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B. Most Influential Landscape （P304）
A difficult distillation, given the historic gardens of Japan, Italy, Spain, England, and the modern gardens of Marx, Church, Halprin, Barragan, Noguchi, et al. Still, three works do stand out,not in any particular order.
The first two are late Le Notre gardens, where the baroque detail had given way to a more austere minimalism of line and plane. Le Notre “chantilly”(perhaps his last) is where an existing romatic sculptural chateau and several separated levels were composed into a spatial collage of juxtaposed planes and objects, seen first from a rising ramp, then from across, above, and below. These spaces are connected not by a single or cross axis, but rather by one of the greatest outdoor stairs of all time. Both processional and mysterious, urbane and natural with extremely complex tensions,the gardens is achieved by extraordinarily minimal means. Though relatively small, its surreal flatness and dimensional extension rivals Veaux-le-vicomte and even Versailles.
“Sceaux”is spatially a gothic cathedral of a garden. Almost without ornament, it is formed by a simple repetition of great linear spaces that build into a visually complex density. The grand verticality is achieved through exploitation of rhythm, reflection, and shadow. Directly and essentially interactive with the daily and seasonal change of light and atmosphere, “Sceaux”is a changing visual wonder at all times of the day and year. Unfortunately, it is also soon to be ruined by stupid contemporary plantsmen.
Kiley’s “Miller House” is, to my knowledge, the first important non-painterly garden utilizing real constructivist spatial techniques. Seemingly classical (like the Barcelona Pavilion), this garden is radically modern in its multiple use of interlocking planes and its great variation of defined spaces. Kiley here composes a variety of plants and grounds into point and linear grids, allees hedges rooms, and a dramatic change of grade. Though almost unphoto-graphable, it is in my view a giant advancement in modern landscape design. The garden is perhaps not understood sufficiently by the landscape and architecture professions, which have largely failed to take advantage of Kiley’s genius.
My quest has always been to try to understand landscape as an art. These three gaedens suggest to me the great range, simplicity of means, economy of scale,and formal distillation of nature performing in light that I feel most clearly reveal the modern artistic opportunity to bridge the industrial city, the agricultural plain, and the grandeur of natural process.。
