Youtube subtitles download by mo.dbxdb.com
may have 1939
at the invitation of Jim Fitch Architectural Record published the first
three articles that were a manifesto
for modern revolution in landscape design and planning under the title
landscape design in the urban environment this article
had been written by Garrett at Pro James rose and Daniel urban Kylie
Kylie who dropped out of Harvard Graduate School designed the previous
year where he had been a landscaper guy stood
in nature and the landscape walking regularly through the Arnold Arboretum
with girlfriends
carrying at a local golf course spending parts for the summer at his
grandmother's farm in the apple orchards
have new hampshire this is Dan in the nineteen fifties the time that we're
interested in today before I tried college dan
had talked his way into an apprenticeship in the office have warned
Manning
a seminal landscape architect and planner trained in the onset of ISU's
Cambridge office was busy despite the Great Depression
with work for municipalities and public are agencies as well as acting as an
advisor to harold ickies and FDR
and even wealthy private residential climates clients
well in Manning's office Kylie worked on a variety of projects and drew Manning
to sites as far away as Harrisburg Pennsylvania where they were engaged in
a park along the susquehanna
his time in Manning's office kyle is remarked that he and the other young
draftsman
were interested in the work Fletcher steel who had recently left the office
to go out on his own
um governor
no on his own Fletcher steel
up still have been writing articles beginning in nineteen thirty
praising European modernist garden design especially the worker gabbro
directly in
his garden have late you can see here on the left and the Vera brothers in France
another group that he was interested in up
egghead when they do here
%ah you can see a pic so it's okay you can see a Porsche steals Gardner Freitas
showed at Nanking on the right
some you can see where credit is interested in the record articles the
Kylie roseanne ECB will propose
they propose a modern garden designer quote designs in three dimensions
and quote thinks in terms of volume they advocated a shift to thinking spatially
that was taking place especially abroad in architecture another art such as
painting sculpture and dance
and to forget about the steel argument between formal and informal that
preoccupied garden landscape design since the 1890s
the writing a William Robinson original Blomfield England
space Kylie and others asserted was the medium to be manipulated directed and
shaped by architectural elements
walls columns and changes a plane as was being discussed in architecture
space could also be employed and modulated with trees hedges and walls as
well as in the landscape
and while this may seem an ordinary way of thinking to those of us raised in the
world after the production is so much to the architecture in our to the 20th
century
it was revolutionary at the time space as a substance or medium
had not been discussed earlier as such volumes were to be enclosed
architecture for all its richness elaboration was a set of boxes
and openings that have been understood in other terms designers historians and
critics
the early 20th century such a date of fun hildebrandt look back at the work at
the past
and began discussing it a new terms and a new terms in works
titled vision in motion and another title was
the idea of space and its visual expression
was Beth Myers pointed out hildebrand
located special apprehension in vision and the movement of the RI
and that kinesthetic experience would of course include not only the eye
but the body moving in and through space there was a sense if radical and fresh
animation occurring in design after the First World War especially in Western
Europe
as we heard earlier today to the most studied an iconic architecture projects
that made an indelible impression on young designers then
and as late as my own early days in architecture school with the published
plans in black and white photographs amis vandellas Barcelona pavilion of
1929 seen above
and an executed brick country villa which were included in the exhibition
catalogue at the Museum of Modern Art celebrated
international style exhibition 1932
in the catalog Hitchcock & Johnson open with a quote
a first principle architecture as volume
where they wrote and I quote the Barcelona pavilion the walls are screens
but they do not describe a fixed volume
the volume beneath the posts supported slab roof is is a sense bound by
imaginary planes
the walls are independent screens set up within this total volume
having each a separate existence and creating subordinate volumes
the design is unified by the slab roof on its regular supports not by the usual
continues
exterior screen wall
well references to these particular projects in the abstract art at the time
especially that the distill movement in Holland such as Theo van Doesburg
whose paintings you see here who talk briefly at the bathhouse
where to turn up at Kylies work and in remarks later and throughout his career
after Manning died in 1936 in his office dissolve
Kylie enrolled at the school in design and Harvard only to find that the
beaux-arts system
and design aesthetic entrenched in the Landscape Architecture Department their
was anathema to him and to a number of his classmates
with James rose and Garrett ECB 0 he lobbied Walter Gropius had recently
arrived at the invitation the dangers have had no
to bring Christopher 200 from England 200 recently published gardens in the
modern landscape in which he argued for a functionalist approach to landscape
design
