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DECEMBER 2017

SITELINESLandscape in British Columbia

The Arts and Architecture

Classical Music and Landscape Architecture | The Visual Arts in Landscape Architecture | The Written Words: Canadian Authors and the Landscape OPEN AIR STRUCTURES

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2 SITELINES BC Society of Landscape 450–355 Burrard St. Vancouver, BC V6C 2G8 T 604.682.5610 E [email protected] F 604.681.3394 [email protected] TF 855.682.5610 (Canada and US) W www.bcsla.org www.sitelines.org THE andARTS Landscape Architecture

PRESIDENT Scott Watson PRESIDENT ELECT Stephen Vincent PAST PRESIDENT Al Neufeld Larry Diamond, BCSLA, CSLA, PIBC, ASLA, Retired Derek Lee, BCSLA, CSLA, LEED A.P. REGISTRAR Mark Vaughan Principal, Urban , PWL Partnership TREASURER Cynthia Hildebrand DIRECTORS Debra Barnes Robert Fershau Landscape architecture draws upon environmental and human science, economics, Illarion Gallant technology and art. In this issue of SITELINES we ask the question: how is our field Alexandre Man-Bourdan linked to other forms of artistic expression and what can we learn from them? Can Jordan McAuley enrich our understanding of the design process and inspire us to further Miriam Plishka think outside the proverbial box? CSLA REP. Katherine Dunster DIRECTORS (non-voting) Great composers, including Handel, Beethoven, Dvorak, Wagner and Debussy were UBC SALA REP. Susan Herrington deeply inspired by land and water. Landscape is also fundamental to visual art. INTERN/ASSOCIATE REP. Emily Hamilton Throughout history, depictions of the land and sea as both background and primary STUDENT REP. Celia Winters subject has been integral to painting, sculpture and public art. Landscape also plays EXEC. DIRECTOR Tara Culham a vital role in literature, theatre, cinema and dance in all their dimensions. MEMBER SERVICES COORDINATOR Stephanie Nguyen These articles explore our profession’s relationship to three artistic endeavors: Sitelines is published six times per year; February, classical music, visual art and Canadian literature. Is there a connection between April, June, August, October, and November by the British Columbia Society of Landscape musical expression, composition, structure and ? What were the Architects and is mailed to all BCSLA members, advances, over time, in drawing, painting and sculpture that permitted artists to registered landscape architects, associates and affiliates. The editorial deadline is the 8th and interpret and highlight the landscape? What are some exciting contributions of advertising is the 16th day of the intervening Da Vinci, Picasso and Burle Marx; what can we absorb from them and apply? Are months. Advertising rate information is available on request. Inquiries regarding editorial, advertising, there messages for us from Canadian writers, both Indigenous and non-Aboriginal? or other issues should be addressed to the Sitelines And finally, what are the artistic components of landscape architecture, how can we Editor, c/o the BCSLA at the above address. To view the full-colour version of Sitelines, please visit unleash new creativity and what lies ahead for us artistically, as a profession? www.sitelines.org. In future issues of SITELINES, the relationship of our field to other artistic endeavors may be explored. Hopefully, we offer a few answers, provoke greater

SITELINES GROUP curiosity and encourage animated discussion through this collaborative effort. SL

GUEST EDITOR Larry Diamond, BCSLA, CSLA, PIBC, ASLA Derek Lee, BCSLA, CSLA, LEED A.P.

CO-EDITOR Stephanie Nguyen In this Issue: The Arts and Landscape Architecture ...... 3 ADVERTISING Tara Culham 604.682.5610 fax: 604.681.3394 Classical Music and Landscape Architecture...... 5 Addon Creative 604.379.5943

PRINTING Initial Printing Inc. 604.669.2383 The Visual Arts in Landscape Architecture...... 10

The purpose of Sitelines is to provide an open forum for the exchange of ideas and information The Written Words: Canadian Authors and pertaining to the profession of landscape architecture. Individual opinions expressed the Landscape...... 14 are those of the writers and not necessarily of those of the BCSLA. Cover Illustration: Derek Lee

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4 SITELINES BC Society of Landscape Architects Larry Diamond, BCSLA, CSLA, PIBC, ASLA, Retired Illustrations by Larry Diamond Classical Music and Landscape Architecture – Is there a connection? –

