This is Moganshan, a mountain about 3 hours southwest of Shanghai. It was discovered by expat Shanghainese in the early 20th century and became a villa retreat from the hectic life of the city. I visited here from the 16-17th of July. The bamboo forests were impressive, but, as I learned later at an ecological fair I went to recently, these bamboo plantations were a relatively new introduction. Previously, the mountains in this area were covered with pine and other evergreens. You can still see them in the valley below where this weed tree that is bamboo has not yet taken hold. Read More »
Xi’an Expo 2011: Master BotanistBy Rem / in shanghai / September 11, 2011
Area: 1031 sq meters
Design Theme: Expressive force of chinese rare species
Introduction: The Botanist Garden is designed by Eelco Hooftman, a leading figure at Edinburgh College of Art, chief designer of the renowned landscape design studio, Gross Max, receiver of international awards such as the First Prize at the competition of the Royal Institute of British Architects (RIBA) and the First Pirce in Colchester Invitational Tournament. This garden exhibits various noted rare plants in Wilson's collection such as metasequoia, the living fossil of cupresssaceae, Meconopsis punicea and highlands of Tibet. In terms of the space design, the designer adopts the baskets with crickets in and bamboo poles white separate the garden, the Botanist garden successfullly ahcieves the surreal transition from the forecourt to the outer court and the inner chamber.
step by step… PrecedentsBy Rem / in thesis / September 5, 2009
This last section of the booklet I have viewed with the most trepidation. Everything else was comparatively easier in this booklet and I had worried -- still worry -- that I cannot find a precedent related to these issues that I have described earlier. I think part of this concern is the question of experience and insight -- my understanding of someone else's work can be very different from their own. I may take something out of that work which I think exists, but, it in fact does not exist. However, I would be remiss to not at least make an attempt:
Fountain Place and Miller Residence -- Dan Kiley
A designer who has been chided for his ecological monocultures -- but whose brazen attitude about them I admire. I think that the idea of a repetitive disposition is most evident in Kiley's Fountain Place (1985) and his Miller Residence (1955). His overall designs leave much to be desired, but his finite material palette works very well in the context in which his projects are sited. His work also makes ample use of groves; The National Gallery of Art has an overpowering grove of magnolia. (Kiley, 83) Its effect is similar to the one I envisioned for the cherry tree parking grove in the Ecology, Site and Design studio.
Landscape Park Duisburg Nord, Germany -- Latz + Partner
The Landscape Park Duisburg Nord is perhaps the most well-known project of Latz + Partner, having been featured in a 2005 MOMA exhibition and numerous publications. All of my terms: awareness of presence, experience of discovery, moments of pause, repetitive disposition, adventures around the corner and even, to some extent, awareness of grade, are present in this landscape park. Read More »
step by step… Synthesis and Projection ForwardBy Rem / in thesis / September 1, 2009
I have six concerns and one method of making that I think will continue to appear in my work. Two concerns began developing as an undergraduate in sculpture: awareness of presence and moments of pause. They may be a part of who I am; I've been attempting to explore these concepts in a related piece of writing. Adventures around the corner, awareness of grade and the experience of discovery are concerns that developed during the program at RISD. An iterative process, or repetitive disposition, first started appearing in college as well, and has developed to a strong undercurrent. The use of mass plantings and a repeated material palette are indicative of this process.
In my sculpture work, one example of this repetitive disposition is what I term a sculptural investigation. It was an assemblage of plasticine panels that recorded a particular process of making as a landscape. The panels were photographed and bound in an album which I titled: "System: Elevation".