analogous to that of contemporary rhetoric and architecture
Kyle and his classmates were deeply interested in social issues
the search for math is a production for landscapes that would respond to life is
it was being lived in america
and an environment that would respond to issues such as mass housing
recreation and daily life for families
it was interested in creating parks is oases from urban routine
but was trying to work out how the environment could be designed and
integrated into continue with work and social activity
in landscape design in the urban environment for written was rosen et
beau for Architectural Record
he'd written the most urgent need is the establishment
have a biological relationship between indoor and outdoor volumes
though automatically controlled density this implies the integration of indoors
and outdoors
living space working space play space
uphold social units whose size is determined by the accessibility of its
parts
it is possible to integrate landscape design again with building
a newer and higher plane and thus achieve that sensor being environs
in great and pleasantly organized space which characterize the great landscapes
love the past well
about that period Kylie has said I think the beaux-arts Systema training is still
a super bass to get you know
the discipline the knowledge in the drawing and all that I think the problem
wasn't the training which was great
but the new to freeing and getting out there and seeing what is new
the point of departure today with car long and his contribution to
understanding in the mind in the
collective unconscious and not other developments
scientific and otherwise you must express something
different today the new did 10 years ago twenty years ago
a hundred years ago well
after two years a firm in turmoil is a student at Harvard
Kylie left without completing a degree and moved to Washington DC to work for
the United States Housing Authority
we met became close to a number of individuals who are important as
developments subsequent career
principal among these were architects Louis Kahn
Oscar stoner of and Aeros are in
the architecture record essays had introduced the concept of modern
typologies technology and production a large-scale landscapes
with multiple reproducible designs for any number families
as the arena for ambitious designers and opposition to one of the store cyst
based
states and civic centers taught at Harvard at the time
working with Khan and stoner of Kylie put his ideas into practice in a number
schemes we see him
using this traditional materials a landscape design is a set up
infinitely reproducible an interchangeable elements
a kit of parts with which to organize sites at several levels
and scales this consists a simple catalog
tall canopy trees smaller flowering trees
shrubs in two forms as individual objects or as hedges
pavement usually consisting of such a squares there is a large greeted Matt
and fencing often tall and deploy two screens
the taller screens are used to organize and unify taller trees rather
we use to organize and unified overall site well the other elements were
primarily used to define outer private and semi-private
territories for the main many residents so the developments
the smaller individual spaces were most often arranged to be an extension
a particular rooms within the dwellings
well as america entered World War two the WPA and other new deal agencies
we're diminished and dismantled as energy manpower and resources were
shifted to the wartime effort
Kylie hood moonlighted for some time designing houses and private gardens
acquired some land in New England married and moved up
and and ended up in the Army Corps of Engineers where he replaced Aeros are in
as chief the design section the office a strategic services the OS s
the combination is designed for military facilities was the innovative scheme he
developed a bill for the Nuremberg war crimes trial
at the end to the war period is something that we see often and later
work
Kylie avoided the traditionally bilaterally symmetrical layout
art have traditional courtrooms with the judge or judges at the end to the room
with the defensive prosecutors flanking a central axis
jury to one side spectators behind the prosecution and the defense
instead as you see in the photograph below he placed the defendant's on one
side
with the judges and prosecutors facing them visitors spectators the
international press were arranged
facing the wall like an audience in a theater it was to be both confrontation
and theatre complete with the movie screen in the centre back for projection
film
documenting the killing in atrocities that have brought them together
here we see how Kylie has taken a venerable sedative
traditional elements and a traditional composition and deftly transform them
into a charge modern
situation its theatrical dynamic
and a foretaste his later work
while he was in Europe with the OS s at the end to the war as a young officer
for the Jeep at his disposal
he was able to travel around freely what he saw in France
absolutely stunned him for the first time he saw masterpieces have landscape
design
the been presented as black and white glass slides into history classes
Norman Newton Bremer pond that it's burned
the compositions vandella Notre especially those are so Sean T
vol IV homes in Versailles where do affect is designed imagination
significantly
there so one of his favorites the ranks in avenues are trees framing these great
chefs a space
extending seemingly infinitely into the distance the vast and talk per tears a
water
stone gravel and turf made an enormous impression upon him
one that he would willingly take talk about the drop of a hat
