Salvation Bracelet Scripture

KOOLHAAS ECONOMY AND SUSTAINABILITY, THE JOURNALIST

Dutch marks in competition global. Proposal to relocate the Schipol Airport. OMA 1999

Rem Koolhaas has developed a successful career based on the cynical story of the contemporary metropolis. Faced with the design its admired heroic ancestors, those who built the theory of the vanguard in the International Congresses of Modern Architecture, Koolhaas is limited to dissect the latest urban problems, unraveling the staging strategies that support and ideological cover to the growing economic taxation advanced capitalism.

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His fascination with the chaotic and uncontrolled processes that seem to define contemporary urbanization have shown a way to describe the aesthetic problems of coexistence in the city from a different perspective. That vision aestheticized world has prevented him from criticizing a truly reformist beyond the brilliance of metaphor to the disqualification of what you do not like. Conformism always seems to emerge from the depths of his writings despite its formal radicalism.

The vastness of his knowledge and brilliance of his writing have allowed him to build an international reputation as a guru of architecture and interpret current issues. Every time I get my hands on a text Koolhaas, I read with relish. Something I think they have been happening to many architects, along and across the planet over the last thirty years. Is someone who has a great ability to crawl on their dreams and thoughts to a nihilistic view of city planning and politics today.

architects from raw clay. The new vision of the American city. Hugh Ferris, 1929

Originally, Koolhaas described himself as a journalist in the architecture discovered a way of understanding social transformation in the global space, experienced throughout the twentieth century. Over the years assumed a more prominent leadership role on the professional scene. A tireless traveler, often traveling thousands of miles annually to cross reading the different places they visit. For example, as shown excessive book S, M, L, XL included numerous graphic as those used by economists to point out its 305 nights spent in hotels and 360,000 kilometers throughout 1993.

At the end of his formative years, in 1978, published an architectural masterpiece of journalism, the phenomenon that was called Delirious New York, illustrated with wonderful vignettes of the artist Madelon Vriesendorp. A book with clear architectural ambitions which extolled the mutations suffered by the city of New York over a century is from 1850 to mid-twentieth century. There appeared reflected her admiration for the American city through that kind of rhetorical figures, inspiring and provocative, which define the essence of his discursive style. Manhattan explaining brilliant paraphrases as Rosetta Stone twentieth century or that one in Brooklyn as he described Clitoraid Appendix in the mouth of the natural harbor of the metropolis, in reference to how that part of the city has cartographic map.

Buildings X, Y and Z of Rockefeller Center. K. Wallace Harrison, architect. Photo: Lucca martelucci, Flickr

Your tour delirious New York would begin with the brief historical overview of urban integration of the cross piece, Central Park, adjective the landscaping of Olmsted and synthetic carpet Arcadia . Following the path of urban construction, would be interested to review the emergence of a new artificial paradise, which meant that Coney Island. That park by the sea would be a fundamental urban experiment, a strategy that looks brilliant Koolhaas, and would be the beginning of a new way of structuring the contemporary city as a setting and show for the entertainment of the masses. For him, the construction of scenarios and the exaltation of the drama would be the epitome of urban expression of the twentieth century, what really matter over the metropolitan physical realities. One story even more interesting for him, which would involve the construction of the modern American city from a precise volume of your computer. The complex and intricate rules New York's planning regulations, hygienic and enlightened character, constitute a framework that would create a special formalization of the metropolis. Urban design rules that subsequently acquire artistic condition in discussions Hugh Ferris and his colleagues in what he calls Manhattanism . The ultimate test of the New York metropolitan expression exemplifies Koolhaas in the process of defining and projecting the realization Rockefeller Center. A collective effort to create a representative piece of the city, which would engage the most prominent local architects of that time, among others, Andrew Reinhardt, Raymond Hood, Harvey Wiley Corbett and Wallace K. Harrison . For Koolhaas, the urban complex on Fifth Avenue would be a masterpiece without great leadership defined.

