20th C Landscape architects - Noguchi & Burle marx.pdf

Two of 20th Century Landscape architects and their works. Isamu noguchi/Roberto burle marx

1. Presented by: Ar.Asna LANDSCAPE ARCHITECT AND WORKS
20' Century

1.1samu Noguchi

2. ARTIST

LANDSCAPE ARCHITECT
FURNITURE DESIGNER
SCULPTURIST

Isamu Noguchi (1904-1988) was the son of an American
mother and a Japanese father. Born in Los Angeles, Nogu-
chi spent his childhood in Japan before returning to the US
for his education. As a young man he travelled to Paris to
work with sculptor Constantin Brancusi, and he went on to
develop his own career as an artist in New York.

After visiting Japan in 1931, Noguchi began to integrate el-
ements of Japanese art with Western modernism. Through-
out the 1950s Noguchi spent a great deal of time in Japan,
embracing Japanese forms for the design of gardens and
sculpture.

3. While studying medicine at Columbia University
he began sculpting.

In 1927 Noguchi was awarded a ei Simon Gug-
genheim Fellowship and soon thereafter moved fo
Paris to apprentice with the Modemst sculptor Con-
stantin Brancusi.

He traveled and lived in Europe, Asia, and Mexico
during the 1930s before returning to New York.

Rts first significant U.S. commission, in 1938, was for a
large public sculpture at the Associated Press
building at Rockefeller Center.

During World War ll, he volunteered to work in a Jap:
anese internment camp for several months, primarily
to get fo know his fellow Japanese-Americans.

With his Japanese Garden for the UNESCO head-
quarters in Paris in 1956, Noguchi made a name for
himself designing plazas, playgrounds, and gardens.

Between 1960 and 1966, he worked with architect
Louis Kahn on a (plevyaraunel design for New York City's
Riverside Park was never realized, and imple-
mente: playscapes in Atlanta, Georgia's, Piedmont
Park in 19

In the 1980s, Noguchi redesigned Bayfront Park, a
Beaux-Arts urban park in felt Florida, and he
opened his studio as the Isamu Noguchi Garden
Museum in Queens, New York, In 1985.

In 1986, the Lillie and Hugh Roy Cullen Sculpture
Garden opene: Houston, the first sculpture
garden created by Noguchi in the United States to
house the work of other artists.

Also known for his set design and furniture design,
Noguchi was recognized towards the end of his life for
his distinguished career in the arts.

He represented the United States at the Venice Bien-
dae in 1986, received the Edward MacDowell Medal
in 1982, and the National Medal of Arts in 1987.

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7. Slide Mantra
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Bayfront Park, Miami - 1986 Sapporo, Japan -1988-1989

8. Slide Mantra

Originally waÿ conceived in 1966, as one of many ideas for “play equipment,” but never developed fur-
ther than a small plaster model. The completed work combines ie ‚scale and grandeur of classical archi-
tecture with a disarming lightheartedness. As Noguchi liked fo say in connection with if, "Art is something
19 be fell through a child § buttocks.” Kan Yasuda, who assisted Noguchi's longtime Italian collaborator
Giorgio Angeli in the fabrication of Slide ‘Mantra, fecalied the aris? making many trips down the sculp-
ture's length, having it re-carved until he judged it to have the right spe

9. Slide Mantra

10. Mosrenuma Park Is a comprehensive park In Sapporo

that is intended to be the base of the “Circular

Greenbelt Concept’ tha: i combines the green spaces
of the city of Sapporo within a I

Construction commenced in 1982, and the park had
its grand opening in 2005.

Sculptor Isamu Noguchi created the basic design
based on the concept of ‘the whole being a single
sculpture."

The fountain and hills form many geometric shapes in
the expansive grounds, facilities for play equipment
and so forth are arranged in an orderly manner, and
the landscape can be enjoyed as a fusion of nature
and art.’

PROJECT: THE LANDSCAPE OF PLAY
OCATION: MOERENUMA PARK, SAPPORO, HO!

11. HISTORY

1977 - Commencement of Land aeasistion of the
wosfel ülsnosai site) wiltitha aim) of furniogi It Into
par

1979 - Beginning of Moere ‘gut with non-combusti-
ble waste. Beginning of construction and Moere |
ene at Ginter robeNer BIE
hensive flood-control measures for the Fushiko River.