decades later a favorite place have dance
that he mentioned often was measured and it really
adjacent to luv its rectangular masses have trees planted on a grid
punctuated by basins and small son that rectangular pockets a space
and walks resembling hallways moving in different directions
here were space and mass volume
geometry plateaus and canopies
he noted the limited power and the fact that in every case the 17th century
parks and gardens were organized around
and allowed free movement one rarely if ever spent much time
proceeding along their central axes but moving in exploring in various ways
through and around
inside of them
reminiscing about this discovery he said at the Chateau do so
the note to this beautiful planting although symmetrical
it has wonderful special sequences the way the poplars move
you see people say they say
don't wear poplars because the only last 10 15 or 20 years
but mike got during that fifteen or twenty years
its heaven
about the Landry as a slide I saw him use in a lecture on time it's Mike
photograph it is the same view
he noted the Chateau de Villandry is composed a miraculous patterns and
textures
it's almost Japanese in this area and the way the paving is used
and the way the forms work you know you
deck at this could be the most modern seen and the note did in the 17th
century
the garden also has this very thin grape arbor which you see in the photograph
not thick so the thinness is nice
and the way the little Lifland in march down in through
probably about eight to ten feet on center its architecture
architecture in the land
well /url start and was discharged in 1945
antique ass Kylie to come and work with him in Michigan on a project for the
general motors Tech Center which we heard about from
Deborah few minutes ago but Kylie had to decline since he was still in the
service
the very next year he was discharged
a 34-year-old military veteran he returned from Europe
to resume practice any move to Franconia new hampshire
to a private residence that
and since they're was almost no business there for landscape architects
he designed to build modern houses this is one a number which were published in
the architectural design journals
and then in 1947 sign in asked him to join a team
which happened to have Alexander short interval so asked him to join a team for
a national competition to design the Jefferson National expansion memorial
Saint Louis
which as you know they subsequently won
this is the first %uh the various schemes that they went through
there were quite a few along the way the scheme went through
numerous changes at the hands the National Park Service
not reaching its completion to 1965 four years after surnames death
on this project Kylie tried out some what he'd learned in Europe massing
great basques have trees
with dramatically contrast ng stretched flap open space for eros
arch ponds were added later as work
and they were curvilinear under deference to the traditional American
Park City on studying tradition
and in an effort to respond to the region
the scheme was a triumph this is the second and nearly final scheme
his drawings from dance offices America fact
despite huge fights and arguments with Connie worth
the Conrad worse the director the national park service and others
the landscape design evolved into what was eventually built with his dramatic
LA's leading to the arch
reminiscing on the giant poplars is so dan had proposed to use to love poppers
which are the tallest rate deciduous trees that you could think of
they would have a longer life and poplars in that region
well when the park service forced him to substitute green ashes which are now
about to die has a very fact there they're on their last legs Kylie
resigned from the job
in this period then moved his family in office to Charlotte Vermont
which you see pieces have here up
in on Lake Champlain through the late nineteen forties in the early nineteen
fifties you survive designing
a continuous stream a private gardens and housing estates the most ambitious
was outta Hollin Hills in fairfax county virginia
near Washington DC were between 1953 and 1955 he designed over 91 gardens for
homeowners
most to them were contiguous within the development such a task receive daunting
to most professionals
then took it as an opportunity however to explore the media landscape
and form in an extended set themes and variations
his experience abroad combined with the necessity producing schemes that young
homeowners could afford and install largely by themselves
lead to a very reduced power into an economy have means
common elements became a plinth for the house
or small terrace on one or two sides to the house extending the space to the
principal rooms inside
a small Bosca trees or a little baby orchard
a small LA her double row of trees
and a distinct clearing somewhere
as this sequence if experiments unfolded his approach in Manor began to shift
earlier with his friends Eqbal rose and others who chaired in attempts
to create a modern idiom in landscape design the
that predilection for biomorphic curvilinear angular plan shapes openly
derive from the school a Paris painting and sculpture the interwar period
now however he really began using prime forms
circles squares regular in street elements but in
asymmetrical and dynamic juxtapositions
he was scrutinizing the early work I've right into me spender on others as well
as other modern painter such as mondrian
in a number of these one sees many of the elements the pulled together and one
of his greatest works the Miller residents in Columbus Indiana
which more in a few minutes not the word
a couple of other influences that were absorbed by Kylie