A long-time enthusiast of classical music Handel, renowned for his “Messiah”, lands. A cheerful “Spring Symphony” (# 1) and an avid concert goer, I’ve recently composed “Water Music” for King George I, by Robert Schumann celebrated the bursting pondered whether there is a plausible link to celebrate the River Thames (originally forth of buds and flowers (and love for his between this wonderful art form and land- performed on a barge with the Royal young wife, Clara). scape architecture. Both disciplines require Family). Meanwhile, Franz Schubert’s much Profoundly influenced by the landscape unstinting commitment, astute creative loved “Trout Quintet” found its inspiration of his native Czechoslovakia, Antonin interpretation and fastidious attention to in part, from the streams of alpine Austria. Dvorak infused rural folk tunes and dances technical detail. Yet one could argue that Straddling the Eighteenth and Nineteenth into many of his works. His overture any similarity ends there, given the con- “In Nature’s Realm” is but one of many straints of deadlines, client programs and a centuries, the prolific musical legend slew of regulatory obligations that landscape Ludwig von Beethoven composed among examples. Awed by his sojourn to America, architects must constantly satisfy which his numerous outpourings the beautiful Dvorak evolved his 9th Symphony, “From ostensibly, composers and musicians don’t “Pastoral Symphony” (# 6) which transports the New World” to celebrate the vastness of have to grapple with (they face other daunt- us into the rural realm, including peasant the plains, teeming with immigrants ing challenges). However, I feel differently, so dances, birdcalls and a thunder storm. A and the drama of its . In contrast bear with me while I advance my thoughts. rhythmically brilliant Felix Mendelssohn to his exuberant offerings, a comparatively (who allegedly was a poor traveler), dour Jean Sibelius reflected the dark forests journeyed to Italy and Scotland for musical and brooding lakes of his native Finland Great Composers: inspiration, resulting in the rousing “Italian through his symphonies, while Norwegian Symphony”, the “Scottish Symphony” and Edvard Grieg drew upon fjords, waterfalls Inspired by Land and Water the overture, “Fingal’s Cave”, all three and peaks to help inspire pieces such as the Historically, many celebrated classical inspired by the people, landforms and “Peer Gynt” and “Holberg” suites. composers have experienced an intimate coastlines he encountered. France’s Claude Debussy parted company connection with land and water that has Romantic composer Johannes Brahms with the more structured form of Romantic influenced their works. Some examples: sought the calm of an alpine lakeshore to 19th Century music. In “La Mer”, he utilized Italian Baroque’s Antonio Vivaldi expressed produce his melodic 2nd Symphony while an impressionist style to express the ocean’s his love of earth and its annual climatic vari- Russian Pytor Tchaikovski’s 1st Symphony, various moods while the English 20th Cen- ations in “The Four Seasons” while German “Winter Dreams” conjures up images of tury composer Benjamin Britten in his “Sea born English composer George Frederick sledded troikas, ice skaters and snow swept Interludes” (from the opera “Peter Grimes”) >

December 2017 SITELINES 5 conveys a sense of foreboding, tracing the Similarly, a landscape design requires a and slower movements contrast with vivid, sea’s unpredictability from calm to savage rhythm (or bones) around which spatial even explosive ones. In a single piece, one storm. Italy’s Ottorino Respighi created the definition is constructed, utilizing elements can therefore a wide spectrum of “Pines of Rome” to depict the ubiquitous such as , circulation, planting and site color, from solemn to joyful. conifers at different locations throughout the amenities. Without a signature or framework, It is the judicious use of compatible and at day, including the Villa Borghese , the design collapses. As in music, the scheme’s times, contrasting color that can make the Catacombs and the Appian Way. rhythm can be complex or subtle, but it must be clearly established to move forward. a landscape design either successful or In , both rural and urban mediocre. Desirable results are often achieved landscape settings inspired 20th Century through the creative use of vegetation, composers. George Gershwin created a Themes choice and tone of materials (and elements vivid musical landscape portrait through In classical music, a theme is a recognizable such aswater) that offer a variety of color his opera, “Porgy and Bess”. Aaron Copland’s melody upon which all or part of a compo- and spatial reinforcement, encouraging a sition is based. Simple early pieces were popular “Rodeo” and “Appalachian Spring” range of and emotional expres- often monothematic while later offerings respectfully reflect the ranchland west and sion; contemplative or celebratory. Like a are more complex and poly-thematic, a the eastern American hilly countryside. His beautiful nocturne or etude, a landscape principal melody with introduction of a contemporary, the energetic, multi-talented needn’t be of grand scale to utilize secondary one and even a third one. For Leonard Bernstein places us in the gritty color successfully, thus potentially engaging example, in an orchestral work, the strings streets of 1950’s Harlem through his suite our senses and emotions whether in an could carry one theme while woodwinds for “West Side Story”. intimate or in a public plaza. introduce a secondary melody. Canadian composers have also been pro- Repetition helps unify a piece of music and In landscape architecture, a theme may evolve foundly influenced by our terrain and water. makes it memorable. In the days before from a client directive: the desire to achieve a Godfrey Ridout’s “Fall Fair” conjures images recordings, classical composers used repeti- specific marketing image for a private initia- of flame colored hardwoods and farmer’s tion as a means of getting melodies to tive or often in the public realm, a theme that “sink in”. Repeating themes and melodies markets brimming with bounty. Alexina evolves from a site’s context. A may carry through to current compositions. Louie’s “Music for a Thousand Autumns” reflect a waterfront industrial vernacular as its Therefore, it is not unusual to hear an open- and Jean Coulthard’s “Vision of the North: principal theme through its ing passage in an orchestral work repeated, Symphonic Images” express dramatic aspects and choice of materials that embrace surfaces, whether they are a 19th Century Romantic of our vast land through music. illumination, viewpoints, enclosures and piece such as Brahms 3rd Symphony, 20th seating. A secondary theme may be intro- duced through selection, interpretive Century composer Bela Bartok’s Concerto elements or public art that contrast with or for Orchestra or a composition by the Elements found in both support the principal theme, perhaps inspired contemporary minimalist Philip Glass. In Classical Music and by the history or ethnicity of an adjacent essence, melodic repetition leads the Landscape Architecture community. As in a good musical composi- listener through the experience, inviting that Create and Shape tion, the subtlety of how themes weave their greater participation in the music (two Three-Dimensional Space way through a landscape design distinguishes notable examples where repetition is highly one that is notable from one that is clumsy. prominent are Serge Rachmaninov’s Music envelops us three dimensionally “Rhapsody on a Theme by Paganini” and through variations in sound while landscape Maurice Ravel’s “La Valse”). architecture utilizes both hard and soft Color Similarly, the skillful repetition of land- materials to create and shape outdoor spaces. The warmth or coolness expressed in a musi- scape components provides way finding There are elements found in classical music cal composition (or in different movements through an open space. Paving patterns, compositions that have counterparts in within the same piece) convey a sense of color and are directly linked to people’s emotions. surface treatments, choice and location of landscape design that help us craft three Research at the University of California, site amenities and furnishings are a some dimensional experiences. Here’s a sampling. Berkeley, indicates that test subjects affiliat- frequently used repetitive tools. In New Rhythm is the beat or time signature of ed bright colors (particularly yellow and York’s Central , Frederick Olmsted and music. It is the first dimension or building orange) with sparkling compositions such as Calvin Vaux utilized granite outcroppings block from which sound is organized. Mozart’s First Flute Concerto while deep to help lead visitors through this natural Measure (or beat) refers to the pulse blues or purples were often associated with (and in many ways Romantic) oasis. These around which melody and harmony are “darker” music such as certain pieces by and other natural elements helped their constructed. In essence, rhythm is the Rachmaninov or Tchaikovsky. However, in team manipulate perspective to create the skeleton beneath music’s skin. many classical offerings, quieter passages illusion of in the .

