The Garden Path
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Transforms Portland Japanese Garden Into a Place of Cultural And
cultural crossing transforms Portland Japanese Garden into a place of cultural and environmental immersion the cultural village the Cultural Village is formed by three new buildings arranged around the Tateuchi Courtyard plaza. a place of intercultural exchange & education Cultural Crossing offers new opportunities to host classes, training, and events. The new space allowed for an increase in educational offerings including lectures, workshops, and a new professional course. PORTLAND, OR CULTURAL CROSSING WILLAMETTE RIVER WASHINGTON PARK PORTLAND JAPANESE GARDEN PORTLAND STATE UNIVERSITY WASHINGTON PARK INTERNATIONAL ROSE TEST GARDEN PORTLAND JAPANESE GARDEN HOYT ARBORETUM OREGON ZOO N PORTLAND CHILDREN’S MUSEUM Cultural Crossing is nestled into forested slopes of historic context plan Washington Park in Portland’s west hills. LEGEND a. ShuttleShuttle DropDrop OffOff b. ChabanaChabana TerraceTerrace GardenGarden c. VillageVillage HouseHouse d. TsuboniwaTsuboniwa GardenGarden e. TateuchiTateuchi CourtyardCourtyard PlazaPlaza f. Tea Tea House House g. StormwaterStormwater GardenGarden h. BridgeBridge i. Tanada Path & Stormwater Garden j. Ticket Pavilion k. TanabeTanabe WelcomeWelcome CenterCenter ENTRANCE & PARKING d COURTYARD PLAZA b a e f h g i j k COURTYARD PLAZA site plan Cultural Crossing includes 3.4 acres of new spaces, including ENTRANCE & PARKING a new entry pavilion, pond, and redeveloped entry path that ascends to a central plaza flanked by three new buildings, N numerous garden spaces, terraces, and paths. 1. TANABE WELCOME CENTER BEFORE 2. TANADA PATH 2 SHUTTLE ACCESS PEDESTRIAN FLOW 1 3 4 3. TANADA STORWATER GARDEN redefining the visitor experience 4. ARRIVAL AT THE CULTURAL VILLAGE the original arrival experience included many pedestrian and vehicular circulation conflicts. By adjusting this sequence, visitors are immersed in the garden from the first moment of arrival. -
Japanese Gardens at American World’S Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan
A Publication of the Foundation for Landscape Studies A Journal of Place Volume ıv | Number ı | Fall 2008 Essays: The Long Life of the Japanese Garden 2 Paula Deitz: Plum Blossoms: The Third Friend of Winter Natsumi Nonaka: The Japanese Garden: The Art of Setting Stones Marc Peter Keane: Listening to Stones Elizabeth Barlow Rogers: Tea and Sympathy: A Zen Approach to Landscape Gardening Kendall H. Brown: Fair Japan: Japanese Gardens at American World’s Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan Book Reviews 18 Joseph Disponzio: The Sun King’s Garden: Louis XIV, André Le Nôtre and the Creation of the Garden of Versailles By Ian Thompson Elizabeth Barlow Rogers: Gardens: An Essay on the Human Condition By Robert Pogue Harrison Calendar 22 Tour 23 Contributors 23 Letter from the Editor times. Still observed is a Marc Peter Keane explains Japanese garden also became of interior and exterior. The deep-seated cultural tradi- how the Sakuteiki’s prescrip- an instrument of propagan- preeminent Wright scholar tion of plum-blossom view- tions regarding the setting of da in the hands of the coun- Anthony Alofsin maintains ing, which takes place at stones, together with the try’s imperial rulers at a in his essay that Wright was his issue of During the Heian period winter’s end. Paula Deitz Zen approach to garden succession of nineteenth- inspired as much by gardens Site/Lines focuses (794–1185), still inspired by writes about this third friend design absorbed during his and twentieth-century as by architecture during his on the aesthetics Chinese models, gardens of winter in her narrative of long residency in Japan, world’s fairs. -
The Garden Path