at this period in addition to these early 20th century developments in art
and architecture
especially particular paintings like these
which he was very fun Dervin actually discussed from time to time
there these were his personal experiences that and memories
the rural landscapes have New England and widespread interest
that was taking place at that time throughout america and probably most to
the western world and psychology and psychiatry
and the physical sciences the stimulated offered insight and inspiration
into for many of the Arts the combination to playing in the fields and
woods
with the widespread encouragement pervasive in his generation to become
self aware of one's feelings
sensory experience and kinesthetic perceptions
is reflected in many of his remarks over the years
in in Gestalt psychology a popular subject from the 1930s to the 1950s
the mind and brain or seen as holistic parallel an analog
will self-organizing tendencies the definition of the gestalt effect is that
%uh v
form generation capability of our senses particularly with respect to our visual
recognition
the figures in whole forms instead of just a collection of lines and curves
Kylie frequently refers in his own terms to consciously
shaping kinesthetic experience
that is the sense and the understanding that a person gets
from their bodily location and situation through sites through sound
to tension and compression muscles both small and large muscles
the serve new Royal basis have knowledge in movement
a bar position as you move he was constantly when you talk to Dan would
talk about
how your body feels things as you move and the differences in spacing and
rhythms have
objects and how that affects us wanna talk I were heard once
which fortunately has been recorded dan said about this
we are one with the universe man is nature
this pretty straightforward man is nature is that not exciting he said
prefer is set to realize is not man and nature it's not man with nature's not
man in nature
man is nature just like the trees
well despite the treatment of many artists
are by critics in academics most great artists are not
inarticulate idiot savant but they rather
her rather extremely capable and intelligent people who process
information differently
and often tuned to turn out to be fairly well read and more reflective than their
contemporaries
also like many dan kiley was in autodidact
who through the long winters in vermont red considerably
and very widely among those that he quoted
most frequently were two other Yankees Emerson
and thorough the also the pre Socratic
Greek philosopher her act with us and
who love to quote things that he picked up from the mathematician and physicist
Albert Einstein
missus Kylie in his sir
studio in vermont
one of his favorite quotes was correctly this is remarks such as you cannot step
in
twice into the same stream and he also
would quote the path up and the path down are one and the same expressing a
hidden harmony
another one to the Greek philosophers course was that all things come to be in
accordance
with the logos and
finally he would say everything flows
well these are picked up an expanded by Kylie in a few writings and talking's
talks that have been recorded in a remarkable talk
that he gave at the University of Virginia 1982 he said
I think I've design in the landscape
as being like a walk in the woods
it's all there really instead of copying the end result is a natural process
which landscape architecture profession is done
especially ever since the mid or even the early 18th century
from then on landscape architects were always copying something
but the walk in nature is exciting in original
a fresh experience we're going through a deep wood
maybe a Grover Beach trees then you come out into an open meadow
you walk up the hill then you come into sugar maple syrup sugar bush is a call
in vermont
you walk through that you squeeze in between the trunks
as always moving and changing spatially its dynamic
this is the thing that intrigued and excited me from the beginning
well like Emerson and Thoreau Kylie was interested in direct personal experience
and expression
and insistence on clarity and avoids have abstraction or secondary reference
plane speech simple confrontation with things
bodily experience and personal feeling
loving in imbued with nature's processes and product insisted on not making
copies are mimicking it
and scorned those who create what he called little scenes
in attempts to make naturalistic landscapes
better to use this material to make art to make landscapes that captures
attributes the speak to our needs in our feelings
dan quoting emerson wrote nature who have horrors mannerisms
has set her heart on breaking up all style and tricks
instead one must go right to the heart and sources the interplay forms
and volumes that when a range dynamically release a continuum
the connects outwards should not the role of design be to reconnect human
beings with their space
on their land well this is the quest that he set for himself
so between 1940 8 and the designer the Miller garden now considered to be an
icon of American modern landscape design
Kylie produced dozens a residential gardens
an urban commercial schemes several overture
wrecks of course this is the Osborne House
the most striking these designs the year before the Millers was that for Robert
Osborne a remarkable cartoonist illustrator New England
federal urban barns was the architect Barnes likes are interested in European
modernism
but a big under examined classical plans in the works
his house for the osborne's like much to the early work was modest in scale
quiet and deceptively simple seeming