6 SITELINES BC Society of Landscape Architects Texture and Layering In music, texture refers to how the melodic, rhythmic and harmonic elements are combined in a composition, thus determin- ing the overall quality of sound in a piece. Texture is also described as the thickness and range between lowest and highest pitches as well as the number of parts or “voices” and the relationship among them. Addressing Challenges For example, a thick texture could and Opportunities contain several instruments interacting: Over time, composers, musicians and land- The generous funding of Jeanette Thurber strings, woodwinds and brass. Musical artists scape architects have faced some similar helped bring Antonin Dvorak to America and conductors also often refer to the layer- challenges, among them: while the 20th Century Elizabeth Coolidge ing of instrumental passages which can be Foundation commissioned works by relatively subdued or extremely complex. Benjamin Britten, Maurice Ravel, Igor Finding a Patron or Client In our field, texture too often connotes Stravinski, Bela Bartok as well as Aaron In classical music, composers have always only the tactile smoothness or roughness Copland. Many symphony foundations now needed someone to fund and promote their of surfaces, not the layering or overall have artist in residence programs with efforts. As with early painting, either the interaction of the various elements of site a mixture of government, audience and Catholic or Protestant church was a primary composition and in turn, their relationship private donor support that promote new patron, as an example, for J.S. Bach. to surrounding context. As in classical compositions so that classical music can Gradually, music became less ecclesiastical, music, texture embodies the way all the continue to evolve and flourish. with nobility often becoming the funder, components interact, for example, water, commissioning works that celebrated their Likewise, landscape architects have had planting, pavement, amenities, and spaces importance. Such music was initially the challenge of achieving recognition and that rewardingly accommodate a range performed for royal families or wealthy securing financing. Historically, practitioners of human activities. Two Vancouver exam- bankers and traders. Over time, concerts during the Renaissance were employed ples: Emory Barnes Park successfully layers were presented to public audiences who paid by popes, cardinals and merchants. Both spaces and amenities for families, children, modest admission. Of note, Beethoven often Andre Le Notre and Capability Brown were seniors, pet owners and nearby office workers performed for all members of society, from dependent upon nobility. It wasn’t until the where a water cascade becomes a unifying the well off to those with very limited means. Industrial Revolution, with its overcrowded component. At the Van Dusen Garden Visitor cities, lack of sanitation and outbreaks of Centre, landscape design integrates a unique, Some important European patrons include disease that the need for public open spaces environmentally responsive building into the 18th Century socialite Baron von was acknowledged, resulting in and the surrounding realm. While architecture Sweiten who supported Mozart as well as greenways established in both and performs the prominent role, it is skillfully Beethoven while the Hungarian Esterhazy North America. supported by a landscape that reinforces family employed Haydn for much of his and showcases the theme of , career. In the mid 1800’s the Finnish Whether one works in the private sector just as the strings, woodwinds and brass government was one of the first to establish or public realm, as landscape architects we might support and cradle a prominent solo public financing for composers with Jean know it is vital to convince someone to passage in a concerto. Sibelius a beneficiary. employ us. Developers, industrialists, home >

December 2017 SITELINES 7 owners, Indigenous communities and awareness and support. However, like governments are some of the potential classical music, to remain relevant, we clients consulting firms can engage with. must continue to perform flawlessly what Public sector landscape architects must we do well while exploring and pushing often convince city managers, mayors and boundaries to seek new directions. council members that parks, streetscapes and playgrounds are essential for healthy living, requiring ongoing financial commit- The Lives of Composers ment. For us, building consensus with Volumes have been written about the stakeholders (the equivalent of musical struggles, dalliances and “demons” which communication with an audience) is essential many legendary classical composers have to achieving a successful project result. faced. Some examples: Beethoven was deaf for much of his adult life, Robert Schumann Collaboration endured acute depression, Chopin battled Much of classical music is a collaborative tuberculosis, Tchaikovsky experienced Czar- effort, whether its expression be an orchestral ist homophobia, Shostakovich dodged Stalin’s or choral piece, a chamber work or recital. threats and Bartok fled for his life from Precise coordination is required among the Nazis. such as America’s Marin Alsop, Finland’s different instruments and in a symphonic Susanna Malkki and Canada’s Tanya Miller. While many of us may not have confronted work or concerto, the conductor must such dire challenges, landscape architects thoroughly know all parts of the music. Also, the nature of classical musical can encounter headwinds in championing Chamber playing has the challenge of composition is constantly evolving. For socially and environmentally beneficial responding to musical cues where each example, in the 1920’s, Vienna based Arnold choices over those of entrenched convention instrumentalist contributes exactly at the Schoenberg, Alban Berg and Anton or short term economic expediency. We still correct moment. In a solo performance, Webern challenged the format of more shoulder the task of better informing the rapport among the soloist, the composition traditional structure through atonality, a public about what we do and how it plays and the audience is essential. In all of these musical expression somewhat akin to a vital role in its daily life. examples, it is the interpretation of the in the visual arts. Championing composer’s intent and the communication new music has not been easy but it is of it that makes for a gratifying experience. gradually gaining a devoted audience.