1981 - Devel
basic design.

pment of "(former) Moerenuma Park

1982 - Commencement of construction on the park
foundations. Establishment of “basic plan for (former)
Sapporo Green” The “Circular Greenbelt Concept

is

w

1988 - July, deves of Isamu NOGUCHI in ibe
1 N ber, Col
pletion of New Master plan.December, Death ‘a
Isamu NOGUCHI at age 84.

1989 - Beginning of construction according to Isamu
NOGUCHI's master plan

1998 - Soft opening of Moerenuma Park.

2005 - Grand opening of Moerenuma Park.

12. Moerenuma Park is a landscape sculpture Mecca designed by
Isamu Noguchi offering distinctive expressions of the four seasons

“Sapporo's Incredible
Sculptural Playground”

A marsh was dredged as part of a wider flood-con-
trol project, and what is now called Moere Lake
forms a U-shaped moat around the park

trees, and there are 126 swings, de “ang gilt pieces of
colorful playground equipment designed by Noguchi for
children to enjoy. The glass pyramid era large eu:
also compelling spots

14. Features of the Park

fl 62m Tall Mi.Moere
The glass pyramid ie mht Son racimos
Hidamari rad

aol j Aqua Plaza

Work of Ar Tetra Mound
Isamu Neil

15. The glass pyramid/Hidamari

Entrance portion Inside the pyramid

RRA ESA conter om
that offers extensive views over the park landscape. There's also a
gallery that introduces Isamu Noguchi with a selection of images

ind books abouyt his work and career.

Roof View from the roof

View of the main park events ae building
Buil ide of the park's iconic Hidamari glass pyramid structure is a multi-purpose events building and includes
a gallery highlighting al IF GIRS Janine mut 2 ee one laa]
cultural activities, restaurants, Gnd shops (including a gift shop)

16. Forest of the cherry

Playground 1

n the eastern edge of the park is
the forest of cherry trees, which
produce a wonderful sakura display EN Playground 2
every year around the end of April.

Hidden inside the forest are 7
sculptural playgrounds, each con-
nected with a path, each featur-
ing interactive sculptures de-
signed by Noguchi. Playground 3

There's no age limit on playing on
the | sculptures. | Childrens “and
adults alike are welcome to jump,
raw, climb and slide.

Playground 4

17. Sculptures inside the park
TETRA MOUNDS

A =
A symbolic monument of the park, the Tetra Meine, 13m hi ig! je "Sea Fountain," which could even be called a water
The three shafts stacked upwards together in the ae, ETA 5 a stellar show due to the dynamic jettison-
shape of a mound strikes a powerful impression ing of wa

In the background, on the other side of the Moere River, the
outer fringes of the greater Sapporo City area are visible in the
istance.

18. Play Mountai

The “Play Mountain.” according to Noguchi, is an The Moere Beach is not a natural one, but rather, a water
avant-garde art piece thal was created by directly cary. pork designed Ike the seaside for the children to play in the
ing the land. Do try climbing the 97 stone steps made sea-less city of Sapı

from granite that came floafing in the Seto Inland Sea

from Inujima.

19. Aqua Plaza Cycle track
EE

~ à

In the valley between the Moere Mountain and Pla
Mountain lies the ‘Aqua Plaza,” with a gently shallow 2
to 40-cm water depth and smoothly flowing waters.

20. Nature and ever-changing seasons at Moerenuma

AUTUMN SPRING

Once mid-October kicks in, the greenery slowly turns to For spring, the "Forest of Sakura” with over 1,900 cherry
autumn orange, the interplay of the two colors making blossom trees at Moerenuma Park will be in full bloom
for an exquisite view. The heat also starts to die down, near the end of April, announcing the start of spring.
making this time the best for a leisurely stroll in the

21. Nature and ever-changing seasons at Moerenuma

SUMMER WINTER

In the summer, a refreshing session with water games will Winter has its own unique experiences as well, from
start. The “Sea Fountain.” which could even be calied a sking to walking in snowshoes or playing in the snowy
water sculpture, is a stellar show due to the dynamic jet. landscape with a sled.

tisoning of water. There are 40-minute full programs an

nee (pvogranel teh ncapen! resto) tour

times a day each.

22. 2/California Scenario
611 Anton Boulevard,
Costa Mesa, CA

23. In 1979, real estate developer Henry T. Segerstrom
pealed to Noguchi to devise a plan for a cultural
site for his Sun Coast Plaza in Costa Mesa, California.

The resulting plan found Noguchi estentializing the

verse ecosystems found within California through
Sanaa Ces ail Hemiees de eue Lio

evocalive landscape compositions The Desert Land
and Forest Walk.

