'Earthwork and Eco-clinic: Notes on James Turrell's Roden Crater Project.' (original) (raw)
Related papers
Architecture’s involvement with Landscape
A+BE: Architecture and the Built Environment, 2019
While nature is an important component of architectural theory, we must reevaluate how architecture deals with nature in theory in order to place landscape in this thesis in the disciplinary context of architecture. While revisiting 17 of architecture's crucial exponents throughout twenty centuries, I explore their dealings with landscape or nature and the concepts thereof. The beginning of this chapter (3.1) will touch on some crucial problems that lead to the polarity of 'wild' nature and human architecture, or more precisely, the divide between nature and humanity through architecture. Part of the theoretical problem elaborated in the beginning of the chapter is, that landscape and nature are oftentimes conflated if not confused, in particular by architects. Out of my critique of a thematic selection of common architectural theories and within the methodological differentiation (3.2), I will argue for the necessity of research through analyses of landscape spatial com...
Landscape and Space: Comparative Perspectives from Chinese, Mesoamerican, Ancient Greek, and Roman Art,, 2022
The rediscovery of the landscape
The rediscovery of the landscape, 2018
In this article I have tried to summarize my ideas about the Goddess heritage, as a kind of introduction to my book ‘The Survival and Revival of the Goddess Heritage’ . In particular I describe the way it is inextricably related to our experience of the (sacred) landscape. I show that the experience of being fully embedded in the landscape offers something very important for our time and is being rediscovered in our time. In 2016 I wrote a short version of this article, entitled ‘In the Beginning was the Landscape’, which is included in the wonderful anthology 'Awaken the Feminine! Dismantling Domination to Restore Balance on Mother Earth', edited by Karen Tate and published in 2018.
Journal of the Southwest, 2015
This is a collaborative portfolio of art and writing from Tumamoc Hill including work by Paul Mirocha, Eric Magrane, Barbara Terkanian, Monique Soria, D.L. Coleman, Meredith Milstead, and Kathleen Koopman. The introduction, titled "A Context for Arts on Tumamoc," by Mirocha and Magrane, begins: Early on a recent May morning, artist Meredith Milstead set up her easel outside of the historic Desert Lab buildings on Tumamoc Hill and proceeded to paint the scene before her over a twelve-hour period, completing one painting per hour. A study of color and time, the act of making these paintings echoes the historical research on Tumamoc. Much of what is known about deserts comes from Tumamoc Hill, either through research at the site itself or through the impressive list of those—a who's who of desert ecologists—who have worked at the Hill over the years. It's not a stretch to claim that the modern field of ecology owes much of its beginning to the Carnegie Desert Botanical Laboratory established on Tumamoc Hill in 1903. Long-term study plots set up by these early ecologists comprise the longest-running vegetation-monitoring program in the world. That some of the current activity on the Hill is in the form of art or poetry is a reflection of the growing awareness that scientific and artistic ways of knowing are not in opposition but can be, rather, complementary to each other. In a time when climate change has us facing increasing temperatures, drought, and wildfire here in much of the Southwest, and when increased acknowledgment that the disciplinary silos that have built up over the last couple of centuries are not up to facing such big questions alone, it is fitting that Tumamoc Hill is one of the sites that has embraced the role that artists and writers may play in the present, an epoch that many have begun to call the Anthropocene.