Damascus in Dahlem art and nature in burle Marx' tropical landscape design 1. As any young member of the local elites with a disposition towards an artistic career, his family trip to Europe was an essential condition for close contact with the avant-garde tendencies of early 20th century. The discussion of what is involved in this game of mirrors is the aim of this paper. Keywords: nation, art, landscape, nature, civilization.
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Journal of the Society of Architectural Historians 1 December ; 78 4 : — Roberto Burle Marx is well known for his innovative, abstract, tropical modernist landscape designs, and for his advocacy in protecting Brazil's natural landscapes and exotic flora.
Burle Marx's designs are widely admired and have influenced many subsequent landscape designers around the world. Catherine Seavitt Nordenson's Depositions: Roberto Burle Marx and Public Landscapes under Dictatorship interrogates Burle Marx's legacy, exploring the nuances of his role as a designer, conservationist, and public figure working under Brazil's dictatorial military government, which lasted from until Nordenson analyzes eighteen position papers, or depositions, that Burle Marx presented and published from to while serving on the advisory board of the Ministry of Education and Culture and as a member of the Federal Council of Culture.
Addressing issues of land conservation and the ecological devastation of Brazilian landscapes, Burle Marx generally opposed the government's strategy for national development. Nordenson provides a thorough analysis of his papers, using them to examine the often-contradictory historical, political, and social circumstances of Brazilian life during the repressive anos de chumbo years of lead —the regime's most brutal period but also an era of unprecedented economic growth, one remembered by many as the milagre economico, or economic miracle.
Even as intellectual and creative communities were persecuted or fled the country, Burle Marx voluntarily collaborated with the dictatorship as a cultural adviser, demonstrating both his hope for change and his consent to repressive rule. Burle Marx's situation prompts Nordenson to reflect on the frequently complex and conflicted positions of design professionals working under dictatorial regimes, and to consider how aesthetics can blind us to the troubling circumstances underlying many prominent modernist landscapes and buildings.
Burle Marx also produced several projects there for the military government, including landscapes for the Ministry of Foreign Relations , the Ministry of the Army , and the National Accounts Tribunal He owed his appointment to the Federal Council of Culture, Nordenson explains, to alliances with some of the most powerful figures in Brazilian politics.
He and Niemeyer were hardly alone in their collaborations with the dictatorship. Nordenson's is the first publication to translate Burle Marx's deposition papers into English, but some of the content of these official reports has previously been featured in other publications. Produced at Burle Marx's request, Tabacow's anthology was a strategic and comparatively self-serving effort, one that selectively represented Burle Marx's work, justified his sometimes-ambivalent intellectual positions, and carefully framed the reception of his designs by contemporary audiences and clients.
Depositions includes more than photos, maps, and other images, such as technical drawings rescaled by the author. Beyond illustrating individual projects and periods, this visual material plays a crucial role in the book's narrative and argumentation. As Nordenson feels compelled to remind her readers, these images are intended to provoke reflection and provide evidence in support of her analyses.
Unlike so many other image-rich publications of Burle Marx's highly photogenic work, Nordenson's is a critical history, not a mere coffee-table book or visual resource for aspiring landscape designers.
The book's organization reflects the author's historically and politically contextualized analytical intentions. Beginning with an introductory chapter outlining her aims, Nordenson extensively surveys and contextualizes Burle Marx's public landscape projects through a series of six thematic clusters; only then does she turn to the individual papers that are her central focus. She acknowledges her position as a North American scholar and landscape architect who lived and worked in Brazil for several years, and she reflects on the challenges presented by her topic.
Among these was the need to translate speeches that originally included both locutionary and illocutionary elements compelling Nordenson's broader contextualization efforts. While she sees the book's historical overview as part of her broader argument, Nordenson presents the papers as they were written and spoken, thus giving readers room to draw their own conclusions about Burle Marx's words and the intentions underlying them.
Nordenson's book opens new perspectives on Burle Marx's work, revealing facets of his celebrated projects and legacy that too often go unspoken. Its framework reflects the author's own perspective on Brazil's military dictatorship, which determines her readings of this period in the architect's life. Nordenson recognizes and embraces the ambivalence and ambiguities of the period, exposing the complexities faced by architects and intellectuals and their publics, while leaving space for readers' own deliberations and interpretations.
This seminal book will enable greater understanding not only of Burle Marx's position as a designer operating under dictatorial conditions but also of the convoluted circumstances underlying Brazil's modern architectural history. Recipient s will receive an email with a link to 'Review: Depositions: Roberto Burle Marx and Public Landscapes under Dictatorship, by Catherine Seavitt Nordenson' and will not need an account to access the content.
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Sítio Roberto Burle Marx
The sole responsibility for the content of each Tentative List lies with the State Party concerned. The publication of the Tentative Lists does not imply the expression of any opinion whatsoever of the World Heritage Committee or of the World Heritage Centre or of the Secretariat of UNESCO concerning the legal status of any country, territory, city or area or of its boundaries. Categorization: modern heritage; clearly defined cultural landscape; 20th century; Rio de Janeiro, Brazil. At its lower part, the site is confined by the Roberto Burle Marx Road, and at the highest by the Morro do Capim Melado ridge, which belongs to the bulk of Pedra Branca. The land rises from an elevation of zero to an altitude of m above sea level by the western slope of the hill, and from m on the site becomes part of the Pedra Branca State Park. The property includes, in addition to an extraordinary botanical-landscape collection, seven buildings, five reflecting pools and a museum collection  of over more than three thousand items, what constitutes the largest and most important storage of the work of the artist Roberto Burle Marx, recognized worldwide for both his tropical garden designs - the paradigm in the global landscape - as for his extensive production in the field of visual arts in various means of expression: prints, serigraphs, drawings, sculptures, tapestries, paintings on different supports, ceramic panels, jewelry, scenes and costumes for the theater, among others. The regional native vegetation includes species of the mangrove, restinga and the Atlantic Forest.
9788575530511 - Roberto Burle Marx Arte E Paisagem Em Portuguese Do Brasil
Journal of the Society of Architectural Historians 1 December ; 78 4 : — Roberto Burle Marx is well known for his innovative, abstract, tropical modernist landscape designs, and for his advocacy in protecting Brazil's natural landscapes and exotic flora. Burle Marx's designs are widely admired and have influenced many subsequent landscape designers around the world. Catherine Seavitt Nordenson's Depositions: Roberto Burle Marx and Public Landscapes under Dictatorship interrogates Burle Marx's legacy, exploring the nuances of his role as a designer, conservationist, and public figure working under Brazil's dictatorial military government, which lasted from until Nordenson analyzes eighteen position papers, or depositions, that Burle Marx presented and published from to while serving on the advisory board of the Ministry of Education and Culture and as a member of the Federal Council of Culture.