The Garden Path Monzenmachi March/April 2018 TABLE OF CONTENTS OF TABLE HAIKU 3 Letter from the CEO Steve Bloom Falling with the rain a white camellia blossom The moss darkens 4 Events Calendar March – April –Peter Kendall 5 Member News 6 Garden News SENIOR STAFF The Unfolding Journey CHIEF EXECUTIVE OFFICER Steve Bloom of the Cultural Crossing DEPUTY DIRECTOR Cynthia Johnson Haruyama THE ARLENE SCHNITZER CURATOR 8 Culture & Education OF CULTURE, ART, AND EDUCATION Garden Workshops Diane Durston GARDEN CURATOR Sadafumi Uchiyama CHIEF OPERATIONS OFFICER Cheryl Ching 10 Art in the Garden DIRECTOR OF FINANCE Diane Freeman Hanakago: The Art of Bamboo and Flowers DIRECTOR OF MARKETING Lisa Christy CHIEF DEVELOPMENT OFFICER Tom Cirillo 12 Special Events EXECUTIVE ASSISTANT Sarah MacDonald Garden Expressions DIRECTOR OF RETAIL Ashley McQuade Lecture Series DIRECTOR OF FACILITIES Mike Rego 13 Annual Fund BOARD OF TRUSTEES PRESIDENT Dorie Vollum PRESIDENT-ELECT Robert Zagunis 14- Golden Crane Society VICE PRESIDENTS 15 Ann Carter, Katherine Frandsen, Carol L. Otis M.D., Dr. Calvin Tanabe TREASURER Drake Snodgrass 16 Global Ambassadors SECRETARY Dede DeJager IMMEDIATE PAST PRESIDENT Cathy Rudd MEMBERS Suzanne Storms Berselli, Gwyneth Gamble Booth, Jimmy Crumpacker, Dean M. Dordevic, 17 Golden Crane Legacy Society Michael Ellena, Bruce Guenther, Bill Hughes, & Tribute Gifts Janelle Jimerson, Gail Jubitz, John Kodachi, Martin Lotti, Douglas Lovett, CPA, Lindley Morton, Darren Nakata, Piper A. Park, Travers Hill Polak, Frances von Schlegell, Paul Schommer, Susan Winkler 18 Photo Gallery FOUNDATION BOARD Cultural Crossing One Year Anniversary CHAIR Greg Fitz-Gerald PRESIDENT Steve Bloom 20 Did You Know? VICE PRESIDENT Carmen Wong Kyoto: Cultural Village Inspiration SECRETARY/TREASURER Diane Freeman MEMBERS Trish Adams, Dede DeJager, Jerry Hudson, Joshua Husbands, Douglas Lovett, CPA, 2018 Featured Events James D. -
THE GARDEN PATH Photo: Jack Jakobsen
THE GARDEN PATH Photo: Jack Jakobsen MAY 2016 • VOLUME 15 • NUMBER 5 ART IN THE GARDEN 2016 AMERICAN BONSAI: THE UNBRIDLED ART OF RYAN NEIL “It’s bonsai. As in ‘bone’ and ‘sigh.’” But, artist Ryan Neil said he’s loosened up over the years on the issue of pronunciation. “Bonsai” is a Japanese word, but the context for cultivating trees in shallow containers originated in China as an art form known as penjing. Penjing was a practice rooted in Buddhism that connected man to the environment and brought the spirit of wild places closer to home. It migrated to Japan with Buddhism, as a spiritual practice, and slowly evolved into bonsai under the influence of Japanese culture. That connection of man to the environment is at the heart of the second Art in the Garden exhibition of the year (May 21st through June 19th). Titled American Bonsai: The Unbridled Art of Ryan Neil, the exhibition focuses solely on American species of trees, designed to directly reflect the character of American culture and the landscapes in which our culture has been formed. “Much the same way penjing evolved into bonsai, we are witnessing another evolution in the way we use these tiny trees to express and embody our own American landscape and the spirit of American culture,” said Mr. Neil. Ryan Neil was born and raised on the Western slope of the Rocky Mountains in Colorado. He became fascinated with the landscape Photo: Chris Hornbecker and its fantastic array of wind-swept trees. Mr. Neil obtained a May 21-June 19, 2016 degree in horticulture then went to Japan where he undertook a six Outdoor Courtyard year apprenticeship with Bonsai master Masahiko Kimura, the most Regular Garden Hours revolutionary figure in contemporary Japanese bonsai. -
The Garden Path Photo: David M
THE GARDEN PATH Photo: David M. Cobb JUNE 2016 • VOLUME 15 • NUMBER 6 IKEBANA: THE ART OF FLOWER ARRANGING Tea ceremony had an important influence on the development of ikebana. Chabana, or “flowers for the tea ceremony,” is the ultimate expression of natural simplicity, using only one or two native wildflowers that are literally “tossed into” a container to evoke the essence of nature Photo: Jonathan Ley in the tea room. What distinguishes ikebana from other approaches to flower arrangement is a preference for asymmetrical forms and the use of ma or “empty” space as essential elements of the composition. A sense of harmony among the materials, the container, and the setting is also crucial—all chosen to evoke a sense of anticipation for the beauty of the season just ahead. There are more than 20 major schools of ikebana, all