The book is closed with a description of landing in the city of two brilliant European ideologues covered by divergent aesthetic visions. Dalí and Le Corbusier would preeminent intellectual figures to conquer the new continent, they would try to impose their respective visions in Latin establishing a first cultural bridgehead in the early 30's. While Dali's practical intelligence allows him to reach there if palliative recognition from the first sight, the Swiss visibility is denied in the first instance.

Dalí used the method of the proper interpretation of discourse, or critical-paranoid in its special jargon, to win over Americans:

B iuer! Ai bring ou surrealism. Meni Aulredi pipoul in Niu York jove bin bai zi infected and Marvelous laifquiving sors of surrealism.

The irrational to conquer the minds of the American Puritans.

The road to fame of Le Corbusier would be more tortuous. While sharing with Dali strategies acquisition of notoriety, the use of claims épatant for attention does not serve first in that city. There would blunt statements like that skyscrapers would be deformed monsters adolescents in the age of the machine operated without direction as a result of a deplorable and romantic urban ordinance. Finally, journalists sought acquire popularity: So as the headlines come to collect his idea that the American skyscrapers are too small.

Educatorium Interior of Utrecht. Rem Koolhaas, 1997

Finally, undeniable prestige gained by Le Corbusier would be delayed for maneuvering in the shadow of New York architects to absorb its brilliant display of rudeness and Entertainment, subtly integrating the dynamics of committees and receptions. The final phase and declining creative and New York would be well reflected in the episode related to the implementation of United Nations headquarters on a platform of land near the East River. The collision between the modern orthodox approaches of Le Corbusier and handle negotiations of people like Wallace K Harrison, the great beadle in the shadow of New York architecture of the mid-twentieth century, would inevitably lead the resignation of the European master of their participation in the collective authorship of this building.

The epitaph of New York as a place at the forefront of architectural expression would represent the final additions Koolhaas in Rockefeller Center, called Building X, Y and Z. A terse simple boxes that represent the respective extrusions solar paralelipédicas who renounce the possible expression Apollonian, spurred by the Manhattanism.

Rem Koolhaas boasts a very strong ambition to unlocking the keys to the urbanization process, an attitude that has led him to travel the world relentlessly. This modern-day Flying Dutchman has visited countless cities of our planet in an effort to understand where this trend leads to concentration of people in specific places. A shining example of this constant dedication in his book condenses S, M, L, XL which included countless dissections, explanatory text and graphics of cities like Atlanta, Singapore, Paris and, of course, Dutch agglomerations. That effort will continue in the mammoth series of volumes entitled Harvard Project on the City .

Scheme visuals for the management of the Seattle Public Library. OMA, 2003

seem that his disbelief in the future of humanity has led him to take a nihilistic view of our historical moment. Years ago, when I read the stunning article Space Junk, further increased my respect for Kollhaas Rem. A slight booklet published repeatedly, and I read in the version of OMA's special issue on A + U Magazine May 2000. There, for instance, and curtly told a crowd of strong phrases:

Junkspace be our grave. Half of mankind pollutes to produce, to consume the other polluter.

We have built so much space junk as anything previously done throughout history.

The great walls served the mural to show the gods. The scalable modules Junkspace serve to support the brands we consume.

At the time, was fascinated with these texts. Probably due to its firmness and strength of character incisor. Exerted a hypnotic effect with vibrant rhythm and anger compared to the passive and uncontrolled destruction of our environment. Something that was described as a consequence of the inexorable action of economic forces. Oozed truths that many would share but until then we would not have been able to express in a coherent manner. Rem Koolhaas was there to channel the rage of those who saw the ill-fated radical metamorphosis took place in our cities and in the course of our lives. All for the sake of a flow property misunderstood, that he had finished transforming the historic and natural environments in a banal space comparable to junk food. Metaphors sharp and sarcastic comparisons were to express an efficient resource la ira frente a la destrucción sistemática de las herencias del pasado en aras de una eficiencia de los flujos monetarios.

