Copernican Preservation

ghirri
Luigi Ghirri, detail of MODENA 1973

Taking a photograph is finding a composition in the world. Preserving a landscape is finding a composition in the world.

Architecture cannot find a building in the same way that landscape architecture can find a landscape. If ordinary buildings can radiate significance through the people and events associated with them, there is the additional possibility in a landscape of drawing a new boundary, of making an enclave or squiggle where none existed before, based on the interpretation of tribal boundaries or wolf habitat or a vein of silver. That is, the act of landscape preservation can make a unity that was already present appear for the first time. This is a great hidden reserve of power, if we are playing the game of rivalry. To declare a landscape a park is in some ways a misapprehension and a wrong; but it is also a bank of power.

Preserved landscapes can also do what no newly designed landscape can do; they are grandfathered in, and so can incarnate hazard and conflict, through chips of lead paint, or precipices. In this sense they can be at root more transformative places to occupy. 

master small landscapes
Master of the Small Landscapes, detail of VILLAGE ROAD

If the basis of preservation is invisible, if there is no precipice to be led along or bluish vein of quartz to trace, the significance will not be imparted on its own. In such cases, in the absence of interpretation means the lack of landscape. What will come first, appreciating the unique karstic formation that snakes underfoot, or traversing it overhead along a trail, following it as it wanders? The goal of explaining to people what they are seeing and feeling, and of giving them context that may lead them to value that experience differently, exists very uneasily with the goal of simply seeing and feeling differently. The strangeness felt by the preserver as they outline the boundary may not carry over to the visitors they invite; and the strangeness felt in being asked to accept an anonymous tract as a landscape of significance might dissipate in the light of interpretation.

david
Jacques-Louis David, detail of VIEW OF THE GARDENS OF THE PALAIS DU LUXEMBOURG

Consider as a thought experiment assigning a group of students to document and preserve first and justify later. 

Ask them:

-Where would you preserve?

-What would constitute preservation in your case? What would be repaired, what restored, what revealed, what concealed? What needs to be documented or demonstrated in order to do so? 

-Having said all that, only then ask: why are you preserving? And who for? Who is leading this dance?

(October 2018)