07 Round Table .46 11

Round Table .46 07 01 01/ Although it is often BIOS/ ADRIAN GÖLLNER IS AN ARTIST INTERESTED IN JAMES MACGILLIVRAY IS A PRINCIPAL AND FOUNDER described as white, HEIGHTENING THE VIEWER’S SENSE OF SELF THROUGH OF LAMAS. HE HAS PUBLISHED WIDELY ON FILM, snow has an TRANSPOSING ELEMENTS OF SOUND, TIME, AND ARCHITECTURE, AND PROJECTION. HE IS FROM TORONTO incredible depth MOTION. IN AN ART PRACTICE THAT EMPLOYS A WIDE AND RECEIVED HIS MASTERS IN ARCHITECTURE FROM and range of colours. RANGE OF TECHNIQUES AND MEDIA, GÖLLNER DIVIDES HARVARD’S GRADUATE SCHOOL OF DESIGN AND HIS HIS TIME BETWEEN CREATING SMALL, CONCEPTUAL B.A. IN ARCHITECTURE FROM PRINCETON UNIVERSITY. IMAGE/ Lynnette Postuma WORKS IN THE STUDIO AND IMPLEMENTING PUBLIC PRIOR TO FOUNDING LAMAS, HE WORKED AS A ART COMMISSIONS AT A MUCH LARGER SCALE. DESIGNER AT STEVEN HOLL ARCHITECTS AND AS A GÖLLNER HAS RECEIVED 20 PUBLIC ART COMMISSIONS, PROJECT MANAGER AT PETER GLUCK AND PARTNERS INCLUDING FOR THE VANCOUVER 2010 WINTER ARCHITECTS. ALONGSIDE HIS WORK AT LAMAS, JAMES OLYMPIC GAMES, THE SIXTEEN TOWERS OF CITYPLACE IS ALSO A LECTURER AT THE UNIVERSITY OF TORONTO. IN TORONTO, AND THE CANADIAN EMBASSY IN BERLIN. GÖLLNER RECEIVED A BFA FROM QUEEN’S UNIVERSITY IN LYNNETTE POSTUMA, OALA, IS A LANDSCAPE ARCHITECT 1987 AND AN MFA FROM THE UNIVERSITY OF OTTAWA WHO DABBLES IN PUBLIC ART. CURRENTLY THE IN 2016. WHILE MAINTAINING HIS ART PRACTICE IN PROJECT MANAGER FOR THE BENTWAY PROJECT AT OTTAWA, HE HAS CONTINUED TO ADVOCATE FOR WATERFRONT TORONTO, SHE HAS ALSO WORKED AT ARTISTS’ RIGHTS AND HAS SERVED ON THE BOARDS OF WEST 8 (EAST BAYSIDE, QUEENS QUAY) AND JANET A NUMBER OF LOCAL GALLERIES. ROSENBERG & STUDIO (GUELPH MARKET SQUARE, PARC DOWNSVIEW PARK). HER CREATIVE WORKS ERIC KLAVER, OALA, IS CHAIR OF THE GROUND EDITORIAL BRING ATTENTION TO EPHEMERAL MATERIALS SUCH BOARD AND A PARTNER AT PLANT ARCHITECT INC. AS AIR AND WATER, GROWTH AND DECAY, LIGHT AND SHADOW. FOLLOWING A PUBLIC COMPETITION, SHE MARK LAIRD IS AN ASSOCIATE PROFESSOR IN THE RECENTLY COMPLETED A 12,000-SQ-FT MURAL ON THE DANIELS FACULTY OF THE UNIVERSITY OF TORONTO, WEST TORONTO RAILPATH. SHE HAS ALSO WORKED ON WHERE HE TEACHES AN UNDERGRADUATE COURSE ON COMMISSIONED MURALS, ART INSTALLATIONS, AND NATURAL AND CULTURAL HERITAGE AND A GRADUATE TEXTILE PROJECTS. COURSE ON PLANTS AND DESIGN. FROM 2001 TO 2015, HE WAS SENIOR LECTURER IN LANDSCAPE HISTORY SARAH TURKENICZ HAS A DOCTORATE IN ANTHROPOLOGY AT THE GRADUATE SCHOOL OF DESIGN, HARVARD AND IS A STUDENT IN THE MLA PROGRAM AT THE DANIELS UNIVERSITY. AS A TORONTO-BASED CONSULTANT IN FACULTY, UNIVERSITY OF TORONTO. SHE IS A MEMBER OF HISTORIC LANDSCAPE CONSERVATION, HE ADVISES THE GROUND EDITORIAL BOARD. ON SITES IN EUROPE AND NORTH AMERICA. FOR HIS REPLANTING WORK AT PAINSHILL, IN ENGLAND, LAIRD WAS JOINT RECIPIENT OF A 1998 EUROPA NOSTRA MEDAL. HE HAS BEEN ASSOCIATE DIRECTOR OF PAINSHILL PARK TRUST SINCE 2004. HIS RESEARCH Sarah Turkenicz (ST): How does colour ON 18TH-CENTURY PLANTING IS PRESENTED IN HIS BOOK THE FLOWERING OF THE LANDSCAPE GARDEN bring meaning to and inform your work? (1999). EDUCATED AT THE UNIVERSITIES OF OXFORD, EDINBURGH, AND YORK, HE WAS RESEARCH FELLOW AT CHELSEA PHYSIC GARDEN IN LONDON AND TWICE A FELLOW AT DUMBARTON OAKS, WHERE HE SERVED AS James Macgillivray (JM): Colour is A SENIOR FELLOW (2008-14). AFTER CO-EDITING MRS. DELANY AND HER CIRCLE (2009) FOR A YALE CENTER something our firm is becoming more and FOR BRITISH ART EXHIBITION, AND WITH A SENIOR FELLOWSHIP FROM PAUL MELLON CENTRE IN LONDON, more comfortable working with. Initially, HE COMPLETED HIS NATURAL HISTORY OF ENGLISH GARDENING IN 2015. we rarely used colour, and our work was mostly monochromatic. But then we did a competition entry for MoMA’s Young Architects Program and, at the time, I was teaching studios about op art, so we went overboard and tried our hand composing with colour. Round Table .46 08 Lynnette Postuma (LP): I would call myself a ask you to adopt my more modest rather colour convert. I’ve always been intimidated than your more splendid preference.” by colour, actually. It is only through recent Evidently Fischer came back at Olmsted, projects that I’ve given myself the challenge slightly hurt, saying that he only meant to to wrestle with colour and learn more about show nature in “holy day dress.” colour theory. For Olmsted, flowers were not primary, Adrian Göllner (AG): As a conceptual artist, if especially with the professionalization of I use colour it falls pretty directly from an idea. landscape architecture in urban contexts. There’s a logic to it. The shrubs and the trees would be his enduring legacy—100 years or 200 years Mark Laird (ML): The historical roots of from the design’s inception. landscape architects’ difficulty with colour