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<\/a>Old Airport Road Park (from Thomas Heatherwick Making<\/em>, Thames & Hudson, 2012)<\/p><\/div>I visited the V&A this week, to see the Heatherwick Studio Exhibition, and looked at two books in the V&A Library. Heatherwick’s exhibition and book complement one another. TS Eliot proclaimed Rudyard Kipling a great hymn writer on the basis of a single hymn. Kipling’s Re\u00adcess\u00adion\u00adal<\/em> is below. Heatherwick can be recognized as a great landscape archtiect on the basis of as single unbuilt design, above. It is the Old Airport Road Park, commissioned by the Abu Dhabi royal family in 2010. Most of the new landscapes made during the Middle East’s Age of Wealth have been horticulturally, climatically and culturally inept. Heatherwick took a lump of clay, moulded it to the shape of a tortoise shell and let it dry. Cracks appeared. This generated the concept of a canopy through which shafts of light pierce the dark, as in a hamam. It was ‘Conceived as a place for friends and families to gather and picnic… the colonnaded spaces below ground are protected from the harsh sunlight by the fragmented pieces of desert supported overhead on columns. Within this environment are cafes, public baths, pools and streams, as well as community vegetable gardens, market gardens and date palms’.
\nHeatherwick, like most artists, holds back from classifying the style in which he works. But he has a well-tested design method and explains that ‘If a potential commissioner asks for “just a sketch”, we have to try to explain that this is not the way to work’. This is because ‘The studio’s design process has always depended on its workshop, which allows it to test and realize ideas through the making of experimental pieces, protypes, models and full-size models of buildings’. I commend this method to the landscape profession. Jonathan Ive (of Apple) also goes through a protyping sequence – which results in the classic High Modernism of Apple products. Corbusier would love Apple products. Heatherwick and Ive both trained in the UK, Heatherwick studying 3D design and Ive studying industrial design. Heatherwick then went to the Royal College of Art, which presumably helped him to become as much an artist as a craftsman as a designer. Also, I believe, it led him into postmodernism. Heatherwick accepts the core insights of Modernism but adds ‘something more’. The more is often a fascination with the controlled repitition of shapes and patterns. Sometimes, this reminds me of Andy Goldsworthy’s work.
\nThe word \u2018postmodern\u2019 was first used by John Watkins Chapman in the 1870s as a term for what we would classify as post-impressionist art. In 1926 the term received an unrelated but serious treatment in Canon Bernard Iddings Bell’s Postmodernism and Other Essays<\/em>. Bell’s argument was that religious fundamentalism is unacceptable, because of the advance of science, and that a full Modernism is also unacceptable. Equating Modernism with the Liberal theology of George Tyrrell and Alfred Loisey, Bell put forward a Postmodernism which welcomed the the insights of science but held firm to the core principles of Christianity. Quotations from Bell:
\nThe Bible can no longer be regarded as an inerrant touchstone, the wholly infallible gift of the Eternal to struggling man.(p.4)
\nModernism is, properly, a way of looking at religion which originated with Loisey and Tyrrell, two eminent and deposed Roman Catholic priests. (p.7) [Both were excommunicated]
\nThere is no art for art’s sake. All art exists for the sake of Truth. (p.13)
\nThe scientific intelligentsia now realizes, and for the most part freely admits that, merely by scientific methods, nothing of basic importance, of primary importance, of ontological importance, can be discovered. (p.21)
\nFundamentalism is hopelessly outdated. Modernism has ceased to be modern. We are ready for some sort of postmodernism. (p.54)
\nInsofar as he exists at this moment, the Post-modernist is apt to be a man without a Church. Protestantism, Modernism, and Romanticism alike seem to him to miss the point. (p.65)<\/em>
\nThis takes us to the distinguished theorist and landscape designer who brought the term Postmodernism to the visual arts. Charles Jencks argues that postmodernism is an approach which is \u2018one-half modern and one-half something else\u2019. This is not as different from Bell’s view as one might have expected. Bell and Jencks appear to agree that (1) a scientific understanding of nature is essential (2) artists should be concerned with truths about the nature of the world – as the best landscape art always has been.<\/p>\n