to nearly symmetrical wings flanked by an open court
with a central space extending opposite the court
all was set upon a nearly square low plinth
with low clouds Kylie responded with a small orchard bosko across the court
on the plinth an avenue of trees leading away on the central axis with other
spaces in walks flanking and pin wheeling away as you see in this plan
all were set in a soft undulating meadow
both Barnes and Kylie firmly believed the building in landscapes should be
link spatially with visual and physical connections between key spaces
a beach in 1982 during a symposium at the University Ridge in Usdan about the
geometry is a spatial organization of his work in how you describe its
differences from the beaux-arts
which also employed many the same elements trying to get him to talk just
I knew what they were but I wanted to say it so
his answer begin what modern design is all about
appropriate and then the kindest thought for a minute so well appropriate kiss
nurse comes in sometimes it's appropriate to have a symmetrical scheme
I mean shouldn't avoided you should avoid what is
if that's the problem in the function into space than your not gonna
deliberately make it a symmetrical
what I think excited mean excites me now is the poetry of space
or spaces continuous were two dimensional space gets broken down into
movement
dynamic movement that never ends but extends to infinity
movement that has ever continuous an elusive
like a maze like its like a mystery
it's a mystic quality of space developed by the structural means
that you have such as trees and other things its
just like modern architecture the broke down the plan
Frank Lloyd Wright and before that the Victorians have broken down tight
symmetrical compartments
into a flowing have space the reason for the open plan originally was partly cost
you could get more for your money by having a multiple use a space is
like living/dining and gardens in the landscaper reaching to embrace the land
around you
and have it as part of view free in effect
so now let's turn to the Miller garden
and its design this plan you've seen earlier today
the house on your right with its but we call the gardens and then there's the
meadow
and then there's the flood plain and the Flat Rock River
below just what exactly did and Kylie do here with a row surn
at the time the architectural historian I think although
Suzanne thinks it was someone else I thought was conroe but whoever wrote for
The
for that magazine described the house as being neo platinum
which in ways it is as she showed a square central plan with rooms attending
all four sides
ha the building however and the site
interlock about a set up in Wheeling axes
that move out and away from the car the house now if you look at this
this plan which is a plan above the trees
and the masses have trees you can see open spaces and covered spaces:
you can see LA is you can see another LA you can see orchards
you can see groves you can see and these are just a set of
sorry backup and you can see these
damn too much every okay are
you can see these are all different photographs taken all around moving
around in the space
one other things is as you move everything keeps changing
every minute as you step step step
the relationships have things one to another
the building and site as I said interlock about a set up in Wheeling
axes that move out the way
and around the corner the house the house was designed as you heard
and functional blocks such as the kitchen the dining room the master
bedroom the living room so
dan said I took this same geometry and made rooms outside using trees in groves
and Allah is the whole thing becomes a geometry
mister miller didn't want it to feel he was keeping the community out
and yet he wanted privacy so I said okay or one
say look at that one other things about this place I'll come back to the coroner
here you can see a plan have the stems have all the trees
and here you can see the net result of the foliage and the trees
the notion of the columns versus the rest the leaves
no he said okay our own operated a backup mister Miller said
I didn't want to feel he was keeping the community out yet he needed privacy so
dan said
okay erlin will put in a hedge with openings
so the space kinda goes in and out but you can see in
and you don't feel the line going out so if there's a photograph
on your left Ovid as it was originally planted with the young are provided is
going in and then has it was trimmed originally
so quite large in much overgrown and you don't get the spaces in between is it
was
original but you get the the notion in these photographs oh how it filled out
where things to say is a in these photographs you see the hedges a
plan along the perimeter the property that their alternating overlapping in
two rows like a traditional New England wouldn't hit and miss fence
with all the landscape the dinner time is part of the medium of course that we
work in and he was exploiting
how that would fill in and that the transformation the plants would
with filin however as we all know sometimes they just keep going in
unfortunately being living sometimes they die in the need to be replaced and
so
the problem was working this medium is its now is it never finished it seems
like it's always on its way out
so anyway dan is related also how below
to the west we designed a very romantic kinda Park
in contrast to the geometry the house
down there by the water he said it wouldn't have been appropriate to do
geometry it all
because the physical conditions with the possibility water coming in via the
stream in the woods
these called for that response and it is you might say I'm using
you know a little added amusement as it turns out