Propuesta de rascacielos lider para Dubai Renaissance. OMA 2007. Eikongraphia

Lo que está claro es que este arquitecto holandés es alguien que atesora una visión amplísima y es un gran experto en la ya larga tradición arquitectónica generada a lo largo del siglo XX. Como consecuencia de ello es capaz de ofrecer otra forma de entender la arquitectura; alguien que tiene la necesidad imperiosa de escribir para descargar los pensamientos que le atenazan en su esfuerzo por entender los fenómenos urbanos más recientes.

Probablemente, se lo plantea como una forma de contribuir a paliar las inmensas fuerzas destructoras que acompañan a esa estrategia descarnada de la organización del mundo en torno a la economía. En los últimos decenios el sometimiento de la política y las necesidades sociales al imperio de lo financiero nos han ido hundiendo paulatinamente en un pozo de insostenibilidad cada vez más profundo.

Algunos hemos coleccionado con fruición a lo largo de los años los excesivos y sucesivos ladrillos de Koolhaas. Son unas publicaciones que tienen una presencia preeminente en nuestras bibliotecas personales, aunque no creo que nos puedan serve as a permanent relief for our growing political impotence. However, they are now an indelible part of our every day environment, that often surround the architects.

The founders of the Office for Metropoitan Architecture, M. Vreisendorp, Rem Koolhaas, E. and Z. Zenguelis --->

Instead Of Place Cards At A Wedding, Easel

ARCHITECT MAP AND ROUTE EXPERIENCE

circular visions of the world. Left, Map of the World in San Isidoro Etymology of Right, Atlas Koreano 1700. Berlin Staatsbibliothek

always hear talk about maps and plans and are not very aware of what may be the difference between them. However, the qualitative distinction is of overwhelming simplicity. The difference between a plane and a map is produced when the surface area that is represented in two-dimensional space agency is limited in order to be able to dispense with the curvature of the earth and drawing can be framed in a simple orthogonal system.

This concise explanation of a highly efficient and I owe a very simple and didactic text entitled Computer Applications the urban project, teachers Alfonso Moya Rafael Temes and Urbanism Department at the School of Architecture at the University of Valencia, which offers a passionate account of these documents we employ both architects.

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According Temes and Moya, an essential element of construction is the scale map, the system that somehow related to body size with the territory. Accordingly, while a map attempts to formalize the curvature of the earth on a large scale, the plan accommodates the representation of a fully orthogonal drawing system and more limited scale. The turning point would be located in a range of scales 1:50.000 and 1:25.000 in the that consideration of the sphericity of the planet changes its relevance to the effects of the shape shown. According to this distinction, both could be ascribed respectively to the domains of geography and urban planning.

Since the Paleolithic era to the Internet, different cultures have always needed to build a representation of the world around them, in order to understand the place where one lives, that space that gives them shelter and sustenance. Spatially represent the elements that make up our everyday environment is a task far mainly by geographers, but also town planners and architects who try to explain what is relevant to our performance in the world, using different drawing techniques that relate the human scale to the size of the universe and somehow making a specific account of the places they traveled. As the painters are usually set in a descriptive way of representation, geographers and cartographers have tried to abstract the reality introducing conventions and classify the differences, making dissection and segmentation of the various elements that constitute the mental space that can be the territory.

mapping is a tool of prime importance for our understanding of the world. Representation is drawn to plays that space that surrounds us and is a notary of the spatial organization at a particular time in history. As we express Temes and Moya in their manual:

The history of cartography can be read as a continuous process aimed at achieving a more accurate and faithful representation of reality, and thus a more universal interpretation.

The representation of the world has changed dramatically since those first known approaches from Claudius Ptolemy, who described the world as following Geographia Hellenic scholars of antiquity, and later became drawn by descriptions las escuelas cartográficas del Renacimiento en los llamados Mapa Mundi , la primera imagen conjunta seria del mundo conocido en la cultura del occidente europeo.

La forma esférica de la tierra era algo sabido ya en el pasado remoto de los griegos. Los eruditos, matemáticos, astrónomos y geógrafos que se agruparon en torno a la biblioteca de Alejandría tenían ya una noción aproximada de la misma. Tanto Eratóstenes como su discípulo Hiparco de Nicea aportaron mediciones y técnicas importantes para entender que vivíamos sobre una gran bola. A este último se le atribuye la invención de las líneas de meridianos y paralelos como recurso para establecer una definición geométrica del espacio cartográfico.

