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ARCHITECTURE MONOGRAPHS

PUBLISHER
Lars Müller Publishers

BOOK FORMAT
Paperback, 5.5 x 8.25 in. / 256 pgs / 73 color.

PUBLISHING STATUS
Pub Date
Out of print

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2018 p. 153   

PRODUCT DETAILS
ISBN 9783037783795 TRADE
List Price: $30.00 CAD $40.00

AVAILABILITY
Not available

TERRITORY
NA ONLY

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LARS MüLLER PUBLISHERS

Roberto Burle Marx Lectures: Landscape as Art and Urbanism

Edited by Gareth Doherty.

Roberto Burle Marx Lectures: Landscape as Art and Urbanism

Roberto Burle Marx (1909–1994) remains one of the most important landscape architects in the history of the field. His distinctive and widely acclaimed work has been featured and referenced in numerous sources, yet few of Burle Marx’s own words have been published. This collection of a dozen of Burle Marx’s lectures, most of which have never before been available in English, fills that void. Delivered on international speaking tours, they address topics such as Concepts in Landscape Composition, Gardens and Ecology and The Problem of Garden Lighting. Their publication sheds light on Burle Marx’s distinctive ethic and aesthetic of landscape, as “the real art in living.”

The lectures paint a picture of Burle Marx not just as a gardener, artist and botanist, but as a landscape architect whose ambition was to bring radical change to cities and society.


Featured image is reproduced from 'Roberto Burle Marx Lectures: Landscape as Art and Urbanism.'

Roberto Burle Marx Lectures: Landscape as Art and Urbanism

STATUS: Out of print | 00/00/00

For assistance locating a copy, please see our list of recommended out of print specialists

FROM THE BOOK

Excerpt from “The Garden
as a Form of Art ” by Roberto Burle Marx

The planned garden seems to have existed as long as written history; it is one of the oldest forms of art. In literature and mythology, it appears early as a conception of the ideal, as a dwelling place
for gods—the Garden of Eden, the Garden of the Hesperides, the Garden of Allah.

We do not learn very much in detail about these gardens; it would be quite impossible to reconstruct the Garden of Eden from any specifications that occur in Genesis. But we can deduce, rather than discover, what they were supposed to be like; and they appear to
have had one element in common. They are ordered reconstructions of nature herself, natural environments from which the element of
fear has been removed and which grow in a most perfect and agreeable way with the laboring assistance of man. Where they occur, the objects to be feared are animal, or reptilian, and this to me seems to show that the garden in its ideal conception is a place where man can demonstrate his control of nature—if you like, his friendship
for her—by acknowledging his dependence on her.

The garden is not simply a product of idle leisure, not merely
one more way in which a successful egotist can add to his self-esteem. It is not a thing to be considered last when the money for a project
has already been spent; not a magic blanket to be flung over bad proportions or conflicting masses or poorly planned volumes.
The garden is, it must be, an integral part of civilized life: a deeply felt, deeply rooted, spiritual, and emotional necessity.

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