like a lot of landscape project some other his wanting to play around and
carve a bit down there
in the flood plain never actually happened but it doesn't matter if floods
anyway and this
the the juxtaposition between the
the the how to say tailored architectural parts the
the Great Meadow flowing down in the woods the
the tripartite organization still is a complete success in my view
a quote the hosts I compared to the villa rotunda in the fact that it's a
separate temple
on a podium this is Dan talking
what's happened know there we go
its he said it's a separate temple on a podium and just like developed under
you can't start extending lines from the complex outwardly
you have to do it in the round in effect
so in this case the axis across is functional
and because the ground drops
of because the ground drops of their and you want
into the meadow the effective a balustrade a big trees was created
to get the slide switch to Rebecca
so this is very this balanced right have trees was created
it re it was really a balustrade have trunks
this is how they were before they were replaced this part of the game
we're talking about well
it was the Palestra out of trunks it also provided protection from the hot
Western Sun
it engaged and it gave it that kind of continuity
and that was the first job where I had the chance to try to achieve dynamic
spatial movement
by the way if Grove orchard line and materials
and i think is the best thing I've ever done
he continued a 10-foot terrace extends out from the house
and the same paving on all sides surrounds the house which
you saw her earlier in the talks is Suzanne
members this podium goes all around to have a 25-foot podium
from each facade out it's like an island
the kind of house you don't extend out from but instead is more like a temple
in the round
kyle is designed for the Miller garden managed to capture
outdoors in a landscape in three to dimensions the dynamic movements rhythms
pinwheel in geometry is and variations that are fascinated
the generation have to be in the two-dimensional works a Mondrian and
Jasper
and had been absorbed by hand for the world's most distinguished architects
I'm repeating this plan to the house and its immediate grounds
for your consideration look at that plan
there's the house plan that Suzanne and ever
serve took apart free and put back together where you saw the
the volume spin wheeling about spaces that continued and look how dan
polls a man they keep going and then he stops them
and turns them in redirect them and turns them
and redirect them again with the vegetation
now will take over very quick tour around some other spaces outdoors
first there's a literal extension of the architecture
there's a glass screen that echoes the hedges be on but also screens cars
in the service drive then there was a red but growth which
has been replaced with other plants since but which you can see here is the
original Redbirds
as planted on the left and then as they were when they were should've
at the end of their natural life on the right
there were other things about this dan describe this growth
its they're absolutely on a their like a 10-foot module
but but the point is that he said they were dancing
use the word dancing which we we heard also in an earlier quote
today and again seen in in in these pictures
so now let's look at the horse chestnuts
the horse chestnut surgery that dan loved in France
you've heard that are when Miller spent a lot of time in France and that he
loved them
so here we have this congruence have a great client and a great designer
who both love the same thing unwanted and find ways to use it
and you see some other different seasons the again this is the same place looked
at
from several different vantage points as you move around
within it or hear the consider the contrast between the Magnolia in the
foreground in the apples in the back
you know or or the and the fact remember he said
nothing wrong I can use symmetry and so you'll see these pairs of shoes the
pair's a
love the great draping weeping beech trees the pair's magnolias
he wasn't afraid to do that he just
like to then take you somewhere else after you came out through their
here we see to the we see some the Apple archers and we see the
that not a Apple this is the Redbirds that the replacement of the Redbirds
actually
and then tortured offer the dining room in the kitchen
anyway and this a course is
the great LA honey locust sieve this very famous now
the passes and parallel across the front of the house rather than perpendicular
to it as one might have expected in a Beaux Arts scheme
kylie is said that it was planted to protect the living areas
from the Sun and the wind
now this LA became a primary axis within the site to gramm
spatially this LA is a permeable perimeter to the house proper
its rhythm a vertical trunks filters the view from
the cultivated realm down to the greater wild
the alley is also a private Boulevard the connects to intimate pluses
as one walks between the this a diseased and talking at me
dances is a spatially is a permeable perimeter his to ease using these words
he says
dances the LA is a private boulevard that connects to intimate pluses
as one walks between the parallel lines or trees news pictures look in each
direction
there's perception %uh dilation as a human scale that accesses the were
spiritual aspects
the design the Miller garden house although published
briefly didn't make a very big splash at the time
because a Miller's valued their privacy it was rarely visited for decades
Kylie Ansar in and went on to other more public work at dulles airport to jail
University and elsewhere