Interpretación en proyección cónica del mundo conocido a partir de la Geographia de Ptolomeo

&nbsp; Sin embargo, en Europa con la caída del Imperio Romano y las invasiones bárbaras, que destruirían todo a su paso, se experimentó un retroceso extraordinario en el conocimiento compartido; una vicisitud que duró más de mil años. Las sociedades de aquellos tiempos oscuros prácticamente olvidaron las ideas y experiencias generadas en la antigüedad de Occidente y tuvieron que construirse una nueva representación del mundo que cifraban en un espacio plano alrededor del mar Mediterráneo e integrado por tres superficies terrestres: Europa, África y Asia. La representación circular del mundo conocida como la T dentro de la O definía esta visión simplificada del mundo cuyo centro estaba en la tierra santa de Palestina y su anillo exterior lo conformaba la llamada Mar Océano , un territorio desconocido y proceloso al que solo se aventuraban los más intrépidos.

Curiosamente esta descripción circular del mundo fue también utilizada por los chinos hasta fechas muy recientes. Es algo relacionado lógicamente con la extrema introspección del Reino del Centro, que duró más de tres mil años y a cuyos habitantes no les interesaba mucho lo que ocurría más allá de sus confines.

Portulano del mallorquín Pere Rosell. 1466 &nbsp;

&nbsp; Desde el siglo XIV, los llamados Portulanos –cartas náuticas del mundo conocido, dibujadas directamente a mano sobre pieles- pertenecen a un momento en que algunos marinos avezados intentaron explorar aquella Mar Océana, ese vasto espacio misterioso más allá de las costas de Europa y África, en busca de nuevas aventuras y recompensas. Sobre todo serían los genoveses, catalanes y mallorquines who would develop a mapping technique based on direct measurement and triangulation points of the tours. His interpretation of the world's lead in these beautiful maps that were drawn on animal leather and is included in the rigging of the ships rolled and protected from inclement weather. Portulans information was shared among men in the sea of \u200b\u200bthe Mediterranean kingdoms and cities and provide the first explanation of how the world beyond the Pillars of Hercules . There appear first drawn the islands of Macaronesia, Azores, Madeira and the Canary Islands, which are used to represent the flags of nations of the discoverers and conquerors.

The description of the Map, inspired by Ptolemy introduced the projection conical shape of the earth. Would reflect the problem that has accompanied the history of cartography: How to achieve a spherical volume representing on a flat surface. Thus, Ptolemaic world maps accept the convention of projecting the celestial sphere on a cone to approximate center in the north of the planet.

Typus Orbis Terrarum , the image of Abraham Ortelius Atlas inspired by the ideas of Mercator.1570

With the invention of printing appear Flemish cartographer schools whose first and most qualified representatives would Gerardus Mercator and Abraham Ortels disciple. The first cylindrical projection develop a breakthrough very suitable for the representation of the earth's surface would be based on projecting the shape of the earth onto a cylinder tangent to Ecuador. The second would produce unified description of the then known world in his famous geographical Theatrum orbis terrarum published in Antwerp in 1570.

Extract Bretez Paris Plano and Turgot

An interesting descriptive practice is that supposed representations bird's eye view of cities, which have lasted over four hundred years until today. In 1572, an almost contemporary work of Ortels, Braun and Hogenberg published in Cologne would start the first of five albums of his atlas called Civitatis Orbis Terrarum. contain numerous aerial views and city plans several continents-especially in Europe, which would prepare many artists and cartographers as Georg Hoefnagel. Including those of many English cities like Barcelona, \u200b\u200bSantander, Granada and Toledo.

axonometric city description technique is a unique effort that has extended the Atlas of Braun and Hogenberg. For example, the precise level Paris, made in 1739 by Louis and Michel Etienne Turgot Bretez.