Ai the same time. he commented on the compilcat-
ed ecological issues raised in making some of thes
areas habitable for larger populations: Water Cola

jer Use were placed at opposite ends of a cir-
Eig sita diene, wie Lane lies ame) aces
Fountain were arrayed on opposite sides of the pla-
za's expanse.

A late addition to the composition, a mound of fitted
granite stones, Spirit of the Lima Bean, alluded to the
area's agricultural origins.

California Scenario is recognized as one of the country's preeminent sculpture gardens and the most
vital publicly accessible outdoor aerea oasis in Southern California. One of the artist's most import-

various of California,

ant public sculpture gardens, its des

incorporating indigenous plants and aan

24. Recognized as one of the country's preeminent sculpture gardens and an iconic public space, Noguchi's masterpiece
sits between two office a The garden's design symbolizes elements of California's geography, while the piece
Spirit of the Lima Bean speaks to nn leno! heritage of the land and the artist's relationship with Henry
Segerstrom, who Cannes) the we

HISTORY
1979 - Commisioned

1982 - Completed

Water Source
Desert Land

Land Use
SIX PRINCIPAL ELEMENTS :
a en N

a PEGO ha ND
4. va
5. W

$. er FOUNTAIN Energy Fountain

26. Circulation Land of the plaza

eo...
Forest walk

—
Water Stream

27. LANDSCAPE ARCHITECT AND WORKS
20" Century

2. Roberto Burle Marx

28. ARTIST

MODERN LANDSCAPE ARCHITECT
ENVIRONMENTALIST

PLANT HUNTER

Brazilian Landscape Designer/1909 - 1994

Roberto Burle Marx was the first Brazilian landscape artist to
depart from the classical principles of garden design, intro-
ducing asymmetrical plans that have influenced land-
scape artists around the world, as has his use of native veg-
etation, colorful pavements, and free-form bodies of water.
His knowledge and cultivation of myriad species of plants
have been cornerstones of his designs; by choosing plants
that would naturally thrive in the climate of the site, and by
including evergreens and perennials, Burle Marx has pro-
duced gardens that are easy to maintain and in keeping
with the concepts of modern living.

29. Born in Säo Paulo and raised in Rio de Janeiro, Burle
Marx traveled to Berlin in 1928 to study paintin:

Visits to nn City's Dahlem Botanical Gardens intro-
ced h to the artistic possibilities of tropical
ee

‘hen he returned to Rio in 1930 to study art at the
National Academy of Fine Arts he tested these ideas,
experimenting with native plantings at his home.

His work caught the eye of his professor, architect
Lúcio Costa who enlisted Burle Marx to design his first
garden for the Schwartz House.

Burle Marx's innovative Modernist designs quickly
gained recognition. Considering himself foremost a
oe a

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colorful amorphous paving patterns as his pal

He was devoted to the study of horticulture, sourcing
new plant specimens during excursions from his

estate Barra de Guaratiba into the rainforests of
Bra:

In 1955 he formalized his practice, opening Burle Marx
& Cia. Ltda., soon after ceeding VERSE elt
accepting commissions worl

Collaborating with noted architects including Oscar
Niemeyer his projects include: Copacabana Beach
promenade and Flamengo Park, Rio; Cascade

sylvania; and Parque del Este, Caracas, Venezuela.

an environmentalist, Burle Marx was one of the
fist Brazilians to speak out against deforestation.

Heaven! londscape erchitecttre ai University of
Brazil and wrote a number of essay:

elwes awardsalihe landscape architectural pralel
tits se Exhibition of

je Arts Medal of the American Institute of
Architects rot Billi mide dr Eceeilon Were"

30. Lessons from Marx

DYNAMIC

urle Marx understood that landscapes are dynamic,
ever-changing entities rather than static compositions.

He emphasized the importance of designing with a
long-term vision, ensuring that his landscapes could

‚dapt to changes over time, both in terms of ecologi-
Cal shiffs and human use.

As modern cities grapple with the challenges of rapid
urbanization, climate adaptation, and biodiversity
conservation, Burle Marx's work offers a prescient
ek! oh da landscape architecture can address
these critical issues,

By exploring his legacy. we can extract key lessons on
how to prioritize native flora, design for resilience, and
understand dynamic nature of landscapes, al
while ie “spa ee ply connected to
ee hater eme lacada

31. Lessons from Marx

BIODIVERSITY &
LOCAL IDENTITY

Roberto Burle Marx's design for Parque do Flamengo in
Rio de Janeiro exemplifies his groundbreaking approach
O ete e
vation of local biodiversity and cultural identity.