and after signs early death then worked with Kevin Roach
and Pokemon its Paul cannon to Cesar Pelli his associates who all went on to
lead their own firms
as well as with Ed Burns Jackson Robertson richard meier IM pei
Gary Cobb very well and many other distinguished architects
his early work as an architect is feeling for space movement structure
along with the habit of employing a self-imposed limited palette
albeit often one that was sensual rich and heard a culturally successful
made him an ideal collaborator the majority projects that followed
the Miller garden were larger and more public
in them he employed the devices and strategies
he perfected there this is an area love the
Oakland Museum at the Oakland Museum with Roach Indian clue
he worked on a series a roof terraces with the museum largely beneath
and there was no object building which allowed him to make a composition a
bands and groups have trees and shrubs with rectangular square patch is a
groundcover
an assertive interlocking and spiraling relationships again
reminiscent have to steal planting painting rather
this is is planting plan for that museum
talking to me about it once he became very animated he said
you know it's like laundry as boogie woogie an S
at that saying that he places his parallel to each other about six inches
apart
and he started making rhythmic sounds like those at the beginning stravinsky
Sacre du Printemps
dot dot dot dot dot want to talk to don't top
topic initiatives like very animated
and then news just chopping the air no sir saying if he was
use very excited about what he could do when he began
working this way times however
where there was a strong neo-classical building he worked with the
in a manner reminiscent the note as in the Kansas City Museum of Art was long
LA's a closely spaced reason to sending series of terraces
the contemporary said have rhythmic happy vere
loosening an opening out at the bottom on the sides have the Vista
at other times he conjured a set of basins
integrative bald cypress
trees original and local reference to the natural vegetation the Trinity River
this is working with harry cobb stall Sharda reflecting glass in Dallas
and in this particular case they would have been reflected infinitely
had the other twin tower been built
and one project after another he explored various devices used in the
Miller garden
but singularly and in combinations for the Getty Center Los Angeles he proposed
a vast good have live oak trees 10 feet on center
which although eventually planted 18 and 14 feet apart
recalling a scene in Spain he presented it talk re said
are used to give talks to students years ago in which I referred
to a man's module of thirty feet on center as in these
over grow hope olive grows near Cordova in Spain
because the folding and Chrissy's the land these turn into ever-changing very
different esta grows that are very beautiful I think
the point is you don't need a lot of ideas you just need a 30-foot module to
start with
at the third book in independence mall in philadelphia and at the Art Institute
of Chicago he produced environments completely derive from working with
squares and Rizza plants water and open space varying in size horizontally and
vertically
ality here you see drawing up his up above
for independence mall lamentably a considerable number of these projects
have disappeared or been altered or destroyed
dollars airport the third block of Independence Mall Kansas City Lincoln
Center for example
others such as the sailor's ArcSight are currently in the process of course being
recovered
and restored and fortunately we still have the Miller garden
this quintessential masterpiece that has been beautifully maintained and cared
for
when I moved into my office is chairman alaska mortgage department your average
Graduate School of Design and Harvard in 1982
I found a stack have large black-and-white photographs
they were of similar house two years previously my predecessor P Walker
put on an exhibition Daniel Kylie classicist in the modern landscape
consisting mostly of photographs by onward these gorgeous prints
where the heart of that show
I put them up in a row across the room from my desk and I kept them there for
the next four years
considering them often one result was that I managed to get dan
to come back to Harvard where he had set foot for fifty years
and even to coax him into teaching a studio which was an event for all of us
especially the students in mind several them subsequently went on to work for
him and a study document and write about his work
for many of us in the field today
the Miller house garden is considered the centerpiece if then Kylie's work
and one of the most iconic overall twentieth-century American modern
landscape designs is probably been photographed analyzed and discussed as
much as any other single worker recent landscape architecture
it has generated a thoughtful and diverse bibliography
that includes assessments and presentations by Elizabeth Kasler
Jane Amazon rubin rainy Elizabeth Meyer Greg clean
John Beardsley mark tribe Michael Van Valkenburgh Pete Walker Melanie simul
Jory Johnson Robyn Carr says yes even today by myself
well a few years ago
before he died we were together in the pine woods in Houston
he was considering how to cut a syriza canals and basins into them
and discussing their dimensions and spacing and finally he turned to me and
he said
proportion is everything there
in three words dan it boiled down one of the lessons he taken
from the great classical gardens to the French Baroque
and applied to the beautiful modern works he'd made
for his contemporaries proportion is everything
thank you very much Subtitles End: mo.dbxdb.com