Similarly, landscape architecture requires In the same way, landscape architecture astute collaboration with other project initially struggled to gain broad acceptance team players that can include architects, a and to establish a distinct identity. Our range of engineers, environmental scientists, field was once relegated to an ancillary project managers, client representatives and role, design straight jacketed into approval agencies. Thus, the synergy one formality, instructions dictated by architects finds in classical music performance applies and engineers. The as well to landscape architecture. courageously brought nature into cities and in more recent times, practitioners such Staying Relevant as Ian McHarg, Lawrence Halprin and Today, there is substantial effort by orches- Canada’s Cornelia Oberlander broke tras and individual musicians to reach out through neo-classical formality to design to the greater community by moving from with nature, whereby understanding the auditorium into local venues. School ecological systems became a guiding basis programs and small ensembles can be for forging more responsive and creative found across the country. Free summer solutions. Working with users has now concerts are performed throughout our become a normal part of establishing a site land. Classical music is attracting millen- program and assuring that people’s needs nial audiences owing to a wave of brilliant are successfully accommodated. Taking young musicians, many of them women, a leadership role in achieving sustainable who are achieving international recognition results has become our profession’s ultimate and critical acclaim, including conductors strength, with increasing community

8 SITELINES BC Society of Landscape Architects Conclusion: How Classical Music Can Help Us Some Places in B.C. to Experience and Both classical music and landscape architec- Enjoy Classical Music ture share creative roots, lending beauty, emotional sustenance and greater meaning VANCOUVER/LOWER MAINLAND VICTORIA AND VANCOUVER to our lives. While technical excellence Vancouver Symphony Orchestra ISLAND is essential to both, it is the artistic performs at the Orpheum down- Victoria Symphony Orchestra in interpretation of a site program and in the town, at the UBC Chan Centre, in downtown Victoria; case of music, a composer’s idea or vision, in North Vancouver and Surrey as well Pacific Opera in downtown Victoria; audible three dimension, that provides as at summer venues in Whistler U of Victoria Music Faculty Chamber memorable richness. It is also important and Burnaby; to acknowledge that classical is but one Music Series, U of Victoria; form of musical meaning. Folk, jazz and Vancouver Recital Society presents Vancouver Island Symphony per- popular (including rock) music are equally renown and emerging artists at the forms in Nanaimo and in other expressive of our emotions and can also spur Playhouse downtown and at the Island locations; UBC Chan Centre; our design energies. The overall structure, Oceanside Classical Concerts in complexity of rhythms and layering of Vancouver Opera now a festival Parksville and Qualicum Beach. melodies found in classical music can help format, at the Queen Elizabeth guide us toward achieving that offer Theatre; greater user satisfaction on many levels. Vancouver Academy of Music “Music B.C. INTERIOR Gustavo Dudamel, the stellar conductor in the Morning” program presents Chamber Music Kelowna performs of the Los Angeles Philharmonic recently soloists and chamber works; in Kelowna and other venues; observed that while some nations are busy Vancouver Chamber Society Okanagan Symphony Orchestra reinforcing borders and certain politicians presents chamber music performs in Kelowna, Penticton propose building walls, music establishes a performances downtown. and Vernon; to people’s better selves and greater Kamloops Symphony Orchestra; instincts. Taking a cue from classical music, Vetta Chamber Players perform Prince George Symphony Orchestra; let landscape architecture provide the cre- chamber works at the Pt. Grey ative, functional and inspirational link United Church and downtown. Alban Classical Music Society of to the land and water where people dwell, Handel Society, Surrey Prince George. learn, work and recreate. Symphony of the Kootenays SL Valley Symphony Orchestra, performs in Cranbrook and Trail. based in Abbotsford

December 2017 SITELINES 9 Derek Lee, BCSLA, CSLA, LEED A.P. Principal, , PWL Partnership Illustrations by Derek Lee, unless otherwise indicated.

The Visual Arts in Landscape Architecture

Landscape architects have a unique place in the design community. We have been trained to impart a holistic understanding of landscape as interpreted through cultural meaning and sense of place. This is a cornerstone of our profession and our role as agents in creating engaging public spaces.

We are at a point of unprecedented change. For example, global warming is bringing environmental pressure on our urban envi- ronments, requiring us as to utilize evidence-based research to address today’s challenges. In response, there is no question that our profession is transform- ing at very rapid pace. In this regard, we are adopting an ever-increasing range of specializations, while balancing our critical role as a generalist; as the composer and custodian of a vision or narrative of a place.

To this end, it begs the question as to the role that we as a profession play in reconcil- ing our responsiveness to design with the cultural and technical importance of the visual arts. It is often said that design is creative problem-solving, and without the problem it would merely be art – unbridled creative expression free of constraint. Artistic expression in and of itself thrives within a constructed environment whether physically, emotionally or figuratively. Whether it be the drawings of Leonardo Da Vinci, the cubist works of Pablo Picasso, or the iconic gardens of Landscape Archi- tect and artist , the visual arts play a vital role as an expression, critique or celebration of our cultural context. At the same time, visual art operates within a set of defined parameters that has perfected each of these artists’ works. As designers, we should not underestimate the importance of these artistic masters and the parallel techniques we can employ to visually communicate both our and the physical outcomes of the designs themselves. Prepatory studies of Leonardo da Vinci were essential to his design explorations.