differing in their stylistic rules and methods of presentation. Five schools are represented here in Portland, including Ikenobo, Saga Goryu, Ohara, Ryuseiha, and Sogetsu Schools—each of which has historically held one exhibition a Roses have been at the heart of summer in Portland—from the Rose year at the Garden. Festival to blooms in our backyards—since the start of the 20th century. The Sogetsu School—a longtime Garden partner during Rose Festival But as many of our members know, roses are not a part of the traditional season—is known for its willingness to explore new ideas and materials, plant palette of a Japanese garden, nor did they originally feature in such as Portland’s signature blossom. -
Tracing Japan's Traditional Design In
THINKING INSIDE THE BOX: TRACING JAPAN’S TRADITIONAL DESIGN IN MODERN JAPANESE ARCHITECTURE A DARCH PROJECT SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARCHITECTURE DECEMBER 2016 By Matthew T. Kubota DArch Committee: Pu Miao, Chairperson William Chapman Elaine Wong Keywords: Modernism, Japan, Nature, Space, Materiality Dedications This dissertation is dedicated to my family for believing in me since day one. Through all the ups and downs, I cannot express in words how much it means to me for supporting me and being there when I needed help the most. Mom, Dad and Timmy, this is for you. i Acknowledgements I would like to thank my entire committee for their help along my academic journey through the D Arch program. Pu Miao, thank you for aiding me in my final semester of graduate school as well as serving as my chair. Professor William Chapman, thank you for believing in me since I first had you as a professor for an American Studies class; the help and support that you’ve given me has helped me grow as a student as well as learned more about myself along my academic journey. Elaine Wong, thank you for aiding me along the professional world as well as taking time out of your busy schedule to help me. Lastly, Clark Llewellyn, thank you for believing me and helping me accomplish so much during my time with you. Your help and guidance from the start served as an incredible foundation for which I built my work and research upon. -
Evergreen an UPDATE for FRIENDS of the WORLD FORESTRY CENTER AUGUST 2019
Evergreen AN UPDATE FOR FRIENDS OF THE WORLD FORESTRY CENTER AUGUST 2019 LEADERSHIP HALL SPOTLIGHT 2019 Inductee Announcement We are pleased to announce the formal induction of Richard “Rick” H. Wollenberg into the Forestry Leadership Hall. As the third-generation of the Wollenberg family to work in the forest industry, Rick Richard “Rick” H. Wollenberg Forestry Leadership Hall Inductee Wollenberg continued the legacy that his grandfather, Harry L. Wollenberg, helped start in 1926 with the establishment of Longview Fibre Company in Longview, Washington. Donations in honor Over its eighty-one years, the company grew to manage 589,000 acres of forestland and of Rick Wollenberg: employ 1,700 local workers. Not only did Longview Fibre Company become part of Elizabeth & Hunt Burdick the Wollenberg family, it became part of the community’s core. Amy Hilmer Rick received a J.D. from Willamette University and after graduation, he practiced John Warjone law for ten years in Sitka, Alaska. In 1988, Rick returned to join Longview Fibre Charlie Wertheimer Company as its general counsel. Five years later, Rick transitioned to a management Kathleen Wertheimer role as head of production for the Western Corrugated Container Division. In 2001, Carol Wollenberg he succeeded his father, Richard “Dick” P. Wollenberg, as president. In 2007, the David A. Wollenberg company’s board accepted Brookfield’s offer to purchase the company. During his tenure Keith Wollenberg as president, Rick oversaw a REIT conversion, a special distribution of cash and stock, The Wollenberg Foundation and the sale of the company which generated five times the 2001 stock value held by company shareholders. -
America and Japan: Influences and Impacts of Westernization on Japanese