relate back through the Italian Renaissance, Eric Klaver (EK): The idea of texture and or French Baroque, to surviving English monochromatic planting has become key picturesque landscapes. These landscapes to modern landscape architecture. had lost all the original colour of flowers and shrubs, because such colour was ephemeral, ML: This also has to be put into the context and so it was assumed in the 20th century of the dominance of horticultural thinking, that they were designed with only the 02 in Olmsted’s time, which was about the gradations of green in mind. Yet 18th-century ML: Yes, that is part of it. Frederick Law bright, brash colours of what were called aesthetics dictated that there must be colour Olmsted had a dispute with his horticulturist “bedding plants.” That was the locus of a in the landscape (to correspond to the love about whether ephemeral colour should real dispute between Olmsted (and his of colour in interiors, in textiles, etc.). It has be part of permanence. Olmsted thought followers) and the horticulturists. This is been a challenge for historians to undo the that once his designed landscapes were quite useful background before we even misconceptions that landscape architects established for the long term, supporting get to modernism, and the disappearance developed by their judging what had his vision, then colour was extraneous of the ephemeral when flowers don’t survived in shades of green as true to the and should be eliminated. He viewed last long. original. Moreover, in the 19th century, when colour as just transitional. Perhaps there colour theory came in, all kinds of conceptual is an element in this idea that comes out LP: As landscape architects, we think issues arose for landscape architecture, of a religious viewpoint about the frivolity relationally, and that’s an interesting way because Victorian plantings were garish and, of colour, and I think that Olmsted, being to think about colour. How we perceive as part of horticulture, were anathema to heir to a Puritan tradition, saw colour as colours is influenced by the adjacencies early modernists. troublesome this way. of other colours. Our language of colour is quite limited. We only have a few words for If you think about 17th-century Dutch painting, In her fantastic book Frederick Law it, but the range of perceived colour is so small units of colour were spread across Olmsted and the Boston Park System, much deeper. the canvas, and that’s what baroque and Cynthia Zaitzevsky recounts an 1889 picturesque flower beds looked like. It’s dispute regarding the Overlook area of ML: This ties in with something that only with 19th-century colour theory that you one of Olmsted’s parks in the “emerald is not strictly about colour, and that is get massing and complementary contrast. necklace” of the Boston parks system. ecology. Ecology leads to a different way Obviously, this has its corollary in terms of Olmsted’s horticulturist, Fischer, was of thinking about what is happening in early-20th-century painting, such as colour clinging to his perennial and annual various environments and, as a result fields painting. Artists were not at all bothered flower displays, but Olmsted tried to coax of that, to designers who are obviously by very bold blocks of colour, but modernist him out of that way of thinking: “As to concerned with relationships, systems, landscape architects generally struggled with the question of good taste, we often see and performance. Modeling planting the legacy of a colour massing associated ladies very splendidly dressed with jewels systems according to ecological systems with horticulture, for horticulture was suspect and bright ribbons and flowers and agree may lead to sensibilities that are not so in the eyes of the emerging profession. that it is in good taste. We see other ladies far removed from 18th-century aesthetics. dressed quietly without jewelry or any AG: Historically, when there was a finery of color or material, and we agree 02/ George Brown House replanting, circa 2000 movement away from colour, colour was that they are also dressed in good taste. If IMAGE/ Mark Laird viewed as indulgence. Colour was seen as the difference between us is a difference temporary and, therefore, suspect. between two ideas, each of which is in good taste, then I think I have the right to Round Table .46 09 If you look at the work of designers such JM: There still seems to be a bit of fear as Piet Oudolf, Noel Kingsbury, or the about using colour in projects, though. Sheffield group of designers, you see a return to a mixed palette, or “intermixing,” Sometimes we’ll use a colour that’s very which doesn’t mean there isn’t any trendy. In one of my projects, we’re using colour theory. It is simply that they are pink, which is big now.

Load more