10 SITELINES BC Society of Landscape Architects they be “The Adoration Picasso was an of the Magi”, “The Virgin originator of new styles of of the Rocks” and “The well into his Last Supper”, started with later years of life. a series of preparatory studies as drawings. As many great artists, Leon- ardo thrived on the desire to practice his craft, to the point where his ability to observe, interpret and apply occurred simultane- ously like a motion picture camera. His understand- Leonardo da Vinci, drainage basin ing of how to manipulate and adapt the subject to Leonardo Da Vinci: the space at hand demonstrated not only an understanding of lighting, perspective and Technical mastery of representation anatomy but a masterful application of it. is fundamental to conveying His ability to draw from his came convincing ideas after many years of practice in copying Learning from Picasso: One’s ability to fully comprehend the envi- images over and over again. As with many Pushing the boundaries starts with ronment and explore its possibilities begins Renaissance artists, Leonardo was able to a grounded understanding of the with an astute observation and experimen- internalize the visual alphabet and learnt human experience tation with its morphology and processes. how to paint stories with it. The better Our desire to model our environment artists transcended copying and became One of the key things that is worth consider- begins before adolescence. It is not unusual creators. These foundational skills that ing is shaping the environment from an to see a child drawing a sketch as a means underpinned Da Vinci’s work are applicable experiential perspective. As professionals, we to capture a recent experience they had, to our ability to understand and interpret have the ability to see space and the means exploring the relationship of structures and our environment as landscape architects, to manipulate it in order to elicit emotional gravity with wooden blocks, or digging through exceptional, convincing accuracy responses. When we think about our role in channels on the beach to manipulate water that can only be achieved through rigorous designing a public plaza or garden much of flow. Whether we are drawing, modeling or practice and perfection of skill. what we do involves the finer grain sensory > sculpting it is this playful exploration that can unlock our understanding of how we can shape our environment. Our hands-on connection to physical mediums is essential to enabling our understanding of the physi- cal world through direct manipulation. In my practice, I often suggest to my colleagues that the simple act of sketching ideas forces us to “see” our environment. In contrast to digital cut and paste methods of representa- tion, each pen stroke requires a conscious effort to capture every detail, and by this process we are observing, processing, and interpreting the subject at hand.

Leonardo Da Vinci, in spite of his many great works of art, was not a prolific painter so much as a productive draftsperson. He was known to keep a journal of small sketches with him at all times, capturing all manner of things that took his attention. The requisite of his great paintings, whether Picasso’s first oil painting, Picador, 1889

December 2017 SITELINES 11 aspects of how people behave, orient Designers often grapple with the challenge themselves, and navigate through of reconciling the functional aspects of our space. From the selection of work with visual and experiential clarity. trees to the texture of There is a fine balance to achieving land- pavement to the sea- scapes that serve to address a multitude of sonal changes within interests often competing as well as a wide the space, we have the range of program and functional objectives. ability to be the narrators As the same time, we aspire to create a of the user experience. It cohesive narrative that will unify the is just as critical for the project. The “imageability” of a place, a practitioner to sketch the termed coined by Kevin Lynch, speaks to the architectural form and texture mental images held by people of a particular of a tree in terms of its scale and the shape of Cubism impacted the consistency of modern environment. He created diagrammatic space it creates as it is to select a tree based art by producing something outrageously representations of places that are broken simply on drought tolerance, hardiness and different. The freedom, which was created, down into five elements; “paths”, “edges”, pest resistance. It is the accurate visual repre- meant that new and expressed movements “districts”, “nodes” and “landmarks”. These sentation of such elements that will help both could be taken seriously. The ability for terms have become fundamental to the the and the client fully understand cubism to break ranks from representational language of planning and design and still their importance in shaping the user’s experi- art marked a turning point in a new method endure today. In his work, Lynch defines ence. This mastery of accurate visual repre- of manipulating experience. However, it the physical characteristics of these five sentation becomes the essential foundation could be argued that Picasso’s early explora- components using diagrammatic represen- for new concepts and ideas to be explored. To tions of people’s behavior through accurate tations of them labelled “form “simplicity”, approach a project purely from an esoteric representation provided the many years “continuity”, “dominance”, “clarity of joint”, (i.e. from 5000 feet altitude) without the of robust analysis that equipped him to “directional differentiation”, “visual scope”, practical underpinnings of scale, space and venture into uncharted territory. and “motion awareness”. Interestingly, experience through accurate visual represen- these visual and experiential characteristics tation, inevitably leads to failure in achieving are also basic aspects of the visual arts, and the anticipated human experience. provides a bridge for the application of Roberto Burle Marx: visual arts to landscape architecture. The Even Pablo Picasso’s abstraction of the world Transforming the surreal into the real work of Roberto Burle Marx provides a through cubism could not exist without a and “imageable” good example of this application of image- fundamental ability to portray accurate rep- ability through both the clarity and bold- resentations of the subject. During his early ness of design, so powerful that it became years, Pablo Picasso like Da Vinci was a skilled an iconic statement of modern . draftsman and painter. His first oil painting “Picador” (1889) was created at the age of An icon of 20th Century art eight and he kept it throughout his life. He and design, Roberto Burle Mark drew all the time; a great number of sketches implemented an unorthodox dedicated to bullfights as well as studies of approach to transposing the local people’s life remained. Pablo’s father visual arts into landscape expres- started to involve him in interior decorative sion. Half-German and half- painting where he had to paint pigeon’s legs. It Brazilian, Marx lived and worked was his father who insisted on Pablo’s enter- in Brazil until his death in 1994. ing Barcelona Academy of Art “La Concha”. He produced in graphic design, For the 13-year old, an examination drawing tapestry, line and shape and was of a naked model was executed in a day while able to transfer his work from a month was allowed for the final product. paper, jewelry, sculpture and fabric onto the ground. Marx’s In 1901, he went to Paris, which he found unique and timeless artistic style as the ideal place to explore new styles, and had influences of modernism, experiment with a variety of art forms. It was cubism and abstractionism in during these initial visits that he began his addition to Brazilian folk art. work in surrealism and cubism, which he was the originator of, creating many distinct pieces which were influenced by these two artistic forms of expression.