America and Japan: Influences and Impacts of Westernization on Japanese Architecture An Honors Thesis (HONRS 499) by Mark Figgins Thesis Advisor Michele Chiuini Ball State University Muncie, Indiana May 2011 Expected Date of Graduation May 2011 Abstract Traditional Japanese architecture is among the finest in the world. Japan's isolation allowed its traditions and customs to be refined over centuries, whereas the origins of American architecture reside in European styling. When Commodore Matthew Perry sailed into Tokyo Bay in 1853, he opened Japan up to an influx of Western culture that transformed it into a modern nation. Japan's struggle to find a modern identity and to reconcile Western and traditional architecture is examined from 1853 to the present. Acknowledgments I would like to thank Professor Michele Chiuini for advising me. His knowledge and patience have helped me immensely throughout this project. Table of Contents Influences on Traditional Japanese Architecture 1 The Japanese Honle 5 Early American Architecture 9 Conlmodore Perry's Opening of Japan 16 Japanese Architecture: Meiji Period 21 Frank Lloyd Wright 23 Japanese Architecture: Meiji to World War II 25 Kenzo Tange and Modernism 27 1 Japan has a rich history of tradition and culture. It is highly modernized, yet throughout its landscape, glimpses of a time centuries ago can still be seen. Its traditional architecture, simple, but with great attention to detail and beauty, is among the most fascinating in the world. When American Commodore Perry opened up Japan to an influx of Western culture, it sparked a desire to industrialize and use Western technology to further its goals. -
A Living Classroom « American View
SEARCH TOPICS VIDEOS ARCHIVES ABOUT 日日日 U.S. Embassy Japan Offcial Magazine U.S.-Japan Relations Arts & Culture The Portland Japanese Garden: A Living Classroom Sep 11, 2017 ★★★ By Lily McFeeters, U.S. Embassy intern Imagine you’re in the bustling downtown of Portland, Oregon, with the smell of coffee in the air and the sound of bikes whizzing by. Tucked away in the green hills of the city, there’s a place where you can go to can escape the busy hum of everyday life, transporting you to the other side of the world: the Portland Japanese Garden. https://amview.japan.usembassy.gov/en/portland-japanese-garden/ The Portland Japanese Garden: A Living Classroom « American View Strolling Pond Garden at the Portland Japanese Garden (Photo by Bruce Forster) We sat down with Steve Bloom, the CEO of the Portland Japanese Garden, to hear about what the garden means to him. Bloom has been to Japan a total of 73 times, including once as a Council on Foreign Relations fellow at the Tokyo University of Agriculture, where he researched how Japanese gardens form grassroots foreign relations. Portland Japanese Garden CEO Steve Bloom With eight different styles of gardens, a library, a training center, and even a café, the Portland Japanese Garden is more than simply a place of tranquility https://amview.japan.usembassy.gov/en/portland-japanese-garden/ The Portland Japanese Garden: A Living Classroom « American View and peace; it is a living classroom. The original designer, Professor Takuma Tono from the Tokyo University of Agriculture, intended for the garden to be a platform for teaching about various aspects of Japan. -
Washington Park South Entry Vision
WASHINGTON PARK SOUTH ENTRY VISION September 2012 V.V.O.M. WORLD FORESTRY CENTER PORTLAND CHILDREN’S MUSEUM TRI-MET OREGON ZOO Table of Contents 1 INTRODUCTION 2 THE STORY 14 THE SOLUTION 27 PHASING AND COST 27 NEXT STEPS 29 APPENDIX METRO / Portland Parks & Recreation / Washington Park Alliance i SEPTEMBER 2012 WASHINGTON PARK SOUTH ENTRY VISION INTRODUCTION This South Entry Vision report was commissioned by Metro and Portland » Creates a new entrance alignment and features, including stormwater, to Parks & Recreation (PP&R), on behalf of the Washington Park Alliance work with the proposed new drop-off and pick-up at the Oregon Zoo’s (WPA), to further develop the WPA’s Washington Park South Entry & proposed new Conservation Discovery Zone (CDZ). Parking Vision Study, dated April 20, 2011. » Consolidates most of the parking in a new structure built above grade, north of the TriMet station, to allow for more usable green, park space The scope of the original 