The Brief Description about Landscape’s Development

美国景观发展历史论文

Bibliography:

Main article: Paul H. Gobster, Joan Iverson Nassauer, and Daniel J. Nadenicek, “Landscape Journal and Scholarship in Landscape Architecture”

Path article 1: EMILY BRADY, Institute of Geography, University of Edinburgh, Edinburgh, UK, “Introduction to Environmental and Land Art : A Special Issue of Ethics, Place and Environment”

Sub-path article 1.1: EMILY BRADY, Institute of Geography, University

of Edinburgh, Edinburgh, UK, “Aesthetic Regard for Nature in

Environmental and Land Art”

Sub-path article 1.2: SHEILA LINTOTT, Department of Philosophy,

Bucknell University, Lewisburg, PA, USA, “Ethically Evaluating Land Art: Is It Worth It?”

Path article 2: Mark Tebeau, “Sculpted Landscapes: Art & Place in Cleveland s Cultural Gardens”

Sub-path article 2.1: Sarah Schrank, California State University, “Public

Art at the Global Crossroads: The Politics of Place in 1930s Los Angeles”

Sub-path article 2.2: “Streets and Stages: Urban Renewal and the

Arts After World War II”

美国景观发展历史论文

The Brief Description about Landscape s

Development

Keyword: Landscape s Development, Aesthetic Regard, Sculpted Landscapes about Cleveland s Cultural Gardens, landscape s Development during WWⅡ

Landscape history is a study of the way in which humanity has changed the physical appearance of the environment - both present and past. It is sometimes referred to as landscape archaeology. It was first recognized as a separate area of study during the 20th century and uses evidence and approaches from other

disciplines including archaeology, architecture, ecology, aerial photography, local history and historical geography.

Landscape design has a long history, and now, people discuss the relationship about ancient, present and future. The journal of “Landscape Journal and

Scholarship in Landscape Architecture” has made significant contributions to the scholarly base of knowledge needed for building the discipline of landscape

architecture over the past 25 years. Landscape Journal (LJ) was launched in 1982 in response to the increasing perception of educators in landscape architecture that the profession, to grow as a discipline, must take responsibility for generating its own knowledge base of research and other scholarly inquiry (Zube 1980). The journal's mission statement goal codified the goal on the contents page of every issue of its first 25 years of publication: "Landscape Journal is dedicated to the dissemination of the results of academic research and scholarly investigation of interest to practitioners, academicians, and students of landscape architecture."

Firstly, we can review the relationship between “Environmental and Land Art” and “Landscape”. We should know that what is Environmental and Land Art talk

美国景观发展历史论文

about? The article of “Introduction to Environmental and Land Art ” talks about that artists, art critics, and art theorists have discussed environmental art, land art, earth art, and ecological art at least since the 1960s. In the last decade, driven by

growing environmental concerns, the emerging significance of ecological art and new trends in the artworld, the importance of this genre has been marked by major exhibitions, retrospectives, and several new books. Both the article of “Aesthetic Regard for Nature in Environmental and Land Art” and “Ethically Evaluating Land Art: Is It Worth It?” analyze different forms of environmental art and their connections to aesthetic regard is by no means exhaustive; the constraints of space have prevented people from considering the earth body art of Ana Mendieta and cutting-edge eco-art projects. While understanding the range and diversity of these artworks is important, the problems and ideas explored are connected mainly to ethical and aesthetic reflections on environmental and land art.

Finally, the complexity of aesthetic qualities in these artworks adds to a greater understanding of qualities in contrast to the beautiful, e.g., ugliness and the

unscenic—qualities that enable more balanced appreciation that is, arguably, more on nature s terms. Land art has the potential to unite human beings in the inclusive and progressive mindset of environmentalism. And this is, indeed, the direction in which the land art movement presently is developing.

So, the developing of environment and land art is helpful to understand the landscape s development and requirements. These articles are expanding the knowledge and concept of landscape development. Also, it gives people many inspirations.

The artists, art critics, and architect find some common from to finding the relation about these. Also, discussion about research and scholarship in landscape architecture has continued in fits and starts since the journal's inception. But while there is still debate about the nature and appropriate role of research in landscape

美国景观发展历史论文

architecture academic programs, few would question the value of a scholarly journal dedicated to issues shaping the field. Planning for the retirement of Elen Deming as editor of LJ, CELA in 2008 articulated five strategic goals to help ensure LJ's relevance, significance, and sustainability as the journal enters its next 25 years:

1. Embrace diverse subject matter.

2. Nurture scholarship in landscape architecture.

3. Increase readership and impact.

4. Reach out to new contributors and increase the diversity of contributors.

5. Relate scholarship to the practice of landscape architecture (CELA 2008).

During the landscape s developing history, it has many important events and examples, which influence present landscape architect s concepts and design. The reference gives an article of “Sculpted Landscapes: Art & Place in Cleveland s Cultural Gardens”, which is an important example of ancient landscape to analysis, The Cleveland Cultural Gardens, perhaps the world s first peace garden, embody the history of twentieth-century America and reveal the complex interrelations between art and place. This article is an introduction about Cleveland Cultural Gardens. Cleveland Cultural Gardens, a collection of 24 gardens that represent the different ethnic and community groups that make up greater Cleveland, is located on a narrow 50-acre strip along East and MLK Blvds. The gardens, begun in 1916, are a lovely visual depiction of Greater Cleveland's diversity.