Developed in the 1960s, and conceived as on Urban
garden that transitions between the sea, city,
mountains, the park provided versatile spaces for recre-
ation, leisure, and cultural activities.

With 1.2 million square meters, Flamengo Park trans-
formed a former landfill into a vibrant urban ecosystem,
featuring over 17,000 trees from 240 species.

By prioritizing native Brazilian species, the architect not
only preserved the local ecological identity — promot-
ing biodiversity by providing habitats for local fauna and
creating plants adapted to local climate conditions re-

uiring less wate: — but also strength-
éned cultural connections lo ihe land crafting spaces
that are distinctly Brazilian.

This approach was instrumental in Rio de Janeiro be-
coming the first city in the world to earn UNESCO World
Heritage status as an Urban Cultural Landscape in 2012.

32. Lessons DEN HOT

Roberto Burle Marx's work on The Copacabana Beach
Promenade and the Conjunto Residencial, Prefeito
Mel je Moraes (Pedregulho) exemplifies his ability
to “Blend functionality. aesthetics, and cultural her.

Completed in 1970, the Copacabana promenade
features an leonle undulating mosaic pattern that re-
interprets the traditional design of Lisbon's Rossio
quare.

Stretching 2.5 kilometers, this mosaic ls one of the larg-

t in the world, with its black and white files enhanc-
ing the coastal view and framing the iconic Sugarloaf
Mountain.

By elongating the curves and aligning them with the
sea, Burle Marx created a harmonious connection be-
pee the natural landscape and Brazil's colonial his.
ensuring à ns a central, functional part of
ADAPTABILITY & on life that DEEE the y. 5 character and en-
MULTIFUNCTIONALITY hances its resilience to environmental challenges.

33. Lessons from Marx
erm TO OS

Burle Marx viewed landscapes as living, evolving sys-
tems rather than static designs, a ena vividly
embodied in the Sítio Roberto Burle Marx, his former
residence that now functions as a public garden and
museum.

a established as a plant nursery in the 1940s, the
Sitio evolved into a living laboratory for botanical ex-
perimentation, showcasing over 3,500 plant species of
tropical and subtropical flora, many of which are rare
or endangered.

This place exemplifies Burle Marx's commitment to

that attracts botanists and landscape architects,
evolution underscores the impor-
tance of viewing landscapes as living entities that re-
quire adoptive management, challenging the con-
cept of a “finished” landscape and highlighting the

ADAPTIVE MANAGEMENT & need for long-term stewardship.
CONTINUOUS EDUCATION

34. Lessons from Marx

INTEGRATION OF ART AND ECOLOGY

“A garden is a complex of aesthetic and plastic

intentions; and the plant is, t

artist, not only a plant — rare, unu:

nary, or doomed to disappearance — but it is

also a color, a shape, a volume, or an ara-
besque in itself.”

Roberto Burle Marx's work on the Minisiry of Education
and Health buil exemplifies the architect's abilit;

fo blend ecological design with visual artistry, reveal.

ing how urban spaces can be aesthetically and eco-
logically conscious.

The rooftop garden, innovative for its time, features
sinuous forms and vibrant colors that evoke 19th-cen-
tury garden plans while reinterpreting them in a mo:
ernisf context.

This garden not only improved building insulation and
mitigated the urban heat island effect but also creat.
e ary for biodiversity, showcasing the mulll-
faceted benellts of Integrating nature Into urban ar-
chitecture.

All these Eee Fa contribute to the idea that ‚nern
exclusive, crea ing ee oda
a ee Ihe ae Bose plantings. The
rooftop garden demonstrates how cities can function
as complex ecosystems benefiting eee cpl

ure, enhancing the bullding's functionality and
highlighiin the synergy between innovative land-
scape design and modernist « architectures

35. Roberto Burle Marx's lessons are more pertinent than ever as we confront the twin
crises of climate change and biodiversity loss.

His work exemplifies how urban spaces can be both resilient and aesthetically
pleasing by prioritizing native flora, designing for adaptability, and integrating
rt with ecology.

Burle Marx viewed plants not just as botanical specimens, but as elements of
color, shape, and volume in his artistic compositions.

His legacy encourages a holistic approach to urban design, emphasizing the in-
tegration of cities with larger ecosystems.