12 SITELINES BC Society of Landscape Architects Avenida Atlantica is one of Marx’s most celebrated projects desigend in 1970 for the Copacabana Shoreline of Rio de Janeiro

Roberto Burle Marx gardens at the Ministry of the Army

Roberto Burle Marx implemented an unorthodox approach to transposing the visual arts into landscape >

While he was a virtuoso visual artist and Lynch in defining “imageabil- designer, Marx was also an avid botanist ity” within our environment. and had a tremendous appreciation for con- “Form simplicity” is expressed servation and application of native species. in the bold cubist forms each He was one of the first people to call for the with continuous blocks of preservation of Brazil’s rainforests with colour, form and texture. over 50 bearing his name. Marx is “Continuity” is embodied in perhaps one of the greatest examples of a the characteristic graphic landscape who has been able apply composition of each . visual art to create culturally relevant and “Dominance” and be seen in experiential that have a strong the contrast of his landscape contrast to the surrounding context yet national identity. His graphic boldness was approach in iconic scale. “Clarity of joint” exude cultural meaning. coupled with a depth of understanding of is expressed in the stark contrast in materi- form, texture, structure and scale achieved als, color and texture often defined by hard Conclusion through the application of native plants. lines. “Directional differentiation” is ex- The visual arts are fundamental to our craft He comprehended how certain animals pressed in the clear organization of forms. as landscape architects. As much as the interacted with plants, vegetation’s bloom- “Visual scope” is within the revealing and projects that we design need to respond ing patterns and sculptural characteristics, concealing of elements and the playfulness to environmental and functional require- utilizing them to create exciting interaction in visually sequencing a variety of different ments, they being relegated to for users. Movement was a key component spaces; and “motion awareness” with the “the spaces in between” if they do not of his work, in terms of shifting perspective, frequently playful application of patterning communicate cultural meaning with a and the interplay of scale, light shadow and such as undulation along the Copacabana particular boldness and clarity both within reflection of water as fundamental design Promenade. You don’t walk in the prome- the process of design and execution of elements in his palette. nade, you “dance Samba” through it! built work. The cornerstone of landscape His level of abstractionism created surreal These elements are etched into the graphic architecture is to shape the human experi- environments that were unique, and as and spatial components of his landscapes ence. Our success in achieving this goal compelling to experience from above as with clear definition and are a reminder of requires us to embrace the creative funda- they are on the ground. Burle Marx’s work the importance of image laden landscapes mentals of the many great visual artists reinforces the elements coined by Kevin that are bold, legible and provide a sense of of the past and of our time. SL

December 2017 SITELINES 13 Larry Diamond, BCSLA, CSLA, PIBC, ASLA, Retired Illustrations by Larry Diamond The Written Word: Canadian Authors and the Landscape: What they Tell Us

Beginnings where people lived, how they existed, routes poems and plays that address challenges of migration as well as the role of real and facing their communities. The Canadian To reflect on writing in Canada and its imaginary beings in their lives. landscape context is often defined as spiritual implications for landscape architecture, but as well, unforgiving for those unaware we start with early Indigenous impressions, These stories have been handed down through of its potential hazards. Today, writers such most of them recorded through oral generations and these oral records have been as Lee Maracle not only address the close history. Many of these legends focus on the recorded in into written format, despite ties with the land but also the continuing sacred circle of life, where First Nations deliberate attempts at obliteration through social and economic struggles of Indigenous stories explore the origins of earth, its animals the horrific residential school system. Re- people. Another outstanding author, Michael and its people. Within these messages are cently, a host of Aboriginal writers includ- Nicoll Yahgulanaas intertwines graphics references to specific landmarks such as ing Thomas King, Joanne Arnott, Tracey and writing in in some exciting books such mountains, lakes and rivers. These oral Lindberg and Tomson have woven as “Flight of the Hummingbird: A Parable records provide a credible time line of their rich cultural tapestry into novels, for the Environment”.

As well as expressing reverance for land and water, indigenous authors focus on the challenges facing their communities.