The Cleveland Cultural Gardens was created by students and scholars at Cleveland State University; this site has grown in collaboration with the Cleveland Cultural Gardens Federation. It applies the best community-based history methods and thinking in the digital humanities; it germinated in Professor Mark Tebeau's Local History Seminar as an outgrowth of his scholarly research. This site is maintained by the History Department's Center for Public History and Digital Humanities.

美国景观发展历史论文

The significance about Cleveland Cultural Gardens is that perhaps it is the world's first peace garden, the Gardens embodies the history of twentieth-century America. They reveal the history of immigration to, and migration within, the United States. They comment on how we have built communities and constructed our identities as individuals and collectives. The gardens reveal the stories of the major conflicts that gave shape to the century: World War I, World War II, and the Cold War. They also provide insight into the large social, economic, political, and cultural upheavals that roiled through the nation during the last century: the Great Depression, suburbanization, the Civil Rights Movement, and the deindustrialization of America's industrial heartland.

This is a story of hope and despair, joy and sadness, conflict and cooperation, growth and decline. The stones, paths, and memories of the Cleveland Cultural Gardens tell us what it has meant to be an American.

We also can find these reference which about the landscape development during the period about World WarⅡ. These are good example to narrate the development during this period. This period is an important for America s landscape, the impact of this period continues to the present

The article of“Public Art at the Global Crossroads: The Politics of Place in 1930s Los Angeles” is a example before WWⅡ. It discussed that the relationship of art to place is pronounced in Los Angeles, a world center for the production and projection of visual culture. The historical pursuit of a unifying civic identity grounded in both the arts and assumptions of white Anglo homogeneity led to a fraught public art history as excluded cultural groups fought for a vital stake in Los Angeles s self-representation. As an era when civic resources were challenged and the Federal Arts Project infused new life into public culture, the decade of the 1930s provides an especially ripe opportunity to examine the clash between a conservative, booster vision of Los Angeles and the city as imagined by foreign, ethnic and

美国景观发展历史论文

immigrant artists. This article focuses on artworks by David Siqueiros, Myer Shaffer, and Sabato Rodia and argues that in trying to project a specific (and narrow) image of Los Angeles globally, civic elites ultimately provoked these artists into fundamentally reinterpreting the local. Localized art meant something valuable and they resisted a flawed and false separation of art from place. In laying bare the significance of local places and local histories, these artists produced, in effect, poignant monuments to radical visions of social equality, economic justice, and cultural diversity.

The article of “Streets and Stages: Urban Renewal and the Arts After World War II” is an analysis after WWⅡ. Lincoln Center for the Performing Arts in Manhattan and the revitalization of the Brooklyn Academy of Music in Brooklyn offer insights into the intersection of arts and urbanization after World War II. This intra-city comparison shows the aggrandizing pull of the international arena in the shaping of Lincoln Center and the arts it featured in contrast to the local focus and debate that transformed how BAM fit into its Brooklyn neighborhood. The

performing arts, bound as they are to a moment fused in space and time, reveal the making of place within grandiose formal buildings as well as outside on the streets that surround them—and it is, perhaps, that tensile connection between stages and streets that informs the relevancy of both the institution and the arts it features. At a time when the suburbs pulled more and more people, the arts provided a counterforce in cities, as magnet and stimulus. The arts were used as compensation for the

demolition and re-building of a neighborhood in urban renewal, but they also exposed the more complex social dynamics that underpinned the transformation of the mid-20th century American city from a segregated to a multi-faceted place.

Conclusions:

The article of LJ gives a short generality about the editor s ideas about future LJ. Also, just by reading this journal, people can learn much knowledge about landscape s development and purpose. Also, at present, the landscape architect should be more careful and cautious in landscape design. In the technology, landscape

美国景观发展历史论文

architect should use more reasonable design idea for the sustainable development. This will relieve contradiction between supply and demand of water; it also made landscape design more close to nature, more practical. And from LJ s reference, it is including other aspects to which has a strong connection about landscape help people to understanding landscape s development process and some common reason, also, from the reference, we can read some good example which do a great analysis and introduction about landscape s history. Generally, landscape s development was influenced by different period and events. Also, with the development of society, landscape also has other request aspects, which satisfy the people purpose and requirements. Furthermore, the developing landscape puts forward higher requirements for people, including new materials preparation and use, collocation of varieties plants, the choice of plant varieties and how to satisfy people higher demands on the landscape.

美国景观发展历史论文

Reference:

1. Paul H. Gobster, Joan Iverson Nassauer, and Daniel J. Nadenicek, “Landscape Journal and Scholarship in Landscape Architecture”

2. Emily Brady, Institute of Geography, University of Edinburgh, Edinburgh, UK, “Introduction to Environmental and Land Art : A Special Issue of Ethics, Place and Environment”

3. Emily Brady, Institute of Geography, University of Edinburgh, Edinburgh, UK, “Aesthetic Regard for Nature in Environmental and Land Art”

4. Sheila Lintott, Department of Philosophy, Bucknell University, Lewisburg, PA, USA, “Ethically Evaluating Land Art: Is It Worth It?”

5. Mark Tebeau, “Sculpted Landscapes: Art & Place in Cleveland s Cultural Gardens”

6. Sarah Schrank, California State University, “Public Art at the Global Crossroads: The Politics of Place in 1930s Los Angeles”

7. Julia L. Foulkes The New School, “Streets and Stages: Urban Renewal and the Arts After World War II”

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