How often have you looked at a designed landscape and wondered what had inspired the creator to develop the area in this particular way! This book has been both a revelation and a comfort as there are times when the source of inspiration may be clear and obvious – for example, when the garden is an obvious reflection of its surroundings – while at others it can be quite obtuse as when the designer, in search of inspiration, delves into childhood experiences of which, of course, we could have no knowledge and, so, are unable to be in a position to interpret their design.
The designs, twenty one in total, discussed in this book are outside the experience of the vast majority of gardeners and while I have referred to them as “gardens” above it would be more accurate to call them “landscape designs”. They are far from the domestic in their dimensions, scale and impact and are truly impressive, awe-inspiring and works of art in themselves. The gardener of domestic experience could well be puzzled by them but Susan Cohan’s book provides a wonderful, insightful and very interesting insight into what lay behind these landscapes; what it was that inspired each designer.
Some were pleasantly obvious and, to me, comfortable: Shlomo Aronson’s design at the Ben-Gurion University of the Neger, Beersheba, Israel is directly inspired by the surrounding desert landscape, for example, while Charles Jencks’ design for the Maggie’s Cancer Caring Centre, Inverness, based on dividing human cells is not immediately obvious. Likewise, without being informed, it is not obvious that Tom Stuart-Smith’s box parterres in the walled garden at Broughton Grange are based on a microscopic picture of the cells of leaves. Some designers carry on in the style of local gardening traditions, others look to other garden designers for inspiration (is this copying?) while sculpture, plant form, even clothing patterns have inspired others. Some look to the past, – history, myths and legends – while others can impressively embrace the past and bring in along into the present and into the future, such as Peter Latz’s Landscape Park in Duisboury Nord, Germany, where he took a derelict industrial area of vast scale and, rather than clearing the area to begin on a blank canvas, kept as much as possible or ore bunkers, railway tracks and immense walls and made garden spaces within them which have served the community splendidly.
Each project is well illustrated with initial sketches and plans, design drawings and photographs with an outline of the journey from inspiration to completion. The author’s interviews with the various designers have provided an insight into an area with which I would be otherwise unfamiliar and have made the reading of these landscapes very enjoyable indeed. This is an excellent book to be enjoyed at a leisurely pace and includes work by:
- Shlomo Aronson, Sheila Brady, and James Burnett
- Gilles Clément, Gary Hilderbrand, and Charles Jencks
- Mary Margaret Jones, Mikyoung Kim, and Peter Latz
- Shunmyo Masuno, Signe Nielsen, and Cornelia Hahn Oberlander
- Laurie Olin, Ken Smith, and Stephen Stimson
- Tom Stuart-Smith, Christine Ten Eyck, and Ryoko Ueyama
- Kim Wilkie, Thomas Woltz, and Kongjian Yu
[The Inspired Landscape, Susan Cohan,Timber Press, 2016, Hardback, 272pp, £35, ISBN: 9781604694390]
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