Paris Region Ile de France as the Cassini Carte Geomtrique

In the eighteenth century began in some countries, the effort to achieve a systematic representation around the country. This is the case the work of Cesar Francois Cassini and mapping work for the kingdom of France. The call Carte géométrique, 1788 is the first national topographic map, built for the purpose of military control over territory, is a document of the first order to interpret the spatial development of the country. Francisco Pascual Madoz Coello and would make a similar effort nearly a century after its Atlas of Spain and Overseas Possessions . In the complete appears graphic description of the Canary Islands and major agglomerations urban, along with a written description.

Map English protectorate in North Africa. By the Corps of Staff of the Army in 1906.

job in Spain is consistently represent the territory's continued military cartographers first through the Army Geographical Service, and later, in parallel, the National Geographic Institute . In the early nineteenth century the Corps of the Army began the task of building the number of sheets that constitute the Route Map of Spain and since 1939 the National Map as last sheet 1:50.000 series would end in 1986. Something similar has led to the creation of the National Geographic Institute in 1870 with the objective of creating also a comprehensive chart of all the English territory, to provide information relevant geographical and uniform, with links to the cadastral description of the soil in the entire state. The Institute of Geography has finally developed the so-called National Topographic Map at 1:25.000 which is the basic mapping and officially used in the English state.

contemporary representations of the Earth's surface has experienced a shift with the advent of digital technologies. Perhaps, they rely on the conventions and techniques developed over the centuries, but the ease of automated calculation and drawing techniques assisted by computer has put the kibosh on the use of the ancient drawings printed on physical media such as the paper.

map of the city of Puerto del Rosario on the island of Fuerteventura, according to a representation orthophoto. National Geographic Institute. 2010

-called digital terrain models are a new evolution art of cartography offered many new possibilities for better understanding and interpretation of the territories. As defined FJ Doyle, are digital data sets that describe the spatial distribution of territory. From the point coordinates accumulation of soil, these models can set designs, two and three dimensions, to simulate the geographical shape with the help of information technology. And from there, add all kinds of complex data to explain specific features associated with the space required.

cartographic representation supported by maps and plans as is already history and also an exciting episode of that effort of humanity to understand the place we live in the universe, this small irregular ellipsoid of revolution that some have defined scientifically as geoid.

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2510 Mule Not Running

The pond reflections. Richard Haag, a landscape architect. 1984. Photo: Dick Busher

I love books because they take you to amazing places, often and casually. This is another personal story, in my case was the result of stimuli that came from reading a book on the practice landscaping in the United States and the captivating view of an image reflecting pond in the middle of a forest.

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the early 90's I bought a book called Invisible Gardens (Gardens invisible) professor Melanie Simo. That text was a reflection on the role of certain characters in the development of gardening, landscaping and design of the territory in America throughout the twentieth century. Starting from the seminal presence Frederick Law Olmsted , Professor Simon introduced the likes of Roberto Burle Marx, Thomas Church and Hideo Sasaki, director of the Department of Landscape at the Graduate School of Design at Harvard from 1958.

The author, at one point he also recognized the role art Richard Haag in the development of landscape practice closely linked to the extreme respect of preexisting and the reinterpretation of nature, introducing approaches closely linked to Zen philosophy. Something intertwined with the preservation of the landscape inherited in a world beset by a massive transformation of the biosphere. Invisible Gardens appeared in work of Haag, located on an island in Puget Sound against the City of Seattle. Was defined as the Bloedel Reserve and was a kind of botanical sanctuary where, in the 60, a billionaire philanthropist named Prentice Bloedel had decided to recreate as a transcendent and sublime space. As I learned later, was an outgrowth of his fascination and concern for the future conservation of the northern forests of coniferous American.

Due to a completely random chance, years later would go with my family on vacation to visit the amazing state of Washington on the northwest coast of the United States. It was a trip to the adventure that came from the possibility of having a host in place, a teacher who was making Canary an educational exchange a year in that remote location. The truth is that we could not contact her there, but the displacement if the uncertainty would realize that access is a completely unknown and had almost no references.

