历史僧侣花园/Michael Van Valkenburgh

发布于：2023-05-15 00:00:28

Isabella Stewart Gardner Museum Opens Historic Monks Garden Redesigned

设计方：Michael Van Valkenburgh

位置：美国

分类：花园

内容：实景照片

景观时间：2012年

图片来源：Elizabeth Felicella and Alex S. MacLean

项目规模：696.7728平方米

图片：6张

Isabella Stewart Gardner博物馆发布了消息，博物馆的历史僧侣花园将由Michael Van Valkenburgh重新设计。
原本僧侣花园设计采用了意大利风格，一些高耸的大乔木沿着主路和墙边种植。随着时间的推移，花园又增加了一个覆盖着藤蔓的凉棚，凉棚旁的绿化带种植了鲜花。
作为历史悠久的校园的一部分，花园现在拥有较高的知名度。设计师的创作灵感来自博物馆的画廊，它的道路与画廊长直的通道对立，采用了蜿蜒的路面形式。设计师认为僧侣花园的设计在功能上不用单纯地只是为了通往另一处，而是要有目的的进入花园里游赏，强调它的内在体验感。光明与黑暗共存，设计师采用黑暗粘土砖和点缀的星罗棋布的片岩，吸引人们的眼球。
这个开放式的花园常年种植着茂密而高大的数木，是为了使这个7500平方英尺的狭小空间放大。游路的布局设计了很多道路和节点，并大胆地将道路延伸至墙边，以拓展空间。高瘦的常青树松散地组团式种植在花园南，北两端。在北端，这些垂直的树给人带来强烈的视觉效果，而在南端则独植常青树作为入口标志。僧侣花园被设计为适合散步和小型聚会沉思的空间，设计师说，一些地方设计一些隐秘的休息空间，而较大的聚集区域则设计在两条路的交汇处，比如附近的喷泉。

译者：饭团小组

The Isabella Stewart Gardner Museum unveiled today the Museum’s historic Monks Garden redesigned by Michael Van Valkenburgh. The Garden, which was originally designed by Isabella Stewart Gardner during the installation of the Museum in 1901, has been reinstalled several times since that time. Van Valkenburgh was commissioned in 2012 to redesign the cloistered garden adjacent to the historic building and connected to the exterior gardens which surround the Museum’s new wing designed by Renzo Piano.
Originally Isabella Gardner installed the Monks Garden in an Italianate style with tall, vertical evergreen trees in rows along part of the main walk and along the edge of the brick wall. Over time she added a large pergola covered with vines and the beds along the pergola were planted with flowers.
In 2012, Mr. Van Valkenburgh’s firm was chosen after a search that involved national and international candidates. Working with Charles Waldheim, Consulting Curator of Landscape, and Robert Campbell, architecture critic and consultant, the Gardner Museum’s new building committee with the Director Anne Hawley selected top candidates from a list of nominees. The committee visited gardens by these candidates before choosing Michael Van Valkenburgh and Associates for the commission.
Michael Van Valkenburgh’s work combines an artist’s perspective and a love of plants in the making of a garden. His firm, Michael Van Valkenburgh Associates, has been significantly recognized in recent years for work on larger urban parks, campus work and landscape urbanism projects. Alongside the larger works, however, a consistent focus on Van Valkenburgh’s work has been on gardens of a small scale. After meeting with Hawley in 2011 to tour the Monks Garden, Van Valkenburgh said it was a letter from Hawley that inspired his approach to the design of the garden.
“She said she wanted a garden that Proust himself would have liked. She was thinking of the famed passage in “Remembrance of Things Past” where the taste of the Madeleine cookie evokes in the author a broad spectrum of specific and generalized feelings about the past – childhood – the whole conflation of things and experiences that make us who we are,” Van Valkenburg said. “Thinking about this in terms of a garden’s capacity to evoke a broad spectrum of similarly complex emotions, I could tell that she was going to be a client that would push us to create something great.” The Monks Garden will officially open to the public on September 18th, 2013, and will be open during regular Museum hours, weather permitting.
DESIGN
As part of the historic campus, the Garden now holds a special place of higher visibility and prominence for visitors by virtue of the reorientation of the Museum’s front entrance and the addition of a wing which includes a transparent first floor as well as the expanded exterior gardens. Historically, the Monks Garden was a warm season destination for visitors although it was also visible from the Chinese Loggia, East Cloister, and the former Gardner Café.
Michael Van Valkenburgh’s redesigned Monks Garden draws inspiration from the way the Isabella Stewart Gardner Museum’s galleries encourage visitors to meander rather than take direct routes about the galleries. “I realized that the Monks Garden surely did not need to take you anywhere in a functional sense—you would only go to the garden to be in the garden,” Van Valkenburgh said. “While it’s important that the new Monks Garden be accessible from both sides of the Garden, it should be focused on a sense of internal experience, rather than the need to connect architectural spaces.” The juxtaposition of light and dark, from the gently lit corridors of the Museum galleries also motivated Van Valkenburgh’s decision to use alternately dulled and reflective surfaces in the many intersecting garden pathways. A field of dark clay brick is dotted by pools of shimmering micah schist, an attempt to catch and draw the viewer’s eye.
In addition, the rich textures of tapestry, leather, and tile throughout the Museum Galleries helped to inform the selection and composition of the array of plantings in the Garden. Stewartia, Paperbark Maple and Gray birch compose the canopy, while their mottled trunks add texture to the middle-height of the garden both in summer and winter. Coarse (Hellebore) and fine (fern) foliaged perennials blanket the ground plane.
The fullness of the tree and perennial planting is both a foil to the open courtyard at the center of the Palace and a strategy for enlarging the sense of space in this small (7,500 square foot) garden. The layout of the path is also designed to expand the space by creating dozens of routes and vantage points, and by boldly pushing all the way to the garden’s walled edges. Loose groupings of tall, thin evergreens frame the southern and northern ends of the new Garden. In the north, these trees give a strong vertical expression to the Garden that mediates between the high palazzo walls and the central space. On the south end, the evergreens mark a threshold between the Monks Garden and the new wing, giving the Garden a sense of autonomy while
still supporting strong connections between the two spaces.
The Monks Garden was designed as a contemplative space for strolling and small gatherings, Van Valkenburgh said. The paths that wind through the garden gently widen in key places to allow for informal seating, while larger areas for gathering are formed where two paths meet, such as near the fountain.