. 28-35), "Bamboo Garden" (Chemetoff, pp. 62-67), "Kimbell Art Museum" (Kahn, pp. 84-89), "Two-Way Mirror" (Graham, pp. 140-145) Guiseppe Panza di Biumo, "Natura, Land Art, Ambiente - Nature, Land Art, Environment", Lotus International 82 (1994), pp. 90-105 Marianne Brouwer, "To Be Saved is Passe: Robert Smithson & the Entropy of Modernism", Archis, No. 6 (June 1994), pp. 52-61 Germano Celant, Michael Heizer (Milan: Fondazione Prada, 1997) *James Corner (ed.), Recovering Landscape: Essays in Contemporary Landscape Architecture (New York: Princeton Architectural Press, 1999), "Nature Recalled" (Marc Treib, pp. 29-43), "Liminal Geometry & Elemental Landscape: Construction & Representation" (Denis Cosgrove, pp. 103-119) Francois Dagognet (ed.), Mort du Paysage? Philosophie & Esthetique du Paysage (Seyssel: Editions Champ Vallon, 1982), "Le Paysage c'est l'endroit ou le ciel et la terre se touchent" (Michel Corajoud, pp. 37-51), "La Representation fantasmatique du paysage comme condition de sa possibilite et de sa perception" (Murielle Gagnebin, pp. 135-156) Jacques Derrida, Of Grammatology, trans. G. C. Spivak (Baltimore: Johns Hopkins, 1998) Georges Didi-Huberman, "Fable of Place" [James Turrell], Pages Paysages 7, 'Anamorphose' (1998-99), pp. 10-25 *(R) John Dixon Hunt, Greater Perfections: The Practice of Garden Theory (London: Thames & Hudson, 2000), "Toward a New Historiography & New Practices", pp. 207-236 *(R) Dorothee Imbert, The Modernist Garden in France (New Haven: Yale University Press, 1993), "Le Corbusier: The Landscape versus the Garden", pp. 147-183 (R) Robert Irwin, Being & Circumstance: Notes Toward a Conditional Art (Larkspur Landing, CA: Lapis Press, 1985) Michel Jacques (ed.), Yves Brunier: Landscape Architect (Basel: Birkhauser, 1996) *(R) Gavin Keeney, On the Nature of Things: Contemporary American Landscape Architecture (Basel: Birkhauser, 2000), "The Language of the World", pp. 82-95 Dieter Kienast, Garten / Gardens (Basel: Birkhauser, 1997) Dan Kiley & Jane Amidon, Dan Kiley: The Complete Works of America's Master Landscape Architect (Boston: Bulfinch Press, 1999) *(R) Rosalind E. Krauss, Passages in Modern Sculpture (New York: Viking, 1977), "A Game Plan: The Terms of Surrealism" (pp. 105-146), "The Double Negative: A New Syntax for Sculpture" [Heizer] (pp. 243-288) Rem Koolhaas, "Urbanism After Innocence: Four Projects", Assemblage (August 1992), pp. 83-113 *Jacques Leenhardt, "Archaism - Confronting the Past", Art Criticism 4, No. 3 (1988), pp. 74-82 Lucy R. Lippard, Overlay: Contemporary Art & the Art of Prehistory (New York: Pantheon, 1983) Sebastion Marot & Manuel Delluc, Desvigne & Dalnoky (New York: Whitney Library of Design, 1997) (R) Douglas McGill, Michael Heizer: Effigy Tumuli (New York: Abrams, 1990) (R) Mary Miss, Mary Miss: Projects 1966-1987, MEGA VII (London: The Architectural Association, 1987), "The Mytho-Poetics of Space" (Joseph Giovannini), pp. 97-101 W. J. T. Mitchell, Iconology: Image, Text, Ideology (Chicago: University of Chicago Press, 1986), "The Tyranny of the Picture" (pp. 37-40), "Picturing the Invisible" (pp. 40-42), "Image and Word" (pp. 42-46) Robert Morris, "Notes on Art as / and Land Reclamation", October 12 (1980), pp. 87-102 Pierluigi Nicolin (ed.), "Promenades Architecturales", Lotus International 52 (1987) Isamu Noguchi, Isamu Noguchi: The Sculpture of Spaces (New York: Whitney Museum of American Art, 1980) Daniel O'Quinn, "Gardening, History, & the Escape from Time: Derek Jarman's 'Modern Nature'", October 89 (Summer 1999), pp. 113-126 Jean-Paul Pigeat, Parcs & Jardins Contemporains (Paris: La Maison Rustique, 1990) (R) H. H. Reed, Central Park: A History & Guide (New York: C. N. Potter, 1967) William S. Saunders (ed.), Daniel Urban Kiley: The Early Gardens (New York: Princeton Architectural Press, 1999) Gary Shapiro, Earthwards: Robert Smithson & Art After Babel (Berkeley: University of California Press, 1995) *Robert Smithson, Jack Flam (ed.), Robert Smithson: Collected Writings (Berkeley: University of California Press, 1996), "A Sedimentation of the Mind: Earth Projects [1973]" (pp. 100-113), "Frederick Law Olmsted & the Dialectic Tradition [1973]" (pp. 157-171), "The Iconography of Desolation [c.1962]" (pp. 320-327) Gilles Tiberghien, Land Art (Paris: Editions Carre, 1995) __________, "Quels paysages? Which landscapes?", L'Architecture d'Aujourd'hui 317 (June 1998), "Triangle noir: Quels paysages?" [Black Triangle, Leipzig], pp. 92-95 *(R) Marc Treib, Modern Landscape Architecture: A Critical Review (Cambridge, MA: MIT Press, 1993), "Pointing a Finger at the Moon: The Work of Robert Irwin", pp. 266-285 James Turrell, Mapping Spaces: A Topological Survey of the Work of James Turrell (New York: Peter Blum, 1987) *(R) Udo Weilacher, Between Landscape Architecture & Land Art (Basel: Birkhauser, 1996), "Isamu Noguchi: Space as Sculpture" (pp. 43-54), "The Syntax of Landscape: Peter Latz" (pp. 121-136), "Hyperrealistic Shock Therapy: Adriaan Geuze" (pp. 229-244) Lynnette Widder, "The Grove as Pop Art: Martha Schwartz", Daidalos 65 (September 1997), pp. 98-101 UPDATE 12/30/03 - See Books/Texts for additional (provisional) readings materials ... TANGENTS *Five Parks *Four Villas *Landscape & Its Double *** "For Bataille, 'space can become one fish who eats another,' or equally, 'a monkey dressed as a woman should be only one of the divisions of space.' Traditionally conventional space, such as that of a prison, is indeed only perceptible in its full force when caught in the act of passing from one space to another, as in the moment of collapse; Bataille, didactic to the last, speculates that 'evidently, no one has thought of throwing the professors into prison to teach them what space is (for example, the day when the walls collapse in front of the bars of their cell).'" --Anthony Vidler, Preface to The Little House: An Architectural Seduction (1879), Jean-Francois de Bastide, trans. Rodolphe El-Khoury (New York: Princeton Architectural Press, 1996) |
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