After a stormy air travel more than a day with a stop in many places, like Amsterdam, Glasgow and Detroit, we would end up landing late at night in the city of Seattle. A large urbanized territory, very different from our usual place, which I entered I-5 crossing, the highway that passes around the west coast United States, from southern California to the Canadian border. While driving the car we had rented, with intrigue scrutinized that vast region of factories, suburbs and forests that make up the intricate coast of Washington. That night would travel the few miles that separated the city's airport in the solitude of my thoughts, while the rest of my family dozing intensity after a very tiring trip.

Meadow Vista access. Bloedel Reserve. Photo: agrayday, Flickr

A couple of days later, and more relaxed and made the place, decided to visit the Bloedel Reserve, which had heard vague and he had to book in advance for access. Many years ago, Bloedel, promoter and founder, had established that in order to enjoy that space had to go solo or accompanied by a few people. This was to ensure that the contemplation of those natural settings could produce that effect inspiring beauty and grandeur that only the wild grants.

During that visit, we would also be fascinated by what they'd see there. We captivate both for its natural magic, also must be said, for their incredible environments artificialised, subtly integrated within the native forest. So do not come to fully understand the reasons for that wonder, would have to wait for other amazing experiences give him a deeper sense. One was to personally meet Richard Haag and temporarily enjoy their friendship and his expansive temperament. Another is the discovery of some French gardens that inspire the magnificent recreations territorial André Le Notre, and introducing an intellectual in the apparent chaos of the natural world beautiful.

La vegetación exótica en el entorno pantanoso. Bloedel Reserve. Foto: Dick Busher

&nbsp; El recorrido de la Reserva Bloedel había que realizarlo necesariamente a pie y se iniciaba en una pequeña caseta de recepción que aprovechaba un antiguo cobertizo, junto a la verja de la entrada. Un punto de acceso que abría la vista hacia un recinto de varias hectáreas que seguramente habría sido cultivado en el pasado y entonces estaba cubierto de una ligera hierba uniforme. Desde allí partía un sendero atravesando un prado, cuyo pasto alto y agostado permitía ver en sus laterales y en el fondo lejano the presence of natural forest with a sparse and random disposal of conifers, ponderosa pine, fir, etc.

As we were approaching a wooded backdrop, the vegetation began to densify and become more shaded. At one point we enter into the foliage of those huge evergreens. There would cross a series of ponds and wetlands where you could hear the birds singing and sitting on benches strategically arranged to enjoy the picturesque views. Subsequently, we agreed to his side closer to a rectangular space open in the middle of the high conifers, which consisted of a perfectly trimmed boxwood hedge and an elongated rectangular pond allowed to perceive the depth and light gray clouds of heaven. It was a sublime moment when darkness suddenly go dark to light and would enjoy shining brightly.

The garden of mosses. Bloedel Reserve. Photo: Laorent100, Flickr

As we were approaching a wooded backdrop, the vegetation began to densify and become more shaded. At one point we enter into the foliage of those huge evergreens. There would cross a series of ponds and wetlands where you could hear the birds singing and sitting on benches strategically arranged to enjoy the picturesque views. Subsequently, we agreed to his side closer to a rectangular open space among the tall conifers, which consisted of a perfectly trimmed boxwood hedge and a rectangular pond elongated allowed to perceive the depth and light gray clouds of heaven. It was a sublime moment when darkness suddenly go dark to light and would enjoy shining brightly.

The garden of the flat (closed). Original version of the proposal of R. Haag. Bloedel Reserve

The next leg ran over by a dense forest area, where he focused many fallen trees covered in moss and mold of the most fantastic colors and shapes. The perception of the decay of plant masses and provided a startling look into that go with fear. After a few minutes would come to a small Japanese flag was displayed in front of which a small garden stone the way from that in the temple of Ryoanji in Kyoto. There we would sit in the stands of timber located outside the building to see the composition of small hills in the background, covered with grass that were subtle variations in color on the green.

Le Moulin. Castle Garden Courances southeast of Paris. Photo: milacasse, Flickr

The visit was complemented by access to the original house, in which Prentice and Virginia Bloedel had lived for long periods, flanked by a terrace that connected directly with the Puget Sound, the huge bay as a fjord jutting from the Pacific and which was in sight on the other side, the city of Seattle.

Back home and over time, read with enjoyment to understand how Richard Haag raised these spaces and their idea of \u200b\u200brecreating the "satori", the initiatory journey to enlightenment that is an essential part of religious philosophy zen. All that we had enjoyed spatial organization was the result of an enormous effort to rebuild the subtle natural to recreate four gardens in the forest. Haag would baptize as the bird sanctuary, and the gardens of reflection, of mosses and plans. The latter contain originally a contemporary reinterpretation of the classical organization of the gardens of Muso Soseki and especially of Ryoanji, using the raked gravel there to create two small symmetrical and inverted pyramids that would like to symbolize the duality of yin and yang, and which would later be redefined in a more conventional way.

Haag's proposal is heir to a romantic conception of the landscape that goes back as far back as the eighteenth century, when Edmund Burke publish this essay A Philosophical Enquiry Into the Origin of Our Ideas of the sublime and the beautiful (Una investigación filosófica sobre el origen de nuestras ideas de lo sublime y lo bello). Como ha señalado Elizabeth K. Meyer , en relación a las ideas de Burke, “lo sublime se refiere a aquello que afecta nuestra mente con un sentimiento de grandeza y poder irresistible que nos inspira emociones de temor y profunda reverencia y que, generalmente, se produce en la contemplación de perspectivas largas, vastos paisajes o espacios intensamente naturales”. Un camino que luego seguiría la escuela paisajística del pintoresquismo británico, aquella que reivindicaría implícitamente una intervención transformadora de la realidad territorial en la búsqueda the best harmony and beauty of places by the movement of soil and planting vegetation calculated.

Gardens in the forest. A. Project Haag to the Bloedel Reserve, 1984

some extent, the design strategy used in the Bloedel Reserve is heir to the idea of \u200b\u200bthe picturesque in landscape design and value of nature as the essence of a culture. A concept that has followed so many American artists, from Walt Whitman and Ralph Waldo Emerson to Robert Smithson, naturally including Frederick Law Olmsted. There used Haag una forma de composición dual basada en una contraposición de opuestos: la oscuridad frente a la luz; lo decrépito y muerto frente al vigor de la vida; lo informe y caótico frente a lo extremadamente ordenado. La idea de que se puede lograr una conjunción pacífica y sumamente rica de lo que existe en un lugar con la importación y diseminación de ejemplares animales y vegetales exóticos. Una mezcla en la que pueden convivir adecuadamente los diferentes en una sutil metáfora de la emigración de las especies.

Pero lo más importante, que nos aporta esta visión de lo natural es el recordatorio de que ese espacio en el que habitamos, lo que algunos han tecnobiósfera named, is a place where we should and can live with "others" in a way that enriches everyone. And that includes other living beings who have joined us at this point in the universe, we can not sweep without consequences for us. Haag reminds us in his short text that reads:

seminal essence of primitive humanity's relationship with nature was the genesis of the pleasant garden. This love story is encoded in the primitive genotype of each person. The archetypal forms of the landscape subtly express this relationship.

Spiral trembling aspen. Garden Project by Richard Haag, 2002

personally known Years later, Richard Haag and his partner and wife, Cheryl Trivison. Two lovely people with that kind property that only have some American intellectuals, including rustic, honest and extremely cultivated. He had proposed to explain the grounds Bloedel in a course organized at the University of Alcalá de Henares. To do this, made a startling presentation in which he made us see, through images of a high intensity, the way that you can feel the reconstruction poetic nature as a sublime experience of communication and love for nature.

Bloedel Reserve is one of those wonderful places, hidden and anonymous, who are found with difficulty, however, we come to the depths because they offer real enriching and rewarding experiences. Sites that look hard and have nothing to do with those cans and trivialized cultural products that we sell the mass tourism industry. --->