2011 vision was to look at how to enhance the between the institutions; and character, clarify circulation, create a common green open space by replacing surface parking with a parking structure and improve pedestrian safety in » Provides a preliminary strategy for phasing and estimated project costs. the entire Washington Park south entry and parking area. A conceptual » PP&R intends to incorporate this report into a future update of the scheme was developed that met the WPA’s goals to create a common green Washington Park Master Plan. that enhanced the arrival experience into the park and met the collective needs of all the cultural institutions in the park. -
Roof Typology and Composition in Traditional Japanese Architecture
Roof Typology and Composition in Traditional Japanese Architecture I Introduction…………………………………………………………………...1 II Basic Roof Forms, Structures and Materials………………………………….3 II.1 Basic Roof Forms II.1.1 Kirizuma, Yosemune and Irimoya II.1.2 Combined Roofs II.1.3 Gable Entered (tsuma-iri) and Side Entered (hira-iri) II.2 Roof Trusses II.2.1 Sasu-gumi II.2.2 Wagoya II.2.3 Shintsuka-gumi II.2.4 Noboribari-gumi II.2.5 Combined Systems II.3 Roofing Materials II.3.1 Tile II.3.2 Thatch II.3.3 Wood: Planks, Shingle and Bark III Traditional Japanese Architecture III.1 Prehistoric and Antique Architecture………..………………………………11 III.1.1 Tateana Jukyo III.1.2 Takayuka Jukyo III.1.3 Nara Period Residences III.1.4 Menkiho III.2 Shinto Shrines……………………………………………………………….18 III.2.1 Shimei, Taisha and Sumiyoshi Styles III.2.2 Nagare and Kasuga Styles III.2.3 Later Styles III.3 Aristocrats’ Houses………………………………………………………….25 III.3.1 Shinden Style III.3.2 Shoin Style III.4 Common People Houses: Minka…………………………………………….29 III.4.1 Structure III.4.2 Type of Spaces III.4.3 Plan Evolution III.4.4 Building Restrictions III.4.5 Diversity of Styles III.4.5.1.1 City Dwellings, machiya III.4.5.1.2 Farmers’ Single Ridge Style Houses III.4.5.1.3 Farmers’ Bunto Style Houses III.4.5.1.4 Farmers’ Multiple Ridges Style Houses IV Relation Between Different Functional Spaces and the Roof Form………….48 IV.1 Type 1 ……………………………………………………………………..50 IV.2 Type 2 ……………………………………………………………………..67 IV.3 Type 3 ……………………………………………………………………..80 V The Hierarchy Between Functionally Different Spaces Expressed Trough the Roof Design………………………………………………………………….109 VI Conclusion……………………………………………………………..…….119 I- Introduction The purpose of this study is to analyze the typology and the composition of the roofs in Japanese traditional architecture. -
Portland Japanese Garden in Portland, Oregon
Portland Japanese Garden in Portland, Oregon Image not found Portlandhttp://www.mapsofworld.com/travel/wp-content/uploads/portland-japanese-garden.jpg Japanese Garden Waterfall in Portland Japanese Garden The Portland Japanese Garden , Oregon, has evolved into a great tourist attraction. This garden is a traditional lush green Japanese garden encompassing an area of 5.5 acres of the Washington Park in the west hills of Portland. The garden is considered to be the most beautiful one among all the gardens in the US. Unlike other conventional Japanese gardens that generally take several years to develop and grow-up, the Portland Japanese Garden has taken much less time to grow. A synthesis of rushed western style and pompous eastern expression, the Portland Japanese Garden has all in it. The Portland Japanese Garden in Oregon has five major sub gardens with different degrees of formality in each: The Strolling Pond Garden , within the area of garden space, is the largest portion and comprises several regions. In one, the trail has hills coiffure as the collection of the Big Dipper. Another part consists of a traditional multi colored temple lantern that is actually a gift from Sapporo. It also has some decorative rocks from Hokkaid Island and a red colored stone. You can see various stones of tortoise and crane that symbolize the prolonged existence in the lower pond. It also holds dozens of Koi. The white sand at the Flat Garden symbolizes water and intensely contrasts with moss and rhododendrons. The Sand and Stone Garden includes stones ascending from crinkled sand that depicts the ocean.