14 SITELINES BC Society of Landscape Architects Through diaries and journals, European following the defeat by British forces, the manner, with drawings as well as text. settlers also recorded images of the Canadian need to survive often exceeded the desire “Wild Animals I Have Known” (1898) and landscapes they explored or where they laid to write. There is also evidence that some “The Biography of a Grizzly” (1900) vividly down roots. Early examples include the manuscripts by early Quebec scribes were portray the wild landscapes as well as the documentations of 17th Century French destroyed in the fire that swept through beasts themselves. Another naturalist, Arthur explorers Jacques Cartier and Samuel de Ottawa’s Parliament buildings in 1916. Henning, was also both an illustrator and Champlain as well as Pierre Radisson and Moreover, the Church in Quebec often writer, producing “The Drama of the Medard des Groseilliers who founded took a dim view of secular compositions, Forests” (1921), “Spirit Lake” (1907) and “The the Hudson Bay Company. Alexander including those about nature. Living Forest” (1925). These outpourings Mackenzie who in the late 18th Century are rich in detail about boreal forest . The Lower Canada Rebellion of 1837 and the reached the Pacific coast and the Arctic, eventual union between Upper and Lower Of note, the influence of books by 19th recorded his challenging travels in 1801. Of Canada led to better schools, improved Century naturalists from outside Canada note are the records of Daniel Harmon literacy and a movement toward a form of upon our environmental literature bears who contributed the experience of living in Francophone literature that predominantly mention, for example, those of James trading posts on the prairies and those explored rural life style, social history and Audubon, Henry David Thoreau and of Paul Kane, one of the first explorers to descriptions of both natural and inhabited John Muir. Indirectly, they served as an spend time living with First Nations and contexts where such events occurred. Some inspiration to champion the protection of detail their reverence for the places where notable examples include a “History of significant Canadian landscapes and their they dwell. (published 1832-39). Canada” with relevant descriptions of wildlife through the start of a national By the mid 1800’s, poets also began to extol landscape by Francois Garneau, poems by park system. the beauty and vividness of the Canadian Joseph Lenoir and Octave Cremazie that land and seascape. Examples include Charles celebrate nature and a volume by Charles Vital too, are geographical travel diaries Sangster’s “St. Lawrence and the Saguenay” Gill celebrating the St. Lawrence River as a written early last century about Canada’s and Charles Mair’s “Tecumseh”. Later that focus of “all things glorious and natural”. vastness and ecological diversity. A beautiful century, Archibald Lampman drew heavily By the mid 20th Century, a further break and richly illustrated diary is that of the upon nature in his “Lyrics of the Earth” and out of writings about life events and their young English woman, Hope Hook “Crossing “Alcyone”, while Pauline Johnson (1861 – locales emerged. Books by Quebec based Canada, 1907”. It vividly depicts the land- 1913) emerged as a noted Aboriginal writer authors Gabrielle Roy (who focused on scape diversity from the Gaspe in Quebec and performer. Of part Mohawk heritage, working class Montreal neighborhoods as to Vancouver Island. Rip tides, sightings of Johnson, who confronted some daunting well as rural Manitoba where she spent orcas and sea otters bring our west coast health and financial obstacles, eventually time as a child) and Anne Hebert (including natural environment to life while intriguing settled in Vancouver. Works such as “Flint her work, “The First Garden”) brought descriptions of the then youthful cities of and Feather”, “The Moccasin Maker” and international acclaim. Vancouver, Victoria and Nanaimo abound. “Squamish Legends” received wide acclaim. By the 1920’s, the Canadian Author’s Regretfully, her scripts were ignored in Following Confederation Association was formed that included the decades after her death, but happily, Meanwhile, other writings about Canada’s Stephen Leacock, Bliss Carman and Lucy she has received recent recognition as an natural attributes accelerated in the late Maud Montgomery all drawing from the important contributor to Canadian writing, 19th and early 20th Centuries. Sir Charles Canadian landscape in their works. with powerful links to land and water. Roberts fascination with Canadian wildlife Leacock, primarily a humorist and political expressed in books such as “Earth’s commentator, spent part of his life on the Francophone Examples Enigmas” (1896), “The Kindred of the Wild” shores of Ontario’s Lake Couchiching where Despite facing some unique challenges, (1902) and “Wisdom of the Wilderness” the surrounding land, water and seasonal Quebecois literature eventually flourished (1922) are important inspirations. His changes influenced him. “Sunshine Sketches to explore both the rural and urban land- writings ask us to understand the life of of a Little Town” inspired by Orillia, is one scape. Following the Treaty of Paris in 1763, animals in their environmental context and of his best-known works. Carman, a poet French Canada found itself in economic on their terms while Earnest Thompson raised in New Brunswick (but spending and political disarray. During this period, Seton approached nature in a more scientific much of his life in New ), extolled >

December 2017 SITELINES 15 the Maritime landscape in creations such wisdom that these animals were ruthless the Killing” records the tormenting and as “Low Tide at Grand Pre” and “Songs of annihilators of caribou and needed to be eventual death of a cetacean entrapped in a Vagabondia”. Montgomery who hailed rigorously culled. “Never Cry Wolf” was Newfoundland harbor and Mowat’s fruitless from Prince Edward Island but later settled one of his greatest books (film adaptation efforts to intervene. Challenging hidebound in Ontario, is best known for “Anne of 1983), despite facing fierce criticism from authorities, advocating for change in attitude Green Gables” with its rich contextual agency bureaucrats, some government toward our natural environment and background descriptions of the local terrain scientists and certain literary reviewers. Aboriginal communities were hallmarks of and seascape. Other examples include Another triumph, “People of the Deer” Mowat’s prolific literary life. “Rainbow Valley” and “Pat of Silverbush”. documented life in the Arctic with Her prolific outpourings are in part attrib- abundant descriptions of the tundra and Margaret Atwood uted to an unhappy marriage from which the deplorable living conditions in many Daughter of a noted Ontario forest ento- she needed an avenue of escape. Inuit communities. This tale met with mologist, Margaret Atwood has emerged vociferous denial and condemnation from as one of Canada’s greatest authors, her Of particular relevance to us in this province the governments of the day (an unwilling- literary masterpieces renowned worldwide are the texts of the artistic icon, Emily Carr, ness to confront reality). “A Whale for (in 1960, it was my humble experience born in 1871 (the same year B.C. joined Canada). “Klee Wyck” (published 1941) and “Growing Pains” (published 1944) exemplify the experience of her sojourns among coastal First Nations people and her up- bringing in Victoria with ample descriptions of pertinent land features, community settings and characters. Meanwhile, U.K. raised Roderick Haig-Brown found his way to Campbell River, B.C. where he and his family settled beside the river. Brown became almost obsessed with aquatic ecology, churning out volumes of books and stories about streams, salmon migration as well as the natural systems required for maintaining . He was prolific until his death in 1976. Examples of his work include “Pool and Rapid” (1932), “A River Never Sleeps” (1946) and “The Living Land” (1961).

The Contributions of Mowat, Atwood and Munro

Forwarding to the latter half of the 20th Century and our current millennium, we briefly review three prominent non-Indige- nous authors, each of whom have achieved international recognition and who have forged significant links to our land and water through their writings and outspoken posi- tions on environmental and social concerns.

Farley Mowat Serving with the Canadian Wildlife Service Landscape becomes metaphor in some Canadian writers' tales. in the Arctic after WW 2, Farley Mowat (1921 – 2014) documented life among northern wolves, refuting the conventional

16 SITELINES BC Society of Landscape Architects to work as a junior counsellor with harrowing incident when she was a young View from Castle Rock”, a collection of Ms. Atwood where she headed the camp’s summer camper. On an Ontario shield short stories, partially occurs in Scotland, nature program). Her father’s research canoe trip, her best bunk mate, Lucy, where the Laidlaw family contemplates its traversed the Canadian Shield and portions disappears and the camp director insinu- impending emigration to Canada. Parallels of the Arctic, providing her with the ates that she is to blame. The memory of are drawn between land forms such as opportunity to experience these environ- this tragic incident still haunts her as she drumlins and glacial retreats and the ments first hand. Landscape weaves its way views landscape paintings in her Toronto stolid qualities of Presbyterianism. What into her work both realistically and lakeshore apartment and gazes out over a the landscape in their new world will look metaphorically. Culled from her copious grey, windswept harbor. In this story, the like is imagined, including its appearance, offerings are two examples: her novel landscape also serves as a metaphor for sound and odor. “Lands are described as “Surfacing” and the short story “Death events in Lois’s life. Atwood’s skillful harsh yet beautiful, strange yet familiar”. by Landscape”. juxtaposition of imagination and reality Munro explores physical and environmental In the novel “Surfacing”, an island on a highlighting the protagonist’s struggle to changes to the landscape in this and other Quebec lake becomes the setting for a come to terms with her own fragility and compositions. In some works, she contrasts woman who, accompanied by her lover and strength, makes for thrilling reading. the of nature for those who some companions, is in search of her father. work the land all day with the romanticized She and the other characters delve into the Alice Munro image of the country perceived by the city complex realms of eco-feminism, sexuality Winner of the Nobel Prize in Literature, dweller (perhaps drawing on her farm and power politics. Land and water become many of Alice Munro’s short stories are upbringing). Each character has a unique both tangible and symbolic elements in this based in small town Ontario where she image of and response to the same chilling tale, also expressed in a 1981 film. grew up. Vivid references to the rural place. Thus, thinking about how different The short story “Death by Landscape”, landscape abound as supporting settings individuals perceive and respond to a focusses on the contemplations of an for her characters and the events of their landscape has important implications for older widow, Lois, who is still troubled by a lives. However, one of her books, “The us, as designers. >

December 2017 SITELINES 17 Messages for our Profession Canadian authors (particularly Aboriginal writers) offer important observations about our landscape that can, like classical music and visual art, help guide us toward more imaginative planning and design. Some of these are:

• Much recent literature takes a somewhat pessimistic view of our current (and historical) attitudes toward the natural environment, contending that the land is a precious resource to be protected and revered, not just exploited. As landscape architects, we can play an important role in its through a science supported, balanced approach toward urban and rural land utilization. We are in a unique position to work constructively with a broad range of stakeholders to help assure sustainable outcomes for key land and water use decisions.

• We could do more perceptual imaging and role playing as open space designers. For example, when evolving an open space, what is it like to be a child, a senior or Elder, a person with a disability or a newcomer to Canada using that place? Outstanding writers such as Atwood, Munro, Ondaatje, Arnott and Maracle are masterful at creating characters and getting inside their . Imagining how different people would perceive and utilize a particular space (or sequence of open spaces) would lead to more creative, responsive and durable solutions. 789257_NATS.indd 1 1/20/16 3:01 PM • There is the opportunity for greater interaction with Indigenous communities. With our skill sets, including our open-minded ability to work effectively with people of all backgrounds, we can offer more responsive and sympathetic site planning with a focus on improving quality of life. This includes practical measures such as flood and fire protection, safe sewage treatment and potable water access. There is also the chance to encourage young people to pursue landscape architecture as a career.

• Landscape is perceived on both a literal and metaphorical level in Canadian novels and poetry. While we are obliged to place the practical realities of budgets, approvals, health, safety and welfare front and center in our projects, greater time should be allowed for imaginative creativity. The number of bland, look-alike results in certain types of development is a testament to the need for inspiration. As well, bringing more appropriate local plant material and other elements into the urban realm should also receive priority.

In this brief essay, we’ve only scratched the surface of Canadian literature. With many writings on line as well as in hard copy and with such a rich diversity of truly talented authors both present and past, Aboriginal and non-Indigenous, let the reading begin! Hopefully it enriches us and inspires new